Tag: Mahara

18 Sept. Poster Reflection & Hamlet 1.1

Leave a comment

Reflection

Take five minutes and respond to the following. Be prepared to share your answers in discussion:
  • 1. According to your First Week Videos, what WOVEN mode did you anticipate offering the most challenges? How did you address challenges you perceive in the mode you discussed through any portion of the Poster assignment? 

    • Mahara How-To

    Student Teaching Groups & Date Sign-up

    • Get into your assigned groups and them fill out the Student Teaching Date Preference form below. Just fill out one form per group, please.

    ENGL 1101.F2


    Group Number Group Members
    G1 Zeyu, Enerelt, Jialou, Firaas
    G2 Brandon, Max, Hannah, Hui Min, Dorian
    G3 Jintong, Fei Pei, Hae Won, Eni
    G4 Mark, Tejas, Jiale, Akhil
    G5 Jarod, Elton, Esther, Sanyu
    G6 Thiago, Danya, Akshay, Elias, Ashley

    ENGL 1101.N1


    Group Number Group Members
    G7 Patrick, Margaret, Mathew, Mai
    G8 Melissa, Samantha, Henrick, John
    G9 Dov, Omar, Dustin, Giancarlo
    G10 Danny, Maya, Kyle, Rishi
    G11 Henna, Lauren, Jeremy
    G12 Shrya, Greyson, Alvin, Summahay

    ENGL 1101.D2


    Group Members Group Members
    G13 Brandon, Ravi, Andres, David
    G14 Ben, Anna, Siddarth, Cecelia, Andrew
    G15 Maya, Manisha, Avni, Jennifer
    G16 Kevin, Jason, Brett, Wyatt
    G17 Shakeeb, Mitchell, Michael Tang, Andy
    G18 Thomas, Kenny, Michawel Chen, Kiet

    Student Teaching Date Preference Form

     

    Hamlet

    • Given what you already know about Hamlet and/or what Stephen Greenblatt covers in the introduction, in what ways is Hamlet psychological? In what ways is the play political? 

     “Who’s There” (1.1.20): Nonverbal Communication & Interpretation

    First, what are some characteristics of Nonverbal communication and how does Nonverbal communication effect meaning?

    Get into pairs and choose one person to play Barnardo and one person to play Francisco.

    Read through the lines according to the directions below, and then be prepared to share your interpretations with the class

    • 1. Read lines 1.1.1-1.1.20 with no inflection
    • 2. Read lines 1.1.1-1.1.20 and emphasize the psychological themes audiences can expect from the play 
    • 3. Read lines 1.1.1-1.1.20 and emphasize the political themes audiences can expect from the play

     

    28 August. Pathalogical Collecting

    Leave a comment

    `Featured Image: Andy Warhol Museum, Time Capsules, Photo by Glindsay56

    HouseKeeping

    Final Portfolio: Marah & Artifact Zero

    The video below will cover the following topics:
    • 1. Navigating to and signing into Mahara, the tool you will use to produce your final Portfolios
    • 2. Mahara page layout
    • 3. How to embed external media, i.e. video, into a Mahara page

    Sample Student Portfolio

    Mahara How To: Sign-In & Building Artifact O Page

    Reflection on First Week Video

    Take five minutes and respond to the prompts below in a Word or Google Doc. Since you will be required to include reflections in your Final Portfolio, please file this reflection with your other process documents.
    • 1. Explain one way your First Week Video met one Course Goal/Concept.
    • 2. Given the opportunity to revise, what is one thing you would change in the Video and why?

    Herring, “Pathological Collecting”

    Either on your own or in groups of 2, let’s respond to the following:
    • 1. According to Herring why did the cookie jars in Andy Warhol’s effects cause a “minor object panic” (51) (at Sotheby’s, in the art world, for the general public)?
    • 2. What is “normal collecting” according to Herring’s various source material? What is “pathological collecting” or hoarding? How can we tell the difference between the two practices? Who decides?
    • 3. Spend a minute looking at Figure 2.1. (54-5): what sorts of objects are foregrounded? What sorts of objects recede into the background? What do you notice about the ways in which the objects in the picture are arranged? What are some points of contrast/compliment? Who’s the audience for this photo: academics, collectors, people who work at that warehouse? Compare Figure 1.1. to Figure 2.2. (59).
    • 4. When did garage and yard sales become a fixture of US suburban life? What other changes were going in post WWII US that effected the ways that people thought about what can and should count as collectable?
    • 5. What are the Warhol Time Capsules (TC’s)? How do the TC’s “augment the anxieties that attached to Warhol’s effects during Sotheby’s estate sale?
    • 6. What does good and bad collectors/collections have to do with the environment?

    Frederick Charles, Warhol’s Hoard in Sotheby’s Warehouse, 1988. Published in John Taylor, “Andy’s Empire,” New York 21.2 (1988): 39.