Disscusion and powerpoint

ENGL 1153 Introduction to Reading and Writing about Literature Shakespeare’s The Tempest

Fall Semester 2021 ENGL 1153 x10 and x11 Dr. Peter Fields, assoc. professor of English [email protected] Office Hours: MTWR 1:00 – 3:00 PM. I make a point of being in my office (Bea Wood 230) between NOON and 2 PM, Monday through Thursday. ZOOM BY APPOINTMENT: Make an appointment with me by email. At the agreed-upon time, I will send you the link. OFFICE PHONE: My campus office phone is 940-397-4246. Please leave your name, message, and the number to call you back. LAND LINE: My students may also call me on my landline 940-766-6319 in the evenings, on Friday, or on the weekend. Please leave your name, message, and the number to call you back. Required books:

The Arden Shakespeare: The Tempest. Revised Edition: Bloomsbury. Paperback. ISBN 978-1-4081-3347-7. Hint: You cannot function without this book. The Little Seagull Handbook with Exercises. W.W. Norton and Company. Fourth edition 978-0-393- 422917 (3rd edition is also fine). Comments in rubric will refer to chapters and sections in the Little Seagull.

Required MOVIES related to Shakespeare’s The Tempest:

The RSC The Tempest (2016; directed by Gregory Doran), Forbidden Planet (1956; directed by Fred Wilcox), and The Tempest (2010; directed by Julie Taymor) are available for free any time in the library databases. The RSC Tempest is in DIGITAL THEATRE PLUS; Forbidden Planet and Taymor’s 2010 Tempest is in SWANK. Start at MSU Portal (user name & password); on the left in the TAKE ME TO list, click on LIBRARY DATABASES; then look under “D” and “S.” Students have to purchase their own copy of (or stream) Disney’s 1998 English Language version of Hayao Miyazaki’s Kiki’s Delivery Service, which features Kirsten Dunst as the voice of Kiki and Phil Hartman as the voice of Jiji.

Course goals Read Shakespeare’s The Tempest in our Arden book.

For PowerPoints, each paragraph describes a key moment in a scene.

For the Essay, compare TWO of our films.

Engage in a writing process that includes invention, drafting, and revision.

Utilize credible supporting sources in our essays.

Use our models for MLA citing.

Demonstrate proficient use of Standard Written English.

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Each Power Point is 30 percent of the grade; the Essay is 40 percent. The PowerPoint requires a title slide. For each description paragraph, the PowerPoint should have at least one relevant image. To FIND IMAGES, enter search terms into “Google” and add the word “images.” Do not use the images in the Model PowerPoints provided by Dr. Fields. However, you definitely have permission to gut his Model PowerPoint and supply your own words and images. For PowerPoint 1 – For the RSC Tempest and Forbidden Planet, we need ONE description paragraph for RSC Tempest, and TWO description paragraphs for Forbidden Planet. For PowerPoint 2 – For Taymor’s Tempest & Miyazaki’s Kiki’s Delivery Service, we need one description paragraph for one of the movies and TWO description paragraphs for the other (your choice as to which movie gets two). A description paragraph features vivid sensory details of something we see and hear in the movie—a key scene or moment. The paragraph begins with a TOPIC IDEA about modern people (one or two sentences) and closes with a significant quote from the dialogue. For the RSC Tempest and Taymor’s Tempest, the quote comes from our Arden Shakespeare. For Shakespeare, use forward slashes between lines of the quote; be sure to cite act, scene, and lines in parentheses. In a description paragraph, just before the quote, the student comes back to the topic idea and refines it as an INSIGHT (one or two sentences) just before the quote. We express this INSIGHT as something WE believe, feel, or tend to do. Here are MODEL DESCRIPTION paragraphs. NOTE: Do NOT try to use the content in these models as your own paragraphs. Pick different scenes or moments. For Forbidden Planet

[Topic idea about modern people:] Modern people aspire to creator status, and they forget that

they play with people’s lives. [Description:] Dr. Morbius shows Cmdr. Adams and Dr. Ostrow a

device used by the Krell to train their children. The Krell let their children play with the forces of

creation the way we let our children use Crayola crayons to color the placemat at a restaurant. To

demonstrate, Morbius attaches the machine’s three tentacles, or flexible hand, to his temples and

forehead. Each fingertip features a glowing bulb. As he concentrates, a swirling cloud appears on

a pedestal in the well of the machine below a transparent pyramid. Suddenly, the glistening

particles of the cloud coalesce into a perfect rendition of Alta. She seems to be smaller than her

creator but precisely the same as Alta in every way. Commander Adams is about to speak but

stops dumbfounded. Did Morbius create the original Alta the same way? We suddenly realize that

Alta may never have had a childhood, let alone a mother. The only child, so to speak, who has

ever played with this device is the man who sits there now, his own fingers on a console that

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resembles two banks of keys, not unlike an organ. His gaze is impassive as the new Alta he just

created looks back at the men, smiling with her twinkling eyes and very much alive. She seems

to be showing off a little. Her hair is exactly the way we remember from the earlier scene. Her

eyes seem to recognize not only her father but also Dr. Ostrow and Cmdr. Adams. To Dr. Ostrow’s

horror, she abruptly vanishes when her father removes the three-fingered headset. [Insight:] We

are destined to create what we imagine, including our own version of the Garden of Eden and our

own image of Adam and Eve: “I call it the plastic educator,” Dr. Morbius explains. “As far as I can

make out, they used it to condition and test their young in much the same way we employed

finger-painting among our kindergarten children. I often play with it myself for relaxation.”

For RSC Tempest

[Topic idea:] Modern people condemn injustice and champion the helpless and innocent. They

reject arbitrary authority and insist on fairness and empathy from those in power. [Description:] In

the RSC Tempest, the storm reaches a loud crescendo as the sailors cry out for their loved ones.

Then we see (projected on a curtain) what seem to be the shapes of drowned people sinking

slowly into the depths of the sea. When we meet Miranda, she is rebuking her father, gesturing

towards the horizon where she the ship seemed to break and sink with all onboard. As she

confronts her father, he holds his staff before him as if he were bracing for a blow. He bows his

head as she rebukes him, weathering his own storm of her passionate words and emotions. For

a moment, he seems ashamed. His hunched-over figure seems contrite and remorseful. He

closes his eyes and leans his forehead against the gnarled wood of his staff. Miranda’s words

besiege Prospero the way the tempest seemed to beat against the ship. His shoulders sag with

weariness and resignation. She is wet as if she had run into the waves to help people. Miranda

cannot get the voices out of her head—the cries of those who were praying and calling to their

loved ones just before the ship seemed to break apart and everyone sank into the sea. [Insight:]

We tend to perform the role of two kinds of god. One is tyrannical and terrifying; the other is the

merciful god who hears the prayers of the suffering: “O,” she wails to her father. “the cry did knock

/ Against my very heart!” (1.2.8-9).

For Taymor’s Tempest:

The universe calls to us and expresses itself through our art. Modern people shape themselves

as they shape their world. Taymor depicts Prospera on the edge of a basalt clift. She holds her

obsidian staff above her head. She is open-mouthed and wide-eyed as if possessed by something

that drives her to madness. She is completely absorbed by her art and incantation. Her cloak is

also glassy obsidian. It seems to be wing-like with feathers that reflect the green, blue, and indigo

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light of the sea and sky. The cliff’s edge, the staff, and the cloak all derive from lava, the same

material as the island. We see a woman of great power who may have lost her mind and cannot

be trusted. She seems to have become a force of nature just like the tempest she conjured. Her

face inspires terror like a mirror reflecting the horror of the storm beating down upon the ship,

setting it on fire and smashing it into pieces. The storm is so destructive and specific that it seems

like the malevolent act of a vengeful god of the sea. Modern people are blind to their own dark

side and see their power as providential. They see themselves as enlightened and benevolent

creators: “I have,” she says to Miranda, “with such provision in my art, / so safely ordered, that

there is no soul--/ No, not so much perdition as an hair, / Betid to any creature in the vessel.”

(1.2.25-30).

For Miyazaki’s Kiki

Modern young people answer a call only they seem to hear. The universe whispers to their

imagination, and they seek their place within it. Kiki stirs and sits up. The hillside world seems to

be moving, pushing her to do the same. She is wearing a pink apron tied in a big bow behind her

that doubtless required someone else to tie for her. Her gray-green dress has blousy shoulders.

Her outfit is not what someone her age ordinarily might wear to lounge in the grass. She wears

an oversized red bow in her hair that little children might wear. She seems too tall, too big for a

little girl’s outfit. The waves in the lake below her are white-capped and twinkle in the sun as if

trying to catch Kiki’s attention. The hillside world is green and swaying in a chorus, waving in the

same direction as the movement of the cottony clouds. The breeze catches Kiki’s hair, bends the

grass, and drives the clouds towards the west. She gazes intently at something only she can see

in her imagination. Miyazaki directs our gaze past the back of her head and red bow towards her

horizon as if we too are mysteriously summoned. We are just behind Kiki, ready to follow and

share what she sees in her mind’s eye. Like Kiki, modern young people are on hair trigger alert,

poised to launch out on the magic broom of their dreams, whether they are ready or not. Nature

expresses itself in all its wild splendor through our imagination: “So if you have been planning

something special,” intones her father’s portable red radio, “tonight might be the night.”

For Miyazaki’s Kiki:

Modern parents are not ready to let go of their children. We strike our parents as ill-equipped to

face the world. Kiki’s mother mixes potions in a workshop where all kind of herbs are hanging

around her in bunches. Below the hanging plants, she carefully measures her potions in glass

beakers and test-tubes. Suddenly, Kiki bursts into the greenhouse. She is polite and sincere to

the older woman sitting at a table, but she cannot help but cause a commotion. The older woman

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chuckles and smiles, reminiscing about when Kiki’s mother was the same age. Until this moment,

the potions of Kiki’s mother had been bubbling quietly. Now Kiki’s mother turns to Kiki, alarmed

by her sudden entrance and her plan to leave home that very night. In her mother’s hand the

potion darkens, bubbles over, and explodes, cracking the glass of the test tube. [Insight]: As

adolescents, we are irrepressible, even destructive, and disrupt old systems before we are ready

to take on the world: “And I have had no time,” laments Kiki’s mother, “to teach her how to mix

potions like me.”

The Essay: WHAT DO THE MAIN CHARACTERS LEARN ABOUT THEMSELVES?

Paragraphs 3 and 4 of the ESSAY: ANY description paragraph from our POWERPOINTS may serve as paragraph 2 of the ESSAY. ANY description paragraph from our POWERPOINTS may serve as paragraph 3 of the ESSAY, as long as it is NOT the same choice as paragraph 2. Students may IMPROVE these paragraphs according to comments in the PowerPoint rubrics. For either RSC TEMPEST or the TAYMOR TEMPEST, choose a supporting source from Bulger, Flagstad, Hunt, or Sanchez for the first supporting paragraph. These sources are in our Works Cited. Go to the MSU portal (your user name & password). On the left-hand size is the TAKE ME TO list. Click on library databases. For PDFs of these four sources, go to the library database Academic Search Complete. For the TAYMOR TEMPEST, here are two more choices: either Maria Garcia or Ralph Turner. These supporting sources are in our Works Cited; find their PDFs in Academic Search Complete. For FORBIDDEN PLANET, choose from Lindsey Michael Banco or Ian Roberts. These supporting sources are in our Works Cited; find their PDFs in the library database America: History and Life. For KIKI’S DELIVERY SERVICE, we do not use the library databases. GOOGLE either Christine Jean-Baptiste or Erica Russell. These sources are in our Works Cited. Since these are online sources, we do not have a page number for quotes. The introduction (paragraph1) examines TWO of our productions and answers this question: WHAT DO THE MAIN CHARACTERS LEARN ABOUT THEMSELVES? Be as complete as possible in this discussion. You can compare the characters. This paragraph should also anticipate some of the descriptive details we will find in paragraphs TWO and THREE. The conclusion (paragraph 6) should be NO MORE THAN FIVE SENTENCES and begin with TWO-THREE SENTENCES of dynamic descriptive details, taking us back to a scene in one of your description paragraphs (pars. 2 and 3) or offering us a new (but relevant) moment from one of the two films you are comparing. The paragraphs ends with a relevant thought. Think of the conclusion as a dynamic epilogue. Here is a check-list for what a supporting paragraph (pars. 4 and 5 of the Essay) needs: Provide a relevant TOPIC idea about modern people (one or two sentences).

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Provide ATTRIBUTION. According to Karen Flagstad in her article “’Making This Place Paradise’: Prospero and the Problem of Caliban in The Tempest” for Shakespeare Studies, … OR According to Maria Garcia in her article “The Tempest” for Cineaste, … Finish the attribution statement with a main clause that states the idea that caught your attention. Now for several sentences explain the author’s idea in your own words. End the discussion on a colon: Follow with a significant quote from the same supporting source. It should be a complete stand- alone thought—not half your words, half the author’s. Make sure this quote is the author’s words about THE TEMPEST, FORBIDDEN PLANET, TAYMOR’S TEMPEST, or KIKI (not the character’s words from the movie). If the source is a PDF from the library databases, you will have a parenthetical page number. BUT WE STILL NEED ONE MORE THING—some brief DESCRIPTION! TWO SENTENCES OF DESCRIPTION: After the quote, end the supporting paragraph with a couple sentences of dynamic descriptive details from a relevant moment on the screen. DISCUSSION FORUM, TOPIC, and the THREAD

The most dynamic point of contact between your thinking and that of the instructor is the THREAD. Go to CONTENT in D2L. Click on the relevant Discussion Forum. Next to the forum’s title is a drop-down arrow for VIEW TOPIC. Click on that topic for an opportunity to start a THREAD. A THREAD is a paragraph (or more than one) that you draft for input from the instructor. You can copy and paste from your own document. NOTE: do NOT use the attachment feature. Put the paragraph(s) directly into the text box for the THREAD. When you submit the THREAD, D2L notifies the instructor who replies with input about your paragraph. Students can OPEN anyone’s THREAD. The THREAD is optional; it is for those who want input before submitting their assignment to the drop box for a grade. The THREAD is only useful if the submitter does so in a timely fashion. If students submit a paragraph (or even a whole PowerPoint) by email attachment, the instructor will examine it for the most obvious concerns. If the student then feels confident, he or she can submit the word-content to the THREAD for closer word-for-word inspection and specific suggestions. SUBMISSION TO THE DROP BOX Students must submit their PowerPoints and Essay as documents to the DROP BOX in order for them to be evaluated (by feedback box and attached rubric) and graded. The PowerPoints cannot simply be a link or URL. I do NOT have permission to open password-protected links in Google. The DROP BOX for an assignment opens on a Friday at 12 AM. It closes on a Monday evening at 11 PM. If you are late or, for some reason, locked out, please contact me by your regular email and ask for SPECIAL ACCESS. The penalty for late submission is 10 points.

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Tentative Schedule & Due Dates for the Drop Box

August 23-27 Week 1 Discussion Forum and Topic for POWERPOINT 1: The RSC Tempest and Forbidden Planet. Follow along in our Arden book as you watch the RSC Tempest. Find the 2016 RSC Tempest (directed by Gregory Doran) in the library database Digital Theatre Plus. You need ONE description paragraph for RSC Tempest. Start a thread with a description paragraph. August 30-September 3 Week 2 Find the 1956 film (directed by Fred Wilcox) in the library database SWANK. Start a thread with a description paragraph for a moment in Forbidden Planet. LABOR DAY HOLIDAY – Monday September 6 September 7-10 Week 3 Start a thread with a SECOND description paragraph for a different moment in Forbidden Planet. September 13-17 Week 4 For PowerPoint 1, google search terms and the word “images” for 2016 RSC Tempest (Doran). Then do the same for Forbidden Planet. Try to get images from the films that are close to what you are describing. September 20-24 Week 5 This is the last week for a THREAD for input into your description paragraphs for PowerPoint 1. September 27-October 1 Week 6 The due date for PowerPoint 1: RSC TEMPEST & FORBIDDEN PLANET is 11:59 PM Thursday September 30; the drop box will mark subsequent submissions as late. The penalty for lateness is capped at 10 points out of 100. If you know you are going to be late, the best bet is to do your best. October 4-8 Week 7 Discussion Forum and Topic for PowerPoint 2: Taymor’s The Tempest & Miyazaki’s Kiki’s Delivery Service. Follow along in our Arden as you watch Julie Taymor’s THE TEMPEST (2010) with Helen Mirren as Prospera (instead of Prospero). Find the movie in the library database SWANK. Start a thread for a description paragraph. Google search terms and images for Taymor’s Tempest. October 11-15 Week 8 MIDTERM GRADES (D’s and F’s are posted) You need to purchase and watch the 1989 English version (Disney) of Miyazaki’s Kiki’s Delivery Service. The voice director is Jack Fletcher. The voice for Kiki is a very young Kirsten Dunst. Phil Hartman voices her cat Jiji. Start a thread for a description paragraph. Google search terms and images for Kiki. October 18-22 Week 9 Start another thread for a SECOND description paragraph for Taymor’s Tempest; then start a SECOND description paragraph for Kiki’s Delivery Service.

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October 25-29 Week 10 Last week for THREADS for PowerPoint 2! November 1-5 Week 11 The due date for PowerPoint 2: TAYMOR’S TEMPEST & MIYAZAKI’S KIKI is 11:59 PM Thursday November 4; the drop box will mark subsequent submissions as late. The penalty for lateness is capped at 10 points out of 100. If you know you are going to be late, the best bet is to do your best. November 8-12 Week 12 Discussion Forum and Topic for ESSAY: Comparison with RSC Tempest Start a thread for Supporting Paragraphs (pars. 4 and 5) of the Essay. November 15-19 Week 13 Start a thread for introductory paragraph and conclusion for the Essay. November 22-26 Week 14 Last week for THREADS for ESSAY. November 29-December 3 Week 15 Do not wait until the weekend to submit a thread! Dec 4-9 FINALS WEEK The due date for the ESSAY is 11:59 PM Monday December 6; the drop box will mark subsequent submissions as late. The penalty for lateness is capped at 10 points out of 100. If you know you are going to be late, the best bet is to do your best.

Plagiarism Any use of a non-documented source as if it were a student’s original work is academic dishonesty. The grade will be a “0” (no points) for the assignment and the student can no longer attend the course. If early enough in the semester, the student can bring the instructor a withdrawal slip for a penalty-free W. Otherwise the semester grade must be an F.

Language too close to source Students sometimes borrow the phrasing of the play or their scholarly sources as if it were their own. Students certainly can use key words from their sources, but they must use their own phrasing—not the source’s. Readability & Originality The rubric has a category devoted to legibility and originality. Student writing must be readable and original. Students should NOT adapt material from either the instructor’s models or the paragraphs other students submit in a THREAD for input by the instructor. Attendance In D2L the class list (under communication) indicates the most recent date the students have logged into the course. I will use D2L to track attendance. Submission to the Drop Box/Special Access All assignments must be submitted to the drop box in order to be graded and counted.

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Students with disabilities The Americans with Disabilities Act (ADA) guarantees reasonable accommodation. If you believe you have a disability requiring an accommodation, please contact the Disability Support Services in Room 168 of the Clark Student Center, 397-4140. Writing Proficiency Requirement: All students seeking a Bachelor’s degree from Midwestern State University must satisfy a writing proficiency requirement once they have 1) completed 6 hours of Communication Core and 2) earned 60 hours. Students may meet this requirement by passing the Writing Proficiency Exam, passing two Writing Intensive courses, or passing English 2113. If you have any questions about the exam, visit the Writing Proficiency Office website or call 397-4131.

Works Cited Model (alphabetical by last name)

How to do Hanging Indent: Type the citation as if it were any other paragraph. However, when you are done, highlight the citation with your cursor and click on PARAGRAPH on your ribbon (menu bar). Then select double-spacing and under SPECIAL, select HANGING INDENT.

Bulger, Thomas. “The Utopic Structure of The Tempest.” Utopian Studies, vol. 5, no. 1, June 1994, p. 38-

47. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h

&AN=4103101&site=ehost-live&scope=site.

Doran, Gregory, director. RSC The Tempest. Performances by Simon Russell Beale (Prospero), Jenny

Rainsford (Miranda), Daniel Easton (Ferdinand), Joe Dixon (Caliban), Mark Quarterly (Ariel),

James Hayes (Stephano), Simon Trinder (Trinculo), Darren Raymond (Boatswain), Antonio

(Jonathan Broadbent), Sebastian (Tom Turner). Elly Condron (Iris), Royal Shakespeare

Company, 2016.

Flagstad, Karen. “‘Making This Place Paradise’: Prospero and the Problem of Caliban in The Tempest.”

Shakespeare Studies, vol. 18, Jan. 1986, pp. 205-32. EBSCOhost,

search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=7167163&site=ehost-

live&scope=site.

Garcia, Maria. “The Tempest.” Cineaste, vol. 36, no. 1, Winter 2010, pp. 50–52. EBSCOhost,

search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=55609580&site=ehost-

live&scope=site.

Hunt, John S. “Prospero’s Empty Grasp.” Shakespeare Studies, vol. 22, 1994, pp. 277–313.

EBSCOhost, login.databases.msutexas.edu/login?url=https://search.ebscohost.com/

login.aspx?direct=true&db=mzh&AN=1994026193&site=ehost-live&scope=site.

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Jean-Baptiste, Christine. “Kiki’s Delivery Service is still Inspiring Young Feminists.” bitchmedia. October

31, 2918. https://www.bitchmedia.org/article/kikis-delivery-service-introduces-feminism-and-

witchcraft.

Miyazaki, Hayao, director. Jack Fletcher, English Voice Director. Kiki’s Delivery Service, performances by

Kirsten Dunst (Kiki), Phil Hartman (Jiji), Debbie Reynolds (Madame), Edie McClure (Barsa), Kath

Souci (Korkiri, Kiki’s mother), Jeff Bennett (Okino, Kiki’s father), Tress McNeille (Osono, Baker’s

wife), Matthew Lawrence (Tombo), Janeane Garofalo (Ursula), Debbi Derryberry (Senior witch),

Matthew Kermit Miller (Policeman), Sherry Lynn (Birthday Girl), Pamela Adlon (Ket), Koichi

Kamadera (Baker), Disney & Studio Ghibli, 1989 (Japan), 1998 (US).

Russell, Erica. “What Kiki’s Delivery Service tells us about Burnout.” The Face July 20, 2019.

https://theface.com/culture/kikis-delivery-service-burnout-witches-anime.

Sanchez, Melissa E. “Seduction and Service in The Tempest.” Studies in Philology, vol. 105, no. 1, Winter

2008, pp. 50–82. EBSCOhost, doi:10.1353/sip.2008.0001.

Taymor, Julie, director. The Tempest, performances by Helen Mirren (Prospera), Felicity Jones (Miranda),

Reeve Carney (Prince Ferdinand), Ben Wishaw (Ariel), Djunon Hounsou (Caliban), Chris Cooper

(Antonio), Alan Cumming (Sebastian), David Strathairn (King Alonso), Russell Brand (Trinculo),

Alfred Molino (Stefano), Miramax, 2010.

Turner, Ralph. “Taymor’s Tempests: Sea Change, or Seeing Little Change in Responses to Gender and

Leadership?” Journal of Gender Studies, vol. 24, no. 6, Dec. 2015, pp. 689–704. EBSCOhost,

doi:10.1080/09589236.2013.874941.

Vaughan, Virginia Mason, and Alden T., editors. The Arden Shakespeare: The Tempest, revised edition,

Bloomsbury, 2017.

Wilcox, Fred M., director. Forbidden Planet, performances by Leslie Nelsen (Commander John J. Adams),

Walter Pidgeon (Dr. Morbius), Anne Frances (Alta), Warren Stevens (Dr. Ostrow), Jack Kelly (Lt.

Jerry Farman), Earl Holliman (Cookie), Richard Anderson (Quinn), Metro-Goldwyn-Mayer, 1956.

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ENGL 1153 Power Point Rubric (tentative/approximate model)

CRITERION EXCELLENT (96-100)

GOOD (86)

SATISFACTORY (76)

PASSING (66)

FAILING (50)

Modern people Topic Idea (beginning of par.) about modern people (1 or 2 sentences).

Remarkable, exceptional

Promising, interesting

Topic idea about modern people

The topic idea is problematic.

Topic ideas seem to be missing

Insights (“We”) Return to and refine idea about modern people just before quote: express as “we” (1 or 2 sentences).

Remarkable, exceptional

Promising, interesting

Insights come just before a quote.

Insights are problematic.

Insights seem to be missing.

Description Specific “sensory” details capture what we are seeing and hearing in the film.

Remarkable, exceptional

Promising, interesting

Descriptive details are sufficient

Entry lacks adequate description.

Description seems to be missing.

Quote comes after insight & before quote. If from play, provide numbers for act, scene, lines - e.g. (1.2.10- 11).

Remarkable, exceptional

Promising, interesting

Student provides relevant quote to close paragraph.

Quotes are problematic.

Quotes seem to be missing

Readability, Visual effect, Originality

Remarkable, exceptional

Promising, interesting

Mostly readable, visually effective; always original.

Problematic Profound Concern

Comments: For PowerPoint 1 – For the RSC Tempest and Forbidden Planet, we need ONE description paragraph for RSC Tempest, and TWO description paragraphs for Forbidden Planet. For PowerPoint 2 – For Taymor’s Tempest & Miyazaki’s Kiki’s Delivery Service, we need one description paragraph for one of the movies and TWO description paragraphs for the other (your choice as to which movie gets two).

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ENGL 1153 Essay Rubric (tentative/approximate)

CRITERIA EXCELLENT (96-100)

GOOD (86)

SATISFACTORY (76)

PASSING (66)

FAILING (50)

Introduction Explains comparison of RSC Tempest w. one of our other movies.

Remarkable, exceptional

Promising, interesting

Explains relevant comparison of RSC Tempest w. one of our other movies.

Comparison problematic.

Comparison seems to be missing.

Ideas offer “we” insight before quote in description paragraphs; all pars. start with ideas about modern people; explains author’s ideas in supporting source prior to quote from that source;

Remarkable, exceptional

Promising, interesting

Description paragraphs start with modern people idea; provides “we” insight prior to quote. Supporting paragraphs explain author’s ideas prior to quote from author.

Explanations problematic.

Explanations seems to be missing.

Description Sensory details capture what we are seeing and hearing, including at end of supporting paragraphs and beginning of conclusion.

Remarkable, exceptional

Promising, interesting

Description is adequate, including at end of supporting pars & beginning of conclusion.

Description problematic.

Description seems to be missing.

Quotes Description pars end with quote from movie; sup. pars end with quote from the sup. source w. parenthetical page if provided in PDF.

Remarkable, exceptional

Promising, interesting

Student provides relevant quotes.

Quotes problematic.

Quotes seem to be missing

Readability & Originality

Remarkable, exceptional

Promising, interesting

Mostly readable & always original

Problematic Profound concern

Comments: