Author Archives: evelynoconnor

Digital Bootcamp: a view from the trenches.

I love words. I love books. I love talking.

So as I drive the long windy road from Mayo to Cork my brain tosses and turns, trying to assimilate the idea that there might be something more powerful than words, something that could bring learning to life in splendid technicolour in a way that just isn’t happening for so many students today.

Technology.

But my love of books fights back bravely. I think of my groaning bookshelves wrapping around the walls of our study; of my years spent working in the greatest second-hand bookshop in Ireland and possibly in the world (make the pilgrimage to Charlie Byrne’s if you haven’t been there already); of studying English in NUIG; of the smell and feel of my battered copies of Hamlet and Macbeth and King Lear and Wuthering Heights and of the layers of meaning that emerge with each new reading of Kavanagh’s epic poem The Great Hunger. And I think what a shame it would be to ‘fix’ the meaning of a poem by turning it into a 3 minute video montage. I think about how every time I see a film adaptation I invariably prefer the book (the Lord of the Rings being the only exception) and the battle rages on as I near my destination, full of excitement and trepidation.

Day 1 of bootcamp is utterly exhausting and absolutely fabulous. We spend the day learning and creating, the stuff of great classrooms all over the world, and my mind begins to open to the possibilities. What if it weren’t about a choice between books and technology, but rather a marriage of the two? What if technology were the portal to lead the lost sheep back to the fold of language? As our little group of three creates a short film about two talking chairs I realise the potential this has to revolutionise my students appreciation of personification. When we start recording the voice over track I can almost touch a new dawn in my students’ creation of dialogue. We’re supposed to finish at 4.15 but we cannot, will not, leave our silly rough masterpiece unfinished. So we keep going. And the ‘teachers’, our ADE’s (Apple Distinguished Educators) wait with us.

That evening, brain utterly melted, I return to my BnB and have a long chat with the owner, whose daughter has just finished the leaving cert. He describes how one evening she appeared in the doorway, face awash with tears, arms laden down with schoolbooks, and hysterically f*cked them out onto the back lawn. She is a clever girl. And a hard worker. But the pressure is too intense. Now I find myself questioning my devotion to the written word, wondering if there isn’t a better way, as her father goes on to describe the morning the exams began, visiting the doctor to get a prescription for his daughter, forced to medicate her just to get her through it.

Day 2 the whirlwind continues with workshops on animation and I discover that you can learn to create something (albiet not very good!) in half an hour.

[youtube_sc url=http://www.youtube.com/watch?v=yru_P41fPus]

Then it’s podcasting and apps and all day we are creating, using the iMacs and iPads supplied by Eanna @ Apple for the course to happen not just sitting in a room listening to someone talk. The day ends with ePubs and I am blown away, immediately seeing that they are far far superior to regular books, at least from a learning perspective. You can imbed photos, videos, diagrams with moving parts, annotate the text, click on any word you don’t understand and a definition pops up. So I’m really disappointed that they only work on iPads (so far) because I began this course DETERMINED NOT TO BE MARKETED TO but at lunch both days we all talk about wanting an iPad and I’m not so sure now that I’ve succeeded. I can only hope that the PC / android world catches up and fast because god knows our schools cannot afford all this new technology but as a country we cannot afford to be left behind either so I try to think of ways to use what we already have at school and for a moment I am overwhelmed by the task at hand and I begin to fear that I may have to be the one who creates all of this interactive video content for learning and my blood runs cold because I know I cannot possibly do it. As the day ends, my brain is bleeding, my body weary. The spirit is willing but the flesh is weak. I talk to my dear husband John who is sick and who has had a terrible day minding our almost three year old who is too young to understand the cruelty of saying, repeatedly and hysterically ‘I don’t want you daddy, I want mama” and the temptation to get into my car and just drive home to help them out is strong. I don’t have to be here tomorrow. But I want to be. So I stay.

And I am glad. Day 3 is a play day, we learn a little Chinese from Mark Pentleton (radio lingua), the art of planning and storyboarding from Ciaran Mc Cormack (FIS), the far-reaching possibilities of using this technology in the classroom from Cormac Cahill (a humble teacher like ourselves who took part in bootcamp last year and now teaches on it!) and then we spend the rest of the day putting into action all we have learned and I begin to realise the most important thing I’ve gained from bootcamp is not a hunger for apple products (that’s there too but I’m resisting the urge to spend money I don’t have) but an understanding of what needs to change in my classroom. It is in the act of creating that the learning occurs. I know this. But cutting and sticking magazines to create posters is NOT exciting in a digital age. Come September the best thing I can do for my students is to stand back and let them make the meaning for themselves. Using pc’s and mac’s and flip cameras and mobile phones and mp3 players and iPads or android tablets: using whatever devices we can get our hands on in these cash-strapped times. And if we get stuck, there’s always Ciaran’s website www.tme.ie to pull us out of trouble. And my long suffering husband of course!

In the meantime, school’s out for summer! So I practice my new skills creating a montage that my daughter Hazel will not appreciate when it’s wheeled out on her 21st birthday!

[vimeo clip_id=”26862923″]

Last minute advice

Here’s some advice for actually doing the exam papers.

Firstly and most importantly

ANSWER THE BLOODY QUESTION.

EVERY TIME.

THROUGHOUT YOUR ANSWER NOT JUST @ THE BEGINNING & THE END.

Right now that I’ve got that off my chest, some other things to consider:

If you want to do badly, ignore your timing and leave out a section.

If you want to do well, stick to your timing and complete every section.

Pay attention to how many marks each section is worth in Paper One.

If one comprehension Q is worth 10marks and another is worth 20marks, then the 20mark answer needs to be twice as long as the 10mark answer. D’oh!

Question B is worth 50, the essay is worth 100, so the essay should be twice as long as your Question B. Not 3 pages for each. 2 for QB, 4 – 5 for your essay/story. OK?

If you want to do badly, tell the story of Macbeth. In case the examiner’s never heard it before!

If you want to do well, plan your answer. Structure into paragraphs. Focus on answering the question throughout. Include quotes.

If you want to do badly, keep writing that comparative no matter how much time it’s taking you, because you’ve prepared it God damn it and you’re going to get it written no matter what!

If you want to do well, make sure you answer the question. Comparisons are vital – it’s called comparative studies for a reason. If you’re running out of time for comparative, STOP where you are. Write a conclusion. Move on to the next section.

If you want to do badly, keep writing that poetry answer no matter how much time it’s taking you, because you’ve prepared it God damn it and you’re going to get it written no matter what!

If you want to do well, make sure you answer the question. If you’re running out of time for studied poetry, STOP where you are. Write a conclusion. Move on to the next section.

If you want to do badly, leave out unseen poetry.

If you want to do well, give it the time it deserves. Easiest 20 marks you’ll ever get.

Your timing is as follows:

Paper 1

Comprehension: 45 minutes

Question B: 45 minutes

Composing / Essay: 1hr 20minutes

Paper 2

Single Text / Macbeth: 1hr

Comparative: 1hr 10 minutes

Studied poetry: 50 minutes

Unseen poetry: 20 minutes

All that’s left for me to say is good luck, keep the head. May the force be with you 😉

Hamlet: Insane in the Membrane?

“Pure mad or not pure mad: that is the question”

First have a look at this poem by W.S Gilbert from the play Rosencrantz and Guildenstern:

Some men hold

That he’s the sanest, far, of all sane men –

Some that he’s really sane but shamming mad –

Some that he’s really mad but shamming sane –

Some that he will be mad, some that he was –

Some that he couldn’t be. But on the whole

(As far as I can make out what they mean)

The favourite theory’s somewhat like this:

Hamlet is idiotically sane

With lucid intervals of lunacy.

If that just confuses you even more, here are some things to consider in any discussion of whether or not Hamlet is ‘mad’:

  1. Hamlet’s decision to “put an antic disposition on” is a baffling one for the audience. Throughout the play he is highly critical of those who put on a false appearance (“one may smile and smile and be a villain” “God has given you one face and you make yourselves another“) or who act hypocritically (“I have that within which passes show, these but the trappings and the suits of woe“) yet he himself decides to put on a pretence of being crazy. We wonder why? Perhaps it is so that he can disguise his true feelings while he plots and schemes against Claudius. Ironically, this makes Claudius more – not less – suspicious. Once Hamlet decides to fake madness, he is at pains to convince us that he is simply putting on an act and it is up to us to decide as events unfold if his madness remains an act or if he truly becomes unhinged as a result of the events in which he is embroiled.
  2. The breakdown of Hamlet’s relationship with Ophelia is viewed by Polonius as one of the root causes for his increasingly bizarre behaviour. When Hamlet visits Ophelia in her chamber (“his doublet all unbraced, no hat upon his head“) Polonius concludes that “this is the very ecstasy of love“, that he is “mad for thy love” and he rushes off to report to Gertrude and Claudius “thy noble son is mad“. We, the audience, disagree. We know the reason why he “raised a sigh so piteous and profound as it did seem to shatter all his bulk and end his being” – he doesn’t think he can trust her. His cruel behaviour towards Ophelia in the nunnery scene leads her to conclude that he has lost it “oh what a noble mind is here o’erthrown” but we know this isn’t true. What’s really going on is that he has figured out that they are being spied upon and feels disgusted and betrayed. Ophelia is correct to conclude that his behaviour is utterly uncharacteristic but this does not mean that he is crazy – we are inclined to agree with Claudius who clarifies that “what he spake, though it lacked form a little, was not like madness“. Like Claudius, we the audience know more than Gertrude, Polonius & Ophelia; like him we know that “there’s something in his soul o’er which his melancholy sits on brood“.  Claudius concludes that he needs to keep a very close eye on Hamlet “madness in great ones must not unwatched go” (he casually uses the word ‘madness’ but he doesn’t really accept this as an explanation for Hamlet’s behaviour).
  3. Hamlet puts on and takes off a mask of madness at will. In all of his conversations with Polonius he uses his supposed ‘madness’ as an excuse to mock and ridicule the older man – at one point he calls him a “fishmonger” (Shakespearean slang for sex addict or pimp). When talking to Rosencrantz and Guildenstern he claims “my wit’s diseased” and jokes that the reason behind his odd behaviour is twarted ambition (“Sir, I lack advancement“) yet earlier he admitted to them “I am but mad north-north west“. He rages against their repeated attempts to discover the root cause of his distemper (“Sblood do you think I am easier to be played upon than a pipe“) and in all ways behaves like a man who is not mad, but acting mad. Even Polonius, the person most convinced of Hamlet’s madness, comments “though this be madness yet there is method in’t“.
  4. Hamlet’s behaviour becomes increasingly unhinged and erratic as the play progresses and we begin to wonder if he has lost touch with reality. Certainly his personality appears to have been corrupted and it is up to us to decide if his actions could use a ‘guilty but insane’ defence if he were put on trial. His desire to see Claudius burn in hell for all eternity (he wants to “trip him that his heels may kick at heaven“), his rage against his mother and obsession with her sexual appetites (“honeying and making love over the nasty sty“), his impulsive murder of the man behind the arras and flippant reaction when he discovers he has killed the wrong man (“I’ll lug the guts into the neighbour room” “you shall nose him as you go up the stairs…he’ll stay til you come“) all point towards a kind of madness, yet he claims “I essentially am not in madness but mad in craft” and asks Gertrude to cover for him (which she does, claiming he is “mad as the sea and wind“). Nor does his behaviour particularly improve. His attack on Laertes (“I loved Ophelia, forty thousand brothers could not with all their quantity of love make up my sum”) could be excused if you put it down to the effect of shock at discovering that Ophelia is dead and rage that he is being held responsible but he seems utterly blind to the fact that Laertes has every reason to hate him (Hamlet says to Laertes “what is the reason that you use me thus? I loved you ever“). Claudius tries to separate them for his own selfish reasons suggesting that Hamlet isn’t in his right mind (“O he is mad Laertes“) and for once we are temped to agree with him. We certainly don’t think his decision to send R&G to their deaths (“he should the bearers put to sudden death, no shriving time allowed“) is a rational one and we think he has lost it completely when he claims “they are not near my conscience“. His new-found belief that he is an instrument of divine justice certainly seems (to a modern audience at least) like the ravings of a madman “heaven hath pleased it so that I must be their scourge and minister“).
  5. Despite Hamlet’s “rash and bloody deeds” he has many moments where he is totally sane, in control, lucid, intelligent and wise. His realisation that he has behaved terribly to Laertes (“I am sorry that to Laertes I forgot myself, for by the image of my cause I see the portraiture of his“), his poignant musings on death in the gravedigger’s scene (“Alas, poor Yorick!…a fellow of infinite jest…where be your jibes now, your gambols, your songs?“) and reluctant acceptance of the fencing match (“thou woulds’t not think how ill’s all here about my heart”) all point to a fully sane mind. Indeed when apologising to Laertes, Hamlet for the first time seems to genuinely consider the possibility that he has indeed been driven crazy by grief (and by the burden of the task he must carry out) “what I have done…I here proclaim was madness…Hamlet is of the faction that is wronged, his madness is poor Hamlet’s enemy“. Finally, his calm demeanour in the face of death and his determination to save Horatio’s life and to avoid future strife over who will now sit on the throne (“I do prophesy the election lights on Fortinbras. He has my dying voice“) lead us to conclude that despite moments of pretend insanity (where he is acting) and temporary insanity (where he behaves like a madman) Hamlet is for the most part not mad, but rather brokenhearted in this play. Thus we can say that

    “Hamlet is idiotically sane

    With lucid intervals of lunacy”.

Hamlet loyalty & betrayal

Hamlet is loyal to his dead daddy’s memory

But must also be loyal to his moral core

Gertrude is loyal to her hot new husband

But in doing so betrays the one that went before

Ophelia is loyal to her daddy Polonius

But in doing so betrays her true love & her heart

Claudius is loyal to his own selfish interests

And hides pangs of guilt cause he’s really quite smart

Rosencrantz & Guildenstern are loyal to the Crown

But betray their old schoolfriend by spying on him

Leartes is loyal to his daddy’s memory

But in dealing with Claudius is really quite dim

Horatio is loyal to his buddy/boss Hamlet

And never betrays him unlike all the others

 —

Hamlet can’t handle the pain of betrayal

His girlfriend, his mammy and his daddy’s own brother!

He goes slightly mental and loses perspective

Thinks everyone is evil and just wants to die

Meanwhile his mammy and girlfriend Ophelia

Are so worried about him they agree to spy

How else will they ever discover the reason

He’s acting so strange & erratic and odd?

But he sees what they’re doing and feels so betrayed

As they trample all over his loyalty roughshod

All of this treason, deception & falseness

Makes Hamlet behave quite unlike his true self(s)

He wants Claudius to burn an eternity in hell

Kills Polonius, attacks Laertes, sends R&G to their deaths

That’s all I’ve got for you on loyalty & betrayal

My rhymes are getting ropey so I’d better stop

Just remember to write in a more formal style

And add plenty of quotes so your answer’s not a flop!

Hamlet Appearance vs. Reality Podcasts

Here’s some podcasts based on work we did in class recently. Every pair had to produce one paragraph on different aspects of the theme of appearance versus reality. Obviously your language would need to be more formal in an essay but this should help you understand the theme. Deception is just the ‘false appearance’ part of the equation so the wording of the question would be different but your answer would be very similar (insert the word ‘deception’ instead of ‘false appearances’ each time you use it).

After I’d finished them a student (hi Laura H!) gave me a really good essay on this theme with a completely different structure and it occured to me that you need to be aware of that – you need to know that there are lots of different ways of approaching the same answer, all equally valid. The important thing is that you stay focused on answering the question and support the points you make with relevant quotations. For example, you could focus on the fact that Hamlet’s ‘madness’ causes us to constantly question whether he is putting on a false appearance, or whether circumstances have, in reality, driven him mad! Or you could include a paragraph at the end on the only character who appears to be loyal & good and who actually is in reality – Horatio. You don’t need to discuss why Horatio is hot for Hamlet (thanks Chloe!) but you can if you wish…

IF FOR SOME REASON THE AUDIO ISN’T APPEARING BELOW ON YOUR COMPUTER CLICK HERE INSTEAD:
http://soundcloud.com/evelynoconnor/sets/hamlet-appearance-vs-reality

[soundcloud url=http://soundcloud.com/evelynoconnor/sets/hamlet-appearance-vs-reality]