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Standard R.7 -- Analyze multiple interpretations of a story, drama, or poem (e.g., recorded orlive production of a play or recorded novel or poetry), evaluating how eachversion interprets the source text. (Include at least one play by Shakespeareand one play by an American dramatist.)

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Standard R.7 -- Analyze multiple interpretations of a story, drama, or poem (e.g., recorded orlive production of a play or recorded novel or poetry), evaluating how eachversion interprets the source text. (Include at least one play by Shakespeareand one play by an American dramatist.)

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We will watch different adaptations of the play.

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Standard  RL.2 -- Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text

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Standard  RL.2 -- Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text

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Standard SL.3 -- Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used.

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Standard SL.3 -- Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used.

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This standard pairs with the reading of soliloquy's, monologues, and dialogue --- with the multimodal resources that I will use, the students will satisfy speaking and listening demands by listening to audiofiles and videos; I will ask them to interpret what they hear and talk about it with others.

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Chapter 4 of Ophelia Garcia’s "The Translanguaging Classroom: Leveraging Student Bilingualism for Learning"

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Chapter 4 of Ophelia Garcia’s "The Translanguaging Classroom: Leveraging Student Bilingualism for Learning"

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This chapter informs my practice by outlining a collectivist approach with the "juntos stance"

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Title

Hamlet: Drama en cinco actos

Credits

Produced by Chuck Greif and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images available at The Internet Archive)

Release Date

Jan 28, 2018

Copyright Status

Public domain in the USA.

Downloads

226 downloads in the last 30 days.

Project Gutenberg eBooks are always free!

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Hamlet: Drama en cinco actos by William Shakespeare

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Free kindle book and epub digitized and proofread by volunteers.

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Project Gutenberg is an online tool that offers Shakespeare's works in a variety of languages

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Project Gutenberg is an online tool that offers Shakespeare's works in a variety of languages

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>Book search
>Advanced Search
*Type in Title*
>Select desired language from drop down

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Project Gutenberg is a library of free eBooks.

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The full text of Shakespeare's plays and sonnets side-by-side with translations into modern English. No fear Shakespeare is available online and in book form at barnesandnoble.com.
-From Sparknotes Website

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Understand Shakespeare's plays and sonnets with SparkNotes' translations, plot summaries, character lists, quotes, lists of themes and symbols, and more.

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Hamlet's famous "To Be or Not to Be" soliloquy, Act 3 Scene 1

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Hamlet's famous "To Be or Not to Be" soliloquy, Act 3 Scene 1

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Read by Spanish 102 student

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A glossary of William Shakespeare’s plays and sonnets, from your trusted Shakespeare source

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Grouping bi/multilingual students together 

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Grouping bi/multilingual students together 

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Utilize multimodal media (examples shown on following Padlet shelf) 

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Utilize multimodal media (examples shown on following Padlet shelf) 

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Playing audiofiles to assist with the reading

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Playing audiofiles to assist with the reading

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Decoding the text in groups/pairs (UDL Checkpoint 8.3 Foster collaboration and community)

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Decoding the text in groups/pairs (UDL Checkpoint 8.3 Foster collaboration and community)

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Chapter 5: Translanguaging Design in Instruction of Ophelia Garcia’s "The Translanguaging Classroom: Leveraging Student Bilingualism for Learning"

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Chapter 5: Translanguaging Design in Instruction of Ophelia Garcia’s "The Translanguaging Classroom: Leveraging Student Bilingualism for Learning"

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This chapter informs my practice by outlining guidelines about creating a multilingual ecology.

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Hamlet de William Shakespeare en el #TeatroBritánico

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Hamlet de William Shakespeare en el #TeatroBritánico

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Hamlet de William Shakespeare en el #TeatroBritánico

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Woodford-Gormley, Donna. Shakespeare in Cuba : Caliban’s Books. Cham: Springer International Publishing, 2021. Web.

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CHAPTER 6 of "Shakespeare in Cuba" -- Shakespeare as Cultural Bridge: Incorporating the Other

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CHAPTER 6 of "Shakespeare in Cuba" -- Shakespeare as Cultural Bridge: Incorporating the Other

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This text talks about the cultural benefits of translation.

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Hip-Hop & Shakespeare? Akala at TEDxAldeburgh

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Hip-Hop & Shakespeare? Akala at TEDxAldeburgh

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Hip-Hop & Shakespeare? Akala at TEDxAldeburgh

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Hamlet (Shakespeare) - Thug Notes Summary and Analysis

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Hamlet (Shakespeare) - Thug Notes Summary and Analysis

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Hamlet (Shakespeare) - Thug Notes Summary and Analysis

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Educators are using Hip Hop to teach Shakespeare. 

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OPINION: In hip-hop, educators find a bridge to Shakespeare by NOLAN JONES 

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OPINION: In hip-hop, educators find a bridge to Shakespeare by NOLAN JONES 

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Hip-hop is approaching 50, and in its middle age it now permeates every facet of popular culture.

Jimmy Fallon does rap history tributes with Justin Timberlake on The Tonight Show. Kellogg's iconic honey bee dances to Nelly's "Ride wit Me" to sell Cheerios, and the musical Hamilton has smashed box-office records by bringing hip-hop to Broadway. According to Nielsen ratings, rap has surpassed rock to become the most consumed style of music in America.

A growing number of educators have seized upon hip-hop's wide appeal to help students connect with challenging academic subjects. I have seen in my own classrooms how exciting the results can be of pairing hip-hop with a seemingly unlikely subject. Consider for a moment my favorite example of a natural fit with hip-hop in the classroom: William Shakespeare.
Related: TEACHER VOICE: How hip-hop erased these young students' unfair, bad rap
Students tap into their own cultural capital when teachers make plain the connections between that which is culturally familiar, like hip-hop, and that which can be too easily dismissed as musty and irrelevant, like Shakespeare's plays and poetry. This connection gives students a new confidence in their own language and culture, and it moves away from what I consider a "deficit-model" approach to teaching, which posits students' familiar cultures and language as problems to be overcome in the classroom.

Many artists have spent time exploring the fertile overlaps between hip-hop and Shakespeare. Macbeth has often, though not always, been the focus: Gerald Barclay and Greg Salman reimagined Macbeth in movies like "Bloody Streetz" and "Mad Dawg," respectively, while Ayodele Nzinga and Victoria Evans' "Erville" reinterpreted Macbeth on stage in plays like "Mac," "A Gangsta's Tale" and "MacB: The Macbeth Project."

Most notably, U.K. hip-hop artist Akala has made explicit the connections between Shakespeare and hip-hop through a variety of Shakespeare plays. With the help of his Hip Hop Shakespeare Company, Akala explores the linguistic, social and cultural parallels between hip-hop and Shakespeare.

Using rap music to interpret Shakespeare is the most popular approach among educators when drawing connections between hip-hop and Shakespeare. But rap is only one of many hip-hop elements available to educators who teach Shakespeare.

Educators who venture beyond rap typically stay within the four cornerstone elements of hip-hop - emceeing, breakin', graffiti art and deejaying. But there are six more elements that can be creatively incorporated into an educator's hip-hop pedagogy: street knowledge, beatboxin', street language, street fashion, street entrepreneurialism, health and wellness. Of these additional six, street knowledge is the most relevant element when examining the plays of Shakespeare. Tupac's life legacy exemplifies the role that street knowledge can play in helping students understand Shakespearean themes.

Before his untimely demise, Tupac Shakur stated that he wanted people to study his poetry the way they study Shakespeare. Although he was not around to witness it, his dream did come true. Both the University of California at Berkeley and Harvard have offered courses that studied the poetry of Tupac.

"Like [Tupac] Shakur, Shakespeare wrote about murder, rape and suicide."

That makes sense, considering Shakespeare was his biggest literary influence. When Tupac attended the Baltimore School for the Arts, he studied plenty of Shakespeare. In a 1995 interview, Tupac said, "I love Shakespeare. He wrote some of the rawest stories, man. I mean look at Romeo and Juliet. That's some serious ghetto s**t."

In addition to Tupac's poetry, teachers have referenced his life for its teachable moments. In the book Shakespeare and Youth Culture, one teacher is quoted as telling her students, "Tupac Shakur was no paragon of virtue, but neither was William Shakespeare ... Like Shakur, Shakespeare wrote about murder, rape and suicide."

Studying the lives of Tupac and Shakespeare moves beyond a study of just rap lyrics. It cultivates the development of students' critical literacy skills by tapping into their hip-hop cultural capital.
Related: A summer program uses the arts to combat the achievement gap
To activate a discussion about hard choices, I customized an exercise I found online years ago. The exercise begins with the following instructions for students: You are a college student. Someone murders your father, and you hear a rumor that it was the head of the mafia in your city, who has just married your mother. But you have no actual proof. What do you do? How do you feel? What are you thinking?

Instead of having students write their answers in traditional linear fashion, I give them creative options. They can draw pictures using markers, write a rap or poem, or use movement to explain their answers. Each time I have done this exercise, students have responded with confidence and certainty.

Judging by students' passionate presentations, they know what they think, how they feel and what they would do. After all of the students have responded, I congratulate them and reveal that they have engaged with an environmental stressor in just the way that a group of black and brown youth in the South Bronx did in the 1970s when they founded hip-hop: They have used the creative arts to express themselves.

Moreover, they have prepared themselves to discuss Hamlet. By giving students an opportunity to process their thoughts and feelings creatively through a modern-day hip-hop lens, the famous tragedy becomes more accessible.

The story of organized crime is, of course, the story of Hamlet. With the help of this approach, studying Shakespeare is no longer intimidating, inaccessible or culturally irrelevant. Students are able to make connections between the literary master and their own real and imagined lives.
This story about hip-hop and Shakespeare was produced by The Hechinger Report, a nonprofit, independent news organization focused on inequality and innovation in education. Sign up for our newsletter. Nolan Jones is an associate adjunct professor of education at Mills College in California and an expert on community health, youth development, urban development and hip-hop pedagogies.

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Educators are using Hip Hop to teach Shakespeare

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Educators find that using Hip Hop to teach Shakespeare is a way to bridge two cultures and engage students in the arts and literature.

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TPE 4.8 - Use digital tools and learning technologies across learning environments as appropriate to create new content and provide personalized and integrated technology-rich lessons to engage students in learning, promote digital literacy, and offer students multiple means to demonstrate their learning. 

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TPE 4.8 - Use digital tools and learning technologies across learning environments as appropriate to create new content and provide personalized and integrated technology-rich lessons to engage students in learning, promote digital literacy, and offer students multiple means to demonstrate their learning. 

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I will satisfy this TPE by providing students with access to several technological tools to assist with their reading.

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TPE 1.7 - Provide students with opportunities to access the curriculum by incorporating the visual and performing arts, as appropriate to the content and context of learning.

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TPE 1.7 - Provide students with opportunities to access the curriculum by incorporating the visual and performing arts, as appropriate to the content and context of learning.

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Accessing Hamlet will satisfy this TPE because it is a drama and I will not only utilize a manuscript, but animated, recorded, audiofile, translated, and live production versions of the play.

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As an ELA teacher, it is a requirement for secondary students to study Shakespeare. I selected this topic, however, because I am an avid Shakespeare reader and have a burning passion to fulfill my obligation with purpose. My unit will focus on making Shakespeare inclusive to a wider audience. Since the plays are written in such a idiosyncratic, outdated style, the language will certainly pose obstacles for both bi/multilinguals and monolinguals. Together, we can unpack Shakespearean language and turn it into modern day slang, spoken and embodied expression. For my inquiry, I will write in the context of a 12th grade ELA class.; "Hamlet" is the source text that I intend to use.  I selected this text because it is well-known, and thus, there are more resources available to support bi/multilingual students. Given how the storyline of this play has been repurposed over the years, bi/multilingual students should read this to understand allusions made to this play.

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“My English Is Its Own Rule”: Voicing a Translingual Sensibility through Poetry -- Kate Seltzer

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“My English Is Its Own Rule”: Voicing a Translingual Sensibility through Poetry -- Kate Seltzer

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Song, Juyoung, et al. “Translanguaging as a Strategy for Supporting Multilingual Learners’ Social Emotional Learning.” Education Sciences, vol. 12, no. 7, July 

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Juyoung Son - Translanguaging as a Strategy for Supporting Multilingual Learners’ Social Emotional Learning 

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Juyoung Son - Translanguaging as a Strategy for Supporting Multilingual Learners’ Social Emotional Learning 

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This text talks about social emotional learning as a vessel for translanguaging.

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Welcome! Thank you for visiting the Shakespeare Resource Center. You'll find here collected links from all over the World Wide Web to help you discover William Shakespeare. There are millions of pages that reference Shakespeare on the Internet. This site aims to make it a little easier to find the most useful ones.

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David Crystal

'I've just had the most tremendous fun with the online platform for The Oxford Dictionary of Original Shakespearean Pronunciation.(...) The spoken words are clear and you can repeat them as often as you wish until you're happy with your own pronunciation.' - The Bookbag

Over 20,000 entries

This dictionary is the first comprehensive description of Shakespearean original pronunciation (OP), enabling practitioners to answer any queries about the pronunciation of individual words. It includes all the words in the First Folio, transcribed using IPA, and provides sound files as an additional aid to pronunciation. It details the main pronunciation evidence in the texts, notably all spelling variants and rhymes. An extensive introduction provides a full account of the aims, evidence, history, and current use of OP in relation to Shakespeare productions as well as other uses. It is an invaluable resource for producers, directors, actors, and others wishing to present Shakespeare's plays or poetry in original pronunciation, as well as for students and academics in the fields of literary criticism and Shakespeare studies more generally.

Bibliographic Information

Author

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The Oxford Dictionary of Original Shakespearean Pronunciation

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'I've just had the most tremendous fun with the online platform for The Oxford Dictionary of Original Shakespearean Pronunciation.(...) The spoken words are clear and you can repeat them as often as you wish until you're happy with your own pronunciation.'

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Google’s service, offered free of charge, instantly translates words, phrases, and web pages between English and over 100 other languages.

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Google translated CONT'D.. Speech to text translation

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Google translated CONT'D.. Speech to text translation

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Translate by speech - Computer - Google Translate Help

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If your device has a microphone, you can translate spoken words and phrases. In some languages, you can hear the translation spoken aloud.
Important: If you use an audible screen reader, we recommend