AP ENGLISH PERIOD 3: Murakami's Portrayals of Men and Women

Some say that anyone who cares about the portrayal of women should be wary of Haruki Murakami's work, because women in his world are portrayed almost uniformly negatively.
Other critics argue that in actuality, the men in Murakami's world are the losers in the portrayal game. They say that the men are characterized negatively throughout.

What do you say? In this blog, you must refer to at least two stories, and you must respond to the comments of at least one fellow student.

Here are two comments from a blog on Murakami to start you off:

I don't know if murakami's work can exactly be described as "misogynist", maybe it's just that he's not very good at writing women, but his female characters tend to be drawn from a male ideal of a certain type of woman/girl rather than existing in their own right.

Well,I agree with the opinion that Murakami's novels are weak on drawing female characters, because the first person is usually "僕boku"(means male"I"), but I think it's the men who end up looking unsympathetic.

IB ENGLISH PERIOD 2: Murakami's Portrayals of Men and Women

Some say that anyone who cares about the portrayal of women should be wary of Haruki Murakami's work, because women in his world are portrayed almost uniformly negatively.
Other critics argue that in actuality, the men in Murakami's world are the losers in the portrayal game. They say that the men are characterized negatively throughout.

What do you say? In this blog, you must refer to at least two stories, and you must respond to the comments of at least one fellow student.

Here are two comments from a blog on Murakami to start you off:

I don't know if murakami's work can exactly be described as "misogynist", maybe it's just that he's not very good at writing women, but his female characters tend to be drawn from a male ideal of a certain type of woman/girl rather than existing in their own right.

Well,I agree with the opinion that Murakami's novels are weak on drawing female characters, because the first person is usually "僕boku"(means male"I"), but I think it's the men who end up looking unsympathetic.

IB ENGLISH PERIOD 1: Murakami's Portrayals of Men and Women

Some say that anyone who cares about the portrayal of women should be wary of Haruki Murakami's work, because women in his world are portrayed almost uniformly negatively.
Other critics argue that in actuality, the men in Murakami's world are the losers in the portrayal game. They say that the men are characterized negatively throughout.

What do you say? In this blog, you must refer to at least two stories, and you must respond to the comments of at least one fellow student.

Here are two comments from a blog on Murakami to start you off:

I don't know if murakami's work can exactly be described as "misogynist", maybe it's just that he's not very good at writing women, but his female characters tend to be drawn from a male ideal of a certain type of woman/girl rather than existing in their own right.

Well,I agree with the opinion that Murakami's novels are weak on drawing female characters, because the first person is usually "僕boku"(means male"I"), but I think it's the men who end up looking unsympathetic.

AP English: "Joining the Conversation" about Oedipus and Tragedy

OEDIPUS: a tragic hero? tragically flawed? or just tragic?

You MUST REFER to specific parts of Aristotle's DEFINITION BELOW when you "JOIN THE CONVERSATION" (that's a hint) and SUPPORT YOUR OWN ARGUMENT.

Extra credit for the strongest argument.
Aristotle (the philosopher who wrote about the beauty of art) believed that Oedipus the King was the prototypical example of a "tragic hero." Read each part of his definition below. Then, decide to what extent you agree with Aristotle's idea that Oedipus is the perfect representative of a tragic hero.

From Aristotle's Poetics:

1. The tragic hero is a character of noble stature and has greatness. The character must occupy a "high" status position but must ALSO embody nobility and virtue as part of his/her innate character.

2. Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the rest of us--mere mortals--would be unable to identify with the tragic hero. We should see in him or her someone who is essentially like us, although perhaps elevated to a higher position in society.

3. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or villainy or some overriding, malignant fate. In fact, the tragedy is usually triggered by some error of judgment or some character flaw that contributes to the hero's lack of perfection noted above. This error of judgment or character flaw is known as hamartia and is usually translated as "tragic flaw" (although some scholars argue that this is a mistranslation). Often the character's hamartia involves hubris (which is defined as a sort of arrogant pride or over-confidence). True for Oedipus? Make your claim.

4. The hero's misfortunate is not wholly deserved. The punishment exceeds the crime. True for Oedipus? Make your claim.

5. The fall is not pure loss. There is some increase in awareness, some gain in self-knowledge, some discovery on the part of the tragic hero. True for Oedipus? Make your claim.

6. Though it arouses solemn emotion, tragedy does not leave its audience in a state of depression. Aristotle argues that one function of tragedy is to arouse the "unhealthy" emotions of pity and fear and through a catharsis (which comes from watching the tragic hero's terrible fate) cleanse us of those emotions.True for "Oedipus"? Make your claim.

For extra credit, read all of the following claims about the play "Oedipus." They all connect to one another. Then, "join the conversation."

For Oedipus, there exists his temper, his unrelenting pursuit of the truth, and his suspicion. His temper is exhibited in the argument between Teiresias and himself, where Teiresias states the truth and Oedipus replies, “Do you think you can say such things with impunity?”(p.36) and later calls Teiresias a “shameless and brainless, sightless, senseless sot!” (p.36). His suspicion was also shown in this exchange where he says, “Creon! Was this trick his, then, if not yours?”(p.36). Lastly, his unrelenting pursuit of the truth is demonstrated when he finally believes he is the murderer and Polybus was not his father, and yet he still continues with his search, saying, “I must pursue this trail to the end”(p.55). These characteristics were only fuel to the fire and added to the pride created a blaze that consumed him.Oedipus' tragic flaw (his hamartia) was pride; the Greeks called it hubris. He thought too highly of himself, believed himself to be invincible, and he had the arrogance to keep asking questions when he knew he should have stopped.
--IB paper posted online

Somehow, "hubris" (ungodly pride, arrogance, and so forth) has come to be identified as the usual tragic fault of Oedipus. I cannot understand why. But whenever something bad happens to a basically good person in a tragedy, students are invited to see "hubris." Why can't we just accept that in Sophocles ' world, bad things happen for no reason? Is it because teachers are afraid to let their students in on a dirty little secret: if there are gods, they are capricious and malicious.
--Ed Friedlander, doctor and literary critic


"The flaw, or crack in the character [of Oedipus], is really nothing -- and need be nothing -- but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lots without active retaliation, are 'flawless.' Most of us are in that category. The terror and the fear that is classically associated with tragedy comes, ultimately, from questioning the unquestioned.
--Arthur Miller, author of "Death of a Salesman"

IB second period: "Joining the Conversation" about Oedipus and Tragedy

OEDIPUS: a tragic hero? tragically flawed? or just tragic?

You MUST REFER to specific parts of Aristotle's DEFINITION BELOW when you "JOIN THE CONVERSATION" (that's a hint) and SUPPORT YOUR OWN ARGUMENT.

Extra credit for the strongest argument.
Aristotle (the philosopher who wrote about the beauty of art) believed that Oedipus the King was the prototypical example of a "tragic hero." Read each part of his definition below. Then, decide to what extent you agree with Aristotle's idea that Oedipus is the perfect representative of a tragic hero.

From Aristotle's Poetics:

1. The tragic hero is a character of noble stature and has greatness. The character must occupy a "high" status position but must ALSO embody nobility and virtue as part of his/her innate character.

2. Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the rest of us--mere mortals--would be unable to identify with the tragic hero. We should see in him or her someone who is essentially like us, although perhaps elevated to a higher position in society.

3. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or villainy or some overriding, malignant fate. In fact, the tragedy is usually triggered by some error of judgment or some character flaw that contributes to the hero's lack of perfection noted above. This error of judgment or character flaw is known as hamartia and is usually translated as "tragic flaw" (although some scholars argue that this is a mistranslation). Often the character's hamartia involves hubris (which is defined as a sort of arrogant pride or over-confidence). True for Oedipus? Make your claim.

4. The hero's misfortunate is not wholly deserved. The punishment exceeds the crime. True for Oedipus? Make your claim.

5. The fall is not pure loss. There is some increase in awareness, some gain in self-knowledge, some discovery on the part of the tragic hero. True for Oedipus? Make your claim.

6. Though it arouses solemn emotion, tragedy does not leave its audience in a state of depression. Aristotle argues that one function of tragedy is to arouse the "unhealthy" emotions of pity and fear and through a catharsis (which comes from watching the tragic hero's terrible fate) cleanse us of those emotions.True for "Oedipus"? Make your claim.

For extra credit, read all of the following claims about the play "Oedipus." They all connect to one another. Then, "join the conversation."

For Oedipus, there exists his temper, his unrelenting pursuit of the truth, and his suspicion. His temper is exhibited in the argument between Teiresias and himself, where Teiresias states the truth and Oedipus replies, “Do you think you can say such things with impunity?”(p.36) and later calls Teiresias a “shameless and brainless, sightless, senseless sot!” (p.36). His suspicion was also shown in this exchange where he says, “Creon! Was this trick his, then, if not yours?”(p.36). Lastly, his unrelenting pursuit of the truth is demonstrated when he finally believes he is the murderer and Polybus was not his father, and yet he still continues with his search, saying, “I must pursue this trail to the end”(p.55). These characteristics were only fuel to the fire and added to the pride created a blaze that consumed him.Oedipus' tragic flaw (his hamartia) was pride; the Greeks called it hubris. He thought too highly of himself, believed himself to be invincible, and he had the arrogance to keep asking questions when he knew he should have stopped.
--IB paper posted online

Somehow, "hubris" (ungodly pride, arrogance, and so forth) has come to be identified as the usual tragic fault of Oedipus. I cannot understand why. But whenever something bad happens to a basically good person in a tragedy, students are invited to see "hubris." Why can't we just accept that in Sophocles ' world, bad things happen for no reason? Is it because teachers are afraid to let their students in on a dirty little secret: if there are gods, they are capricious and malicious.
--Ed Friedlander, doctor and literary critic


"The flaw, or crack in the character [of Oedipus], is really nothing -- and need be nothing -- but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lots without active retaliation, are 'flawless.' Most of us are in that category. The terror and the fear that is classically associated with tragedy comes, ultimately, from questioning the unquestioned.
--Arthur Miller, author of "Death of a Salesman"

IB first period: "Joining the Conversation" about Oedipus and Tragedy

OEDIPUS: a tragic hero? tragically flawed? or just tragic?

You MUST REFER to specific parts of Aristotle's DEFINITION BELOW when you "JOIN THE CONVERSATION" (that's a hint) and SUPPORT YOUR OWN ARGUMENT.

Extra credit for the strongest argument.
Aristotle (the philosopher who wrote about the beauty of art) believed that Oedipus the King was the prototypical example of a "tragic hero." Read each part of his definition below. Then, decide to what extent you agree with Aristotle's idea that Oedipus is the perfect representative of a tragic hero.

From Aristotle's Poetics:

1. The tragic hero is a character of noble stature and has greatness. The character must occupy a "high" status position but must ALSO embody nobility and virtue as part of his/her innate character.

2. Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the rest of us--mere mortals--would be unable to identify with the tragic hero. We should see in him or her someone who is essentially like us, although perhaps elevated to a higher position in society.

3. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or villainy or some overriding, malignant fate. In fact, the tragedy is usually triggered by some error of judgment or some character flaw that contributes to the hero's lack of perfection noted above. This error of judgment or character flaw is known as hamartia and is usually translated as "tragic flaw" (although some scholars argue that this is a mistranslation). Often the character's hamartia involves hubris (which is defined as a sort of arrogant pride or over-confidence). True for Oedipus? Make your claim.

4. The hero's misfortunate is not wholly deserved. The punishment exceeds the crime. True for Oedipus? Make your claim.

5. The fall is not pure loss. There is some increase in awareness, some gain in self-knowledge, some discovery on the part of the tragic hero. True for Oedipus? Make your claim.

6. Though it arouses solemn emotion, tragedy does not leave its audience in a state of depression. Aristotle argues that one function of tragedy is to arouse the "unhealthy" emotions of pity and fear and through a catharsis (which comes from watching the tragic hero's terrible fate) cleanse us of those emotions.True for "Oedipus"? Make your claim.

For extra credit, read all of the following claims about the play "Oedipus." They all connect to one another. Then, "join the conversation."

For Oedipus, there exists his temper, his unrelenting pursuit of the truth, and his suspicion. His temper is exhibited in the argument between Teiresias and himself, where Teiresias states the truth and Oedipus replies, “Do you think you can say such things with impunity?”(p.36) and later calls Teiresias a “shameless and brainless, sightless, senseless sot!” (p.36). His suspicion was also shown in this exchange where he says, “Creon! Was this trick his, then, if not yours?”(p.36). Lastly, his unrelenting pursuit of the truth is demonstrated when he finally believes he is the murderer and Polybus was not his father, and yet he still continues with his search, saying, “I must pursue this trail to the end”(p.55). These characteristics were only fuel to the fire and added to the pride created a blaze that consumed him.Oedipus' tragic flaw (his hamartia) was pride; the Greeks called it hubris. He thought too highly of himself, believed himself to be invincible, and he had the arrogance to keep asking questions when he knew he should have stopped.
--IB paper posted online

Somehow, "hubris" (ungodly pride, arrogance, and so forth) has come to be identified as the usual tragic fault of Oedipus. I cannot understand why. But whenever something bad happens to a basically good person in a tragedy, students are invited to see "hubris." Why can't we just accept that in Sophocles ' world, bad things happen for no reason? Is it because teachers are afraid to let their students in on a dirty little secret: if there are gods, they are capricious and malicious.
--Ed Friedlander, doctor and literary critic


"The flaw, or crack in the character [of Oedipus], is really nothing -- and need be nothing -- but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lots without active retaliation, are 'flawless.' Most of us are in that category. The terror and the fear that is classically associated with tragedy comes, ultimately, from questioning the unquestioned.
--Arthur Miller, author of "Death of a Salesman"

What Is Talking About Fiction For? -- AP ENGLISH THIRD PERIOD

There is no point in looking for hidden meanings in everything you read. If a meaning is important, it shouldn’t be hidden. And besides, once you’ve determined what you believe a text might mean, how would you possibly know if the meanings are really there or not? And even if you could confirm those meanings, why spend time talking about it? In short, what is the purpose of crafting an analysis of text? No one benefits from that. The author doesn’t need to know. And whether we analyze a text or not, the text doesn’t change. It’s still there, just like it was before it was analyzed. Whether or not I determine that text Y has a beautiful motif of red, no one’s life gets changed. In fact, the original gets ruined with all that talk talk talk about the text. So what's the point? -- internet blog on English classes

"Talking with friends about books harks back to the original impulse behind storytelling, the forging of human bonds. We have told ourselves stories not just in order to live, but in order to live with one another. Primary storytelling itself is insufficient for the forging of human bonds, for audiences need to talk about the stories they read and to compare their interpretations in order to be sure that they have read the same story. The more isolated from one another readers feel, the more they need such secondary conversations in order to establish a bond with other readers. " --paraphrased from Brian Hall's essay on book groups

"An unfortunate split runs through arts education, reflecting the romantic culture war between creators and critics, between the teaching of art itself and the teaching of art criticism. The assumption is that a great masterpiece is so powerful that it cannot help making an impact on any student who can be brought to read it carefully. If the experience of reading is to mature and be stretched beyond the place where it already is, it needs a critical vocabulary with which to express itself. It is therefore misleading to oppose the firsthand rexperience of reading to secondhand critical analysis about our reading. How we talk about books shapes how we read the books themselves." -- Gerald Graff, "Clueless in Academe"


"Sometimes a cigar is just a cigar." -- attributed to Sigmund Freu
Respond to these thoughts and to one another. Please use your "joining the conversation" template.

What Is Talking About Fiction For? -- IB ENGLISH SECOND PERIOD

There is no point in looking for hidden meanings in everything you read. If a meaning is important, it shouldn’t be hidden. And besides, once you’ve determined what you believe a text might mean, how would you possibly know if the meanings are really there or not? And even if you could confirm those meanings, why spend time talking about it? In short, what is the purpose of crafting an analysis of text? No one benefits from that. The author doesn’t need to know. And whether we analyze a text or not, the text doesn’t change. It’s still there, just like it was before it was analyzed. Whether or not I determine that text Y has a beautiful motif of red, no one’s life gets changed. In fact, the original gets ruined with all that talk talk talk about the text. So what's the point? -- internet blog on English classes

"Talking with friends about books harks back to the original impulse behind storytelling, the forging of human bonds. We have told ourselves stories not just in order to live, but in order to live with one another. Primary storytelling itself is insufficient for the forging of human bonds, for audiences need to talk about the stories they read and to compare their interpretations in order to be sure that they have read the same story. The more isolated from one another readers feel, the more they need such secondary conversations in order to establish a bond with other readers. " --paraphrased from Brian Hall's essay on book groups

"An unfortunate split runs through arts education, reflecting the romantic culture war between creators and critics, between the teaching of art itself and the teaching of art criticism. The assumption is that a great masterpiece is so powerful that it cannot help making an impact on any student who can be brought to read it carefully. If the experience of reading is to mature and be stretched beyond the place where it already is, it needs a critical vocabulary with which to express itself. It is therefore misleading to oppose the firsthand rexperience of reading to secondhand critical analysis about our reading. How we talk about books shapes how we read the books themselves." -- Gerald Graff, "Clueless in Academe"


"Sometimes a cigar is just a cigar." -- attributed to Sigmund Freu
Respond to these thoughts and to one another. Please use your "joining the conversation" template.

What Is Talking About Fiction For? -- FIRST PERIOD

There is no point in looking for hidden meanings in everything you read. If a meaning is important, it shouldn’t be hidden. And besides, once you’ve determined what you believe a text might mean, how would you possibly know if the meanings are really there or not? And even if you could confirm those meanings, why spend time talking about it? In short, what is the purpose of crafting an analysis of text? No one benefits from that. The author doesn’t need to know. And whether we analyze a text or not, the text doesn’t change. It’s still there, just like it was before it was analyzed. Whether or not I determine that text Y has a beautiful motif of red, no one’s life gets changed. In fact, the original gets ruined with all that talk talk talk about the text. So what's the point? -- internet blog on English classes

"Talking with friends about books harks back to the original impulse behind storytelling, the forging of human bonds. We have told ourselves stories not just in order to live, but in order to live with one another. Primary storytelling itself is insufficient for the forging of human bonds, for audiences need to talk about the stories they read and to compare their interpretations in order to be sure that they have read the same story. The more isolated from one another readers feel, the more they need such secondary conversations in order to establish a bond with other readers. " --paraphrased from Brian Hall's essay on book groups

"An unfortunate split runs through arts education, reflecting the romantic culture war between creators and critics, between the teaching of art itself and the teaching of art criticism. The assumption is that a great masterpiece is so powerful that it cannot help making an impact on any student who can be brought to read it carefully. If the experience of reading is to mature and be stretched beyond the place where it already is, it needs a critical vocabulary with which to express itself. It is therefore misleading to oppose the firsthand rexperience of reading to secondhand critical analysis about our reading. How we talk about books shapes how we read the books themselves." -- Gerald Graff, "Clueless in Academe"


"Sometimes a cigar is just a cigar." -- attributed to Sigmund Freud

Respond to these thoughts and to one another. Please use your "joining the conversation" template.

THE MOST EFFECTIVE BREAK UP SONG ever, and WHY

Today you will be listening to a radio show called "This American Life." It's a [fantastic, insightful and often really funny] radio show that tells all sorts of stories with shared themes.

Please go to the following link: http://thislife.org/favorites.aspx

Be prepared to scroll down.

Scroll down until you see a show called "The Break Up." The entire show is one hour long, but you only need to listen from minute 5:15 to minute 32:31, or about 27 minutes of story. During that time, you'll hear from a writer named Starlee Kline who is going through a terrible break-up and trying to write a song about it.

Then:

1. Bearing in mind our discussion (and Plato's and Aristotle's, and Starlee Kline's) of what art and fiction are for, argue with this claim:

"Against All Odds" by Phil Collins
is the most effective break-up song ever made.

Here is a link to hear the song again.
http://www.youtube.com/watch?v=2Sd0W1RyMnE&feature=related

2. If you do not agree, please nominate the one song that you believe instead to be the most effective break up song EVER. Be prepared to compare the effects of your choice and the Phil Collins song.

a. Explain why this song does the things that you believe fiction/art should do.
b. Discuss the specific overall effects your choice of song actually creates.
c. Explain how -- with what techniques -- this song creates the effects that it does.
d. Explain why this song is a more effective break-up song than Collins' song, or ANY other song nominated by ANYONE else on the blog.

In your discussion of technique and effect, you must refer to specific details and choices in the song. Please use your cheat sheets for this assignment. They will help ensure that you are discussing specific techniques and effects.

If you can, ALSO post a link to youtube or elsewhere so we can hear it, too.

Check your grammar.

Strongest argument for most effective song wins a homework extension certificate.


http://thislife.org/favorites.aspx

AP ENGLISH, THIRD PERIOD

Please read both the ad and the article below.

Then, using your template for "joining the conversation" (that latest green cheat sheet), use the details from the ad to respond to any of the arguments or analysis (in favor or against) made about that ad.

Your response should include:
1. at least one phrase from your template
2. and at least one detail from the ad, along with your analysis of that detail.
3. Your analysis of that detail should help support your argument about the ad.

Dolce and Gabbana Ad Pulled from Spain

Domenico Dolce y Stefano Gabbana (Dolce & Gabbana) say they don’t understand accusations from Spain that their latest advertising campaign is sexist and encourages violence against women.

According to several Spanish organisations, including a department of the Spanish Women's Institute (Observatorio de la Imagen del Instituto español de la Mujer) the advert encourages violence against women. Because of the controversy the advert has created here and the protest that has been registered in different areas of Spanish politics and society, the designers have decided to withdraw the advert, but only from Spain.

On announcing their decision, the designers Dolce and Gabbana accused Spain of being "in the dark ages". They defended the advert by saying that the artistic photo was a piece of art, not an instruction manual for real life. The advertisement in question shows a woman being held down by her wrists by a man with 4 other men watching. Various other Spanish organisations have complained about the advert and requested its withdrawal. Spain has one of the most worrying records of domestic violence in Europe, and despite the attempts of this government and previous PP governments to stem the growing tide of domestic abuse, the number of crimes committed by men against women continues to rise.

Dolce and Gabbana released a statement saying that "We will withdraw that photo from the Spanish market alone, since they are behind the times. What does an artistic photo have to do with the real world?" If Spanish views held sway, they said, "you'd have to burn museums like the Louvre and all the paintings of Caravaggio."

But Spanish women objected not to the supposed sensuality or eroticism but the image's glorification of sexual violence. "The advert suggests it is acceptable to use force as a way of imposing oneself on a woman, reinforced by the passive complicity of the men looking on," the Labour Ministry said.

At present, the advert is on display in an exhibition which opened yesterday in Milan showing other photos from their new advertising campaign. The exhibition is called Secret Ceremony and shows photos of nude bodies and erotic scenes taken by the photographer Steven Klein. According to the designers, the images explore the thin line between morality and immorality. The question remains whether or not the advert withdrawn by the designers today has crossed that line.

IB ENGLISH, SECOND PERIOD: To what extent do you agree...?

Please read both the ad and the article below.

Then, using your template for "joining the conversation" (that latest green cheat sheet), use the details from the ad to respond to any of the arguments or analysis (in favor or against) made about that ad.

Your response should include:
1. at least one phrase from your template
2. and at least one detail from the ad, along with your analysis of that detail.
3. Your analysis of that detail should help support your argument about the ad.

Dolce and Gabbana Ad Pulled from Spain

Domenico Dolce y Stefano Gabbana (Dolce & Gabbana) say they don’t understand accusations from Spain that their latest advertising campaign is sexist and encourages violence against women.

According to several Spanish organisations, including a department of the Spanish Women's Institute (Observatorio de la Imagen del Instituto español de la Mujer) the advert encourages violence against women. Because of the controversy the advert has created here and the protest that has been registered in different areas of Spanish politics and society, the designers have decided to withdraw the advert, but only from Spain.

On announcing their decision, the designers Dolce and Gabbana accused Spain of being "in the dark ages". They defended the advert by saying that the artistic photo was a piece of art, not an instruction manual for real life. The advertisement in question shows a woman being held down by her wrists by a man with 4 other men watching. Various other Spanish organisations have complained about the advert and requested its withdrawal. Spain has one of the most worrying records of domestic violence in Europe, and despite the attempts of this government and previous PP governments to stem the growing tide of domestic abuse, the number of crimes committed by men against women continues to rise.

Dolce and Gabbana released a statement saying that "We will withdraw that photo from the Spanish market alone, since they are behind the times. What does an artistic photo have to do with the real world?" If Spanish views held sway, they said, "you'd have to burn museums like the Louvre and all the paintings of Caravaggio."

But Spanish women objected not to the supposed sensuality or eroticism but the image's glorification of sexual violence. "The advert suggests it is acceptable to use force as a way of imposing oneself on a woman, reinforced by the passive complicity of the men looking on," the Labour Ministry said.

At present, the advert is on display in an exhibition which opened yesterday in Milan showing other photos from their new advertising campaign. The exhibition is called Secret Ceremony and shows photos of nude bodies and erotic scenes taken by the photographer Steven Klein. According to the designers, the images explore the thin line between morality and immorality. The question remains whether or not the advert withdrawn by the designers today has crossed that line.

IB ENGLISH, FIRST PERIOD: To what extent do you agree...?

Please read both the ad and the article below.

Then, using your template for "joining the conversation" (that latest green cheat sheet), use the details from the ad to respond to any of the arguments or analysis (in favor or against) made about that ad.

Your response should include:
1. at least one phrase from your template
2. and at least one detail from the ad, along with your analysis of that detail.
3. Your analysis of that detail should help support your argument about the ad.

Dolce and Gabbana Ad Pulled from Spain

Domenico Dolce y Stefano Gabbana (Dolce & Gabbana) say they don’t understand accusations from Spain that their latest advertising campaign is sexist and encourages violence against women.

According to several Spanish organisations, including a department of the Spanish Women's Institute (Observatorio de la Imagen del Instituto español de la Mujer) the advert encourages violence against women. Because of the controversy the advert has created here and the protest that has been registered in different areas of Spanish politics and society, the designers have decided to withdraw the advert, but only from Spain.

On announcing their decision, the designers Dolce and Gabbana accused Spain of being "in the dark ages". They defended the advert by saying that the artistic photo was a piece of art, not an instruction manual for real life. The advertisement in question shows a woman being held down by her wrists by a man with 4 other men watching. Various other Spanish organisations have complained about the advert and requested its withdrawal. Spain has one of the most worrying records of domestic violence in Europe, and despite the attempts of this government and previous PP governments to stem the growing tide of domestic abuse, the number of crimes committed by men against women continues to rise.

Dolce and Gabbana released a statement saying that "We will withdraw that photo from the Spanish market alone, since they are behind the times. What does an artistic photo have to do with the real world?" If Spanish views held sway, they said, "you'd have to burn museums like the Louvre and all the paintings of Caravaggio."

But Spanish women objected not to the supposed sensuality or eroticism but the image's glorification of sexual violence. "The advert suggests it is acceptable to use force as a way of imposing oneself on a woman, reinforced by the passive complicity of the men looking on," the Labour Ministry said.

At present, the advert is on display in an exhibition which opened yesterday in Milan showing other photos from their new advertising campaign. The exhibition is called Secret Ceremony and shows photos of nude bodies and erotic scenes taken by the photographer Steven Klein. According to the designers, the images explore the thin line between morality and immorality. The question remains whether or not the advert withdrawn by the designers today has crossed that line.

"The Things They Carried" Blog Entry #1 -- Deadline Midnight 8/10

INSTRUCTIONS FOR COMMENTING ON THIS BLOG:
READ THE QUESTION CAREFULLY. THEN, CLICK ON THE "COMMENTS" LINK (the one with the pencil next to it) AT THE BOTTOM OF THE POST.

In this novel, the narrator repeats and returns to the same memories -- sometimes with whole stories, sometimes with just a paragraph or line. Go back to the novel and identify at least three of the memories that the narrator can't seem to stop remembering.

Bear in mind that the author of this novel CREATED a narrator who can't stop remembering (in other words, the memories are a TECHNIQUE that the author uses to help reveal his worldview). Which of the narrator's memories do you think is the most significant in helping us understand the author's view on the effects of war?

Explain your choice by showing us how the particular memory reveals the overall effects of the novel. As you answer, make sure you make reference to other stories or themes in the text.

Deadline: Midnight, 8/10/08.
Make at least three references to the text -- and respond to someone else's ideas -- in this entry.
Make sure you punctuate your thoughtful entries correctly.
Please do NOT go to other sources (like Sparknotes, Cliff's Notes, Some Random Site). We want to hear from you, not them.

"The Things They Carried," Entry #2 --Deadline Midnight 8/15

Each character in a novel helps create the overall impact and meanings of the novel. If there were no stepsisters in Cinderella, for example, think how the story would be less effective. If a story is well-done, then it "needs" all its characters to be effective.

In your opinion, which character, BESIDES the narrator, do you think the novel "needs" the most? In other words, which character, to your mind, has the most impact on helping us understand the overall effects and ideas in this novel?

Deadline: Midnight, 8/15/08.
Make at least three references to the text -- and respond to someone else's ideas -- in this entry.
Make sure you punctuate your thoughtful entries correctly.
Please do NOT go to other sources (like Sparknotes, Cliff's Notes, Some Random Site). We want to hear from you, not them.

"The Things They Carried" Entry #3 -- Deadline Midnight 8/20

Tim O'Brien, the author of this novel, considered many titles before he settled upon "The Things They Carried." If you had to retitle the text with only a line or phrase from one of the stories in the novel, which line or phrase would you choose?

Defend your choice of a new title by showing the rest of us why this title perfectly captures the themes and tone of the text. Make reference to at least three stories in the text and show how your idea for a title helps reveal the ideas and tones of the stories.

Deadline: Midnight, 8/20/08.
Make at least three references to the text -- and respond to someone else's ideas -- in this entry.
Make sure you punctuate your thoughtful entries correctly.
Please do NOT go to other sources (like Sparknotes, Cliff's Notes, Some Random Site). We want to hear from you, not them.

"The Things They Carried" Blog Entry #4 -- Deadline Midnight 8/25

After having read the entire novel, to what extent (meaning how much or how little) would you say that the ultimate, overall outlook of this text is optimistic about the futures of soldiers who have been to war? In other words, does the novel as a whole paint more of a hopeful or hopeless picture about the world of the Vietnam vet? Why do you say so?


Deadline: Midnight, 8/25/08.
Make at least three references to the text -- and respond to someone else's ideas -- in this entry.
Make sure you punctuate your thoughtful entries correctly.
Please do NOT go to other sources (like Sparknotes, Cliff's Notes, Some Random Site). We want to hear from you, not them.