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Routine for english revision - skill building

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Routine for english revision - skill building

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- Revision for one hour - 1 time in 2 days.
- 2 times in a week writing practice - intro/analyzing techniques/ impacts of techniques/ conclusion

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- Liza Donnelly is a writer and award-winning cartoonist with the New Yorker Magazine, where she has been drawing cartoons and writing about culture and politics for forty years.
- She is also a contributor for CBS News and CNN, creating political cartoons as well as live-drawing special cultural and political events.
-She is a designated top writer and cartoonist for Medium in politics and feminism where she writes and draws a regular column.
-In 2016, Donnelly was the first cartoonist to be granted access on location to live draw the Academy Awards and red carpet; she returns every year as the Oscar cartoonist.
- Currently a Distinguished Athena Fellow at Barnard College, Donnelly is a recipient of an honorary Ph.D. from the University of Connecticut and delivered the Graduate school commencement address, was a Thurber Prize finalist (the award for written humor in the United States), and is a recipient of a Reuben Award, the Salon St. Just International Prize, France, the AAUW Women of Distinction Award, and the Forte Dei Marmi, Italy, Satire Award.

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Liza Donnelly is a writer and award-winning cartoonist with The New Yorker Magazine, where she has been drawing cartoons and writing about culture and politics for forty years. She is also a contributor for and , creating political cartoons as well as live-drawing special cultural and political events. Donnelly writes and draws for The New York Times and CNN Opinion pages. She is a designated top writer and cartoonist for in politics and feminism where she writes and draws a regular column.

Donnelly delivered a very popular TED talk, which was translated into 38 languages and viewed over 1.4 million times. She is a return speaker at SXSW, has delivered talks at the United Nations in New York and Geneva, The New Yorker Festival, five TEDxes ( most recently in Charlottesville, Virginia), universities, NGOs and corporate venues in the US and abroad. Donnelly has been a Cultural Envoy for the US State Department, traveling around the world to speak about freedom of speech, cartoons and women's rights.

Donnelly is the creator of a new digital visual journalism called live drawing. For CBS News, CNN and The New Yorker, she covered the DNC in 2016, and the 2017 Inauguration, White House Press conference, political protest marches. According to NBC News, Donnelly is " a pioneer of on-the-fly sketching of live events" wherein she quickly cartoons people and events on her tablet and immediately tweets them out, sometimes with humorous and insightful commentary on the drawing or in the tweet.

In 2016, Donnelly was the first cartoonist to be granted access on location to live draw the Academy Awards and red carpet; she returns every year as the Oscar cartoonist. Both on location and remotely, she covered presidential debates, State of The Union, The Impeachment Trial, election returns, the Emmys, the Golden Globes, the Grammys, the BET Awards, the Tonys, the Olympics, World Cup, Superbowl, literary events, and more. Along with CBS News and The New Yorker, her clients include Fusion, The New York Times, BET, Medium, PBS, Narrative Magazine, ESPN, Stanford University, The Hindustan Times and others. Her innovative approach to reporting and commenting on events with live drawing has been covered in various publications and video profiles in Time, CBSNews.com, NBC News.com, Ad Week, USA Today, CNET, and People Magazine.

Donnelly was profiled on CBS Sunday Morning, MSNBC.com, NBC, has appeared on CBS This Morning, and has been interviewed on radio and in numerous magazines, newspapers and online. Donnelly's cartoons and commentary can be seen on various websites: The New Yorker, Politico, CNN, Huffington Post, Salon, Daily Beast, Fusion, Narrative Magazine. Her work has appeared in print, including The New York Times, Ms., Glamour, Cosmopolitan, The Nation, South Hampton Review, Jerusalem Post, Hindustan Times and The Harvard Business Review. Donnelly is the author/editor of seventeen books. Donnelly is a member of the international project Cartooning for Peace, helping to promote understanding through humor. Her work has been in numerous exhibitions globally, and she has curated exhibits of international cartoonists, here and abroad. Donnelly taught at Vassar College and the School of Visual Arts.

Currently a Distinguished Athena Fellow at Barnard College, Donnelly is a recipient of an honorary PhD from University of Connecticut and delivered the Graduate School Commencement address, was a Thurber Prize finalist (the award for written humor in the United States), and is a recipient of a Reuben Award, the Salon St. Just International Prize, France, the AAUW Women of Distinction Award, and the Forte Dei Marmi, Italy, Satire Award. Her cartoons are in the Library of Congress Prints Collection, The Museum of Illustration and in private collections, and her cartoons are collected in numerous books around the world. A member of PEN America, Donnelly is on the board of the American Association of Editorial Cartoonists.

She lives in New York with her husband, New Yorker cartoonist Michael Maslin.

For inquiries on speaking engagements, original art or assignments contact Liza at liza@lizadonnelly.com

"Donnelly's cartoons are the best kind of funny-sly, smart, and right on the money. [They] are great social commentary as well as great fun." Susan Orlean, 2010

"Liza often steps out from behind her drawing table to make this world not just a funnier place, but a better one too." Planet Green, 2010

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Liza Donnelly | About | New Yorker Cartoonist

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Liza Donnelly is a writer and award-winning cartoonist with The New Yorker Magazine , where she has been drawing cartoons and writing about culture and politics for forty years. She is also a contributor for and , creating political cartoons as well as live-drawing special cultural and political events.

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- a text is anything from which information can be extracted and includes the widest range of oral, written, and visual materials present in society. It can be non-literary or literary.
- analyzing is a command term meaning to 'break down information to bring out the essential elements and structure.'
- key considerations while analyzing texts: content, the context of composition, the context of interpretation, style, and structure.
- Stylistic devices- tools that an author uses to achieve an intended effect, for e.g metaphor or rhetoric
- Audience- intended readership of a text.
- Purpose – what the texts set out to achieve. Why the text is created.
- Mood-the feeling that is evoked in the reader ( for the audience) as a result of the tone that is set.
- Semantic field- a collection of words or phrases that are related to each other in meaning and connotation.
- Lexical sets- group of words that are related to each other in meaning.
- Diction: the words chosen in a text.
- Tone- the attitude of the writer or speaker towards his or her subject.
- Figurative language – language that uses figures of speech, such as metaphors or symbols, to embellish meaning beyond the literal.

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- Carol was born in Glasgow, Scotland on December 23, 1955. She was raised in Staffordshire in the West Midlands of England. She earned a degree in philosophy from Liverpool University and her first job was writing for television shows, follwed by a C. Day Lewis Fellowship to work as a writer-in-residence in East End schools of London from 1982 and 1984.
- Duffy's books of poetry include- New & Collected Poetry for Children (Faber and Faber, 2009); Rapture (Macmillan, 2006); Selected Poems (Penguin, 2004); Feminine Gospels (2002); and The World's Wife (2000), a collection of poetic retellings voiced by the wives of the famous and infamous. and many more.
- Duffy was the longtime editor of the poetry magazine Ambit and has been a frequent reviewer and critic for many publications, including The Guardian.
-  She lives in Manchester and is the Creative Director of the Writing School at Manchester Metropolitan University.
- Duffy was appointed as Britain's Poet Laureate on May 1, 2009, becoming both the first woman and the first openly lesbian poet to hold the position in its more than 300-year history.

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On December 23, 1955, Carol Ann Duffy was born in Glasgow, Scotland to Mary Black and Frank Duffy, both of Irish Catholic descent. Together with her four younger brothers, she was raised in Staffordshire in the West Midlands of England where her father worked as a fitter with English Electric.

She received a degree in philosophy from Liverpool University in 1977. Her first job was writing for television shows, followed by a C. Day Lewis Fellowship to work as a writer-in-residence in East End schools of London from 1982 and 1984.

Duffy's books of poetry include: New & Collected Poetry for Children (Faber and Faber, 2009); Rapture (Macmillan, 2006); Selected Poems (Penguin, 2004); Feminine Gospels (2002); and The World's Wife (2000), a collection of poetic retellings voiced by the wives of the famous and infamous. Her earlier volumes include: Mean Time (1993), which won the Whitbread Poetry Award and the Forward Poetry Prize; The Other Country (1990); Selling Manhattan (1987), winner of a Somerset Maugham Award; and her first collection, Standing Female Nude (1985), for which she received a Scottish Arts Council Award.

Dramatic characters and narratives, voiced with a sharp edge of wit and social critique, characterize Duffy's early work, while her recent collections have wrestled more directly with dark and tangled themes of love. Writing for The Independent, Ruth Padel called Rapture "a superb demonstration of ... Duffy's formidably inventive artistry, her dedication to the craft and tradition of poetry, and above all the love poem."

In addition to poetry, Duffy has edited numerous anthologies, authored several critically-acclaimed plays and children's books, and has collaborated with the singer and composer Eliana Tomkins on a series of jazz performances. Her books for children include The Hat (2007), The Oldest Girl in the World (2000), and Meeting Midnight (1999).

Her awards include a five-year grant from the National Endowment for Science, Technology and the Arts in England, a Lannan Literary Award, and the T. S. Eliot Poetry Prize. In 1999, she became a Fellow of the Royal Society of Literature in England and her papers were acquired by the Robert W. Woodruff Library of Emory University.

Duffy was the longtime editor of the poetry magazine Ambit, and has been a frequent reviewer and critic for many publications, including The Guardian. She lives in Manchester and is the Creative Director of the Writing School at Manchester Metropolitan University. Duffy was appointed as Britain's Poet Laureate on May 1, 2009, becoming both the first woman and the first openly lesbian poet to hold the position in its more than 300 year history.

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Carol Ann Duffy - The author of numerous collections of poetry, Carol Ann Duffy was appointed as the first female Poet Laureate for Britain

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Language and literature IO

Prompts-

non-lit- Eli Rezkallah recreated old sexist advertisements: https://www.boredpanda.com/blog/wp-content/uploads/2018/01/old-school-ads-recreated-in-parallel-universe-eli-rezkallah-coverimage.jpg

Lit- little red cap: https://padlet-uploads.storage.googleapis.com/1288160230/f0d7155c555775b839122a406ede36d3/Screenshot_2021_08_14_at_1_38_54_PM.png

Intro

-       The literary work chosen is ‘Little Red Cap’ by Carol Ann Duffy. It is picked up from the world’s wife.

-       World’s wife – empowerment, roles of females- ill-treated. fictional, biblical, mythical, and historical contexts.

-       The non-literary work chosen is one of Eli Rezkallah’s advertisements for Chase and Sanborn. This is picked up from the series of ‘In a parallel universe’,

-       Light- causal sexism- old school advertising by switching

-       Both represent global issue- gender and power

-       ‘I first clapped eyes on the wolf’ ‘I made quite sure he spotted me’ – 1st person pronouns

-       Imply innocence and Inexperience – not inaccurate

-       Speaker shows awareness of the role she is playing – attention – wolfs eye

-       Playing with her naivety – power comes, paradoxically, from her lack of power

-        Refers to first sexual experience with the wolf as ‘lesson one ... the love poem’, -metaphor

-        Describes intercourse as a literary form

-        Allusion to Sylvia Plath’s poem ‘daddy’ - portrays a damaging power imbalance between a young girl and an older man.

-        Daddy has the line ‘Every woman adores a Fascist’…. Rhetorical question in little red cap- ‘for / what little girl doesn't love a wolf?’

-        Toxic power imbalance, toxic masculinity in coming-of-age.

-        Question implies - enjoyment of the toxic power dynamic.

-        Stanza 6- metaphor – compare - the oppressive nature of their relationship to a mushroom growing form

-        Enjambment – ‘the mouth of a buried corpse, a dead body’

-        Murder of wolf- the little red cap breaks free from the power dynamic and the patriarchal norms.

-        Implies- she grows if the wolf is silenced.

-        non-literary work chosen is one of Eli Rezkallah’s advertisements for Chase and Sanborn – explore the global issue of gender and power.

-        The caption ‘if your husband ever finds out’ and the reverse of the advertisement and gender role on the caption- same theme – fresh coffee.

-        Symbolised with workforce and role in focus

-        Original advertisement- women were not able to serve good coffee- vulnerable victim of domestic abuse and violence.

-        Verbal and visual expression - theme – verbally man was offensive to wife, balance by unthreatened facial expression of wife. – everyday habit – normalised.

-        Dress, apron, shoes – stereotypical expectations - housewife serving her husband – dominant power

-        Message of abuse – verbal message – inability for good coffee.

-        This act represents the dominant position of his husband in comparison to his wife, along with misogyny and taking control over women’s power

-        Neutral colours -visual representation - in the advertisement impacts the audience to think about dependency and household security.

-        Reflects on the lack of respect and emotions w a conservative mindset – male – power.

-        Reversed roles – females clothing is changed – man has not been changed to a dress.

-        Ironic - purpose was to break gender stereotypes but has failed to do so in the scenario of the male’s outfit.

-        All in all, the literary poem by Carol Ann Duffy and the non-literary advertisement by Eli Rezkallah both represent the global issues of how power comes with gender and their attempt to break that stereotype

-        Break down societal norms in their series of works – tww n iapu

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1. People: What kinds of people are in the image? What are they doing, literally?
2. Objects: What physical items are included in the image? What do these stand for or symbolize?
3. Debatable issue: What is the contentious or controversial issue that the cartoon comments on?
4.Artist’s technique: To what degree is the artist’s style abstract, iconic, or realistic? Use of caricatures, exaggerated features, symbols?
5. Humor technique: Ironic, parody, satire, understatement, pun, black humor, juxtaposition, analogy, allusion?
6. Artist’s purpose: What is the artist’s biased perspective on the issue? What is his/her call to action?
7. Agree / disagree: What side of the debate are you or other people on?

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- The 'Little Red-Cap is a transformation and inspired by the classical tale 'Little Red Riding Hood".
- The first stanza tells the reader the intention set by Carol Ann Duffy, where wives are portrayed with a submissive personality with married men.
- In this stanza is also when she first laid eyes on the 'wolf', who is shown as an intimidating and mature character.
- In the second stanza, the writer further portrays the wolf as an intimidating and confident character. The lines "reading his verse out loud in his wolfy drawl, a paperback in his hairy paw," display the knowledge of wolf along with his literature establishment.
- Further, the writer communicates how the little red cap is attracted to the wolf by quoting "What big.!" and " I made sure he spotted me". The wolf also perceives the girl as a young character since he offers her, her first drink.
- In the next stanza as the poet mentions "Here's why. Poetry" to show how the little red cap is not only attracted to the intimidating nature of the wolf but also his intelligence.
- The author also uses this stanza to display the wolf's dominating and 'superior' personality. On how men are known to be more superior than women. "lead me deep into the woods, away from home" Indicates how she is being pulled away from her comfort zone and giving in to the thrill. The mentions of "stocking ripped," "scraps of red from my blazer" and "murder clues" emphasizes the young character's state of being exposed.
- The next stanza begins with describing the physical intimacy between the wolf and the little red cap through phrases such as "breath of the wolf in my ear". The poet also conveys the personality of the wolf in, perhaps, a dominating and rough sense such as "thrashing fur". The stanza also shows how the Little red cap is attracted and blinded by the wolf's masculinity and has her sensual maturity. Moving forward, the little red cap goes in search of a 'white dove' which perhaps symbolizes freedom and peace.
- In the fifth stanza, the author describes how the wolf maintained having the upper hand and dominance by metaphorically stripping away the freedom of the little red cap. Once the wolf sleeps, the little red cap takes the opportunity to admire his books and literary maturity. Then, the poet conveys the 10-year long relationship of the two and how once the same habits that amused and attracted her, have started to come off as old and oppressive.
- Lastly, the author mentions how the little red cap took an axe and stripped the wolf's dominance and voice with "one chop, scrotum to throat". While continuing to make connections with the original tale and her grandmother, the girl gets rid of the wolf's body in a brutal manner and takes her freedom into her own hands.
- To summarise, the poet uses the idea of toxic masculinity and superiority, to demonstrate how naive girls are attracted to the stereotypical 'Ideal man'. Carol Ann Duffy also displays how these patterns and lifestyles turn out to be unrealistic and not important down the line as women mature and understand their own personalities and role.

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1. femme fatale- an attractive and seductive woman, especially one who is likely to cause distress to a man who becomes involved with her. Uses her power over men to get her own way.
2. Fin-de –sicle- end of a century, especially the 19th century.
3. Iconization
4. Promiscuity- promiscuous sexual behavior, having sexual relations with multiple partners on a casual basis.
5. Pastiche- a literary, artistic, musical, or architectural work that imitates the style and takes inspiration from a previous work
6. Allusion- indirect or implied reference to another person, event, or thing or to a part of another text.

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Alliteration- the occurrence of the same letter or sound at the beginning of adjacent or closely connected words.
Diacope- a rhetorical device that involves the repetition of words, separated by a small number of intervening words.
Epizeuxis- a literary or rhetorical device that appeals to or invokes the reader’s or listener’s emotions through the repetition of words or phrases in quick succession.
enumeration- the action of mentioning a number of things one by one.
metaphor- a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.

simile- A simile is a figure of speech that directly compares two things, using like or as
enjambement- the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.
caesura- a pause that occurs within a line of poetry, usually marked by some form of punctuation such as a period, comma, ellipsis, or dash.

assonance-  is a resemblance in the sounds of words/syllables either between their vowels or between their consonants
consonance- a stylistic literary device identified by the repetition of identical or similar consonants in neighboring words whose vowel sounds are different.
polysyndeton -  the repeated use of coordinating conjunctions to connect different items in a sentence. The repetition of conjunctions—and, but, or, nor—in close succession is a deliberate style choice to place emphasis on each listed word or phrase.
Asyndeton- the omission of the conjunctions that ordinarily join coordinate words or clauses, as in the phrase “I came, I saw, I conquered”
symbolism- is a literary device that uses symbols, be they words, people, marks, locations, or abstract ideas to represent
something beyond the literal meaning
Imagery - the name given to the elements in a poem that spark off the senses. Despite "image" is a synonym for "picture",
images need not be only visual; any of the five senses (sight, hearing, touch, taste, smell) can respond to what a poet writes.
Zoomorphinsm- a literary technique in which animal attributes are imposed upon non-animal objects, humans, and events; and animal features are ascribed to humans, gods, and other objects.

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The name of the poem 'Salome' has a myth.
Salome was the daughter of Herodias and is known for the executing John the Baptist. John the Baptist was imprisoned by Herod Antipas but never had him executed, when salome danced for Herod, he had promised to give her anything she wanted. She wanted the head of John the Baptist, salome was promoted by her mother as her mother's marriage was condemned by John.
This powerful poem alludes to the biblical character, as she wakes up with a head beside her but she is unmoved by who it was or if she was a complicit to his death.

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It is recognizable the poem is written for Miss Havisham's significant other and is written with frustration and expresses anger. The poem caters to her chaotic thoughts and there is a transition from sadness to a lot of distress. Lastly, the poem talks about past events that might have made a negative impact/traumatic experience for Miss Havisham, this is further explored and displayed through the author's tone and feel in the poem.

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1st stanza -
- the opening line begins with three related words which could be described as a semantic field, these words grow stronger consecutively, this also suggests the emotions, evolving insecurity, jealousy and lacking of confidence increases overtime.
- this stanza portrays the negative thoughts are growing inside her mind and scalp, like hair. These thoughts can be so empowering that she transfigured into the monster, medusa, with filthy snakes. The word filthy is strong and expressive and plays a role to the tone of the poem.
- Metaphorical symbolic of the jealousy medusa feels.
- Hissed and spat are onomatopoeic words with silbiants 's' sounds, imitating the hissing of snakes.

2nd stanza-
- the use of bride demonstrates that she and her lover were close and chosen each other before the betrayal. The alliteration of the 2 sets of words 'b' and then 's' flow into each other and represent the change in medusas thoughts.
- Through this stanza jealousy keeps spreading and wholly consumes her till she has grey bags of her lungs and is yellow fanged. Yellow, in this case, can represent disease and decay as jealousy takes over her whilst the repetition of the word 'foul' serves the disgust into the person she has transformed.
- The oxymoronic phrase of bullet tears shows the reader how she has become emotionless and the pain and anger which she reflects for her lover is lethal. On the other hand, the same phrase can represent medusa's power of being able to turn people into stone and kill them.
- this stanza ends with a rhetorical question used to intimidate the reader. This question is followed by an immediate answer in the next stanza.

3rd stanza-
- she opens with the tone of newfound confidence and self-esteem whilst she attempts to threaten the reader to be terrified.
- Duffy uses this stanza for the reader to empathize with medusa, by portraying the complexity of a supposedly villainous woman. The same makes the audience question if she is a terrible monster or if she has been destroyed by a man because of her immense need for validation and dependency.
- This stanza displays how medusa would rather have him be lifeless than not with her, this communicates how damaged, toxic and destructive the unfortunate event with her former lover has made her.

4th stanza-
- the word glanced displays hesitance and suggests that either medusa feared her power or was not aware of her maximum capabilities. As the poem moves forward Duffy uses words like 'looked' and 'stared' which show the increase in confidence of her powers and more control of her capabilities.
- the adjectives that describe her victims change from lively, joyous: “buzzing” “singing”; to tedious and undesirable: “dull” “dusty”, correlating what Medusa once was with what she has become.

5th stanza-
- everything she makes eye contact with turns into stone, the progression from the previous stanza can be seen in terms of the things she's turning into stone along with the effort she looks at the creature with. This suggests she understands her power and is willingly using it.

6th stanza-
- At the peak of her powers, she's staring at herself, a monster, a gorgon. The line love gone bad is about the corruption and possession of love, the dependency, and the validation that created her jealousy and insecurities.
- A beautiful woman has gone bad.
- The creatures she stares at in this stanza increase in size and power, as she stares at a dragon, which is a destructive and ugly mythical creature, like medusa herself.

7th stanza-
- Anticipating her former lover who will stray then return, expecting her to be unmoved by his cruelty. The word shield refers to medusa's husband never loving her but always being guarded or shielded.
- Medusa tries to imply through imagery that her former lover was the one who attacked her emotionally. His words hurt and damaged her like he was using swords and shields to break her heart.
- the use of the word girls suggests the man was unfaithful, more than once, to medusa and that her love had no effect on him, which in turn destroyed her individually.
- the last 2 rhetorical questions show bafflement and her pain. She tries to seek sympathy, affection and, some sort of validation through the questions.

The last line is ambiguous, she is either not softened by him and can turn him into stone or , she could want him to see her in her present state and feel guilty.

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The World's Wife
The collection of poems by Carol Ann Duffy entitled The World's Wife was first published in 1999 and presents stories, myths, fairy tales and characters in Western culture from the point of view of women, very often giving voice to the hitherto unsung women close to famous men. Much of literature through the ages and even today is patriarchal, presenting the world from a male perspective. These poems were intended by Carol Ann Duffy to rectify that, to highlight the fact that women have long been ignored or silenced. The poems in the collection are witty, satirical, playful and complex.

The Greek Medusa Myth
In "Medusa," the mythical protagonist is seen as being consumed by jealousy following the unfaithfulness of her lover. The Medusa story is one in which three Gorgon sisters, who hated mortal men, are so ugly that they turn all those that look at them into stone.

In the end, they are killed by the Greek demi-god Perseus, who uses their reflection in his shield to attack them.

Carol Ann Duffy's Interpretation
Duffy uses the imagery of the Medusa to show the power and destructive nature of jealousy. Medusa represents women who are betrayed by men and whose fine and loving natures are distorted and ultimately destroyed by their experiences. Duffy subverts centuries of misogynistic representation of women as evil, to show that it is men, not women, who are the root cause of the world's ills.

Structure
The poem comprises seven stanzas of free verse. The first has five lines, the remainder six. There is no formal structured rhyme scheme, but a rhythmic effect is created by the frequent use of internal rhyme, consonance and assonance. The unstructured composition reflects the emotions of the speaker as her thoughts develop.

Language
The narrative is in the form of a dramatic monologue in which Medusa seems to be addressing an unknown audience. The reader is able to piece together the story as she speaks.

This is also a poem studied for English Literature GCSE.

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The World's Wife The collection of poems by Carol Ann Duffy entitled The World's Wife was first published in 1999 and presents stories, myths, fairy tales and characters in Western culture from the point of view of women, very often giving voice to the hitherto unsung women close to famous men.

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- The beginning is abrupt, with the voice of Havisham cursing the fiance who has betrayed her. It is an oxymoron, expressing the extremes of emotions that are torturing the speaker.
- She is in an agony of pain and grief; a woman who has suffered such a shock that her peace is terribly damaged.
-Duffy expresses this through jerky and short phrases, and then rushed ideas that burst out without logic or rationality.
-The metaphor ‘dark green pebbles’ suggests several ideas. Firstly, ‘green’ is the colour of jealousy, we can therefore assume that Havisham would be jealous of any woman whose wedding day proceeds. Secondly, pebbles are hard and might suggest pain in her eyes caused by weeping. Thirdly, eyes are soft and sensitive and often express kindness, so this could convey the idea of hardening emotions and growing hatred.
-The one-word sentence is an expression of self-hatred and also shame. Not only has Havisham been insulted and rejected as a person by her fiance, but she will be forced to lead a restricted life with lower status in society. It also suggests her emotional isolation
- Miss Havisham's identity has become interwoven with her dress, and her identity as someone left at the altar has become interwoven with her identity. The "slewed mirror" that follows underscores her unsteady sense of self, as does the moment where the speaker refers to herself in the third person, then in the first person: "...her, myself, who did this/to me?"
-She describes her dreams at night; her idea of a "better" night is one with a "lost body" hovering over her with her tongue "in its mouth in its ear/then down till I suddenly bite awake." The sexual connotations here are clear, but the phrase "the lost body" and the way the speaker refers to the body as an "it" and never a "he" or a "you" add a dark twist to the moment; this moment foreshadows the male corpse that appears in the final stanza.
-"Love's/hate behind a white veil," the speaker continues for the final stanza. The enjambment Duffy uses to cut "Love's/hate" juxtaposes the two to each other physically, and the speaker leaves ambiguity about whether "love's" is possessive (the hate that love has) or a contraction (love IS hate).
-The next line includes one of these moments, where the speaker "stabbed at the wedding cake." Then appears the male corpse, which the speaker demands for the purpose of a "long slow honeymoon." As mentioned before, this calls back to the lost body from the narrator's dreams and furthers the necromantic feeling of the poem.
-The speaker ends the poem on the line, "Don't think it's only the heart that b-b-b-breaks.". By breaking up the word "breaks," the speaker emphasizes her own brokenness; the moment also reads like a stutter, which compounds Miss Havisham's difficulty communicating through words throughout this poem.

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- The story of (Mr) Lazarus being mentioned by Jesus is known from the Gospel According to John (11:1-45).

- Lazarus, brother of Martha and Mary. Lived at Bethany, near Jerusalem.

- Jesus loved Lazarus and his sisters, however Lazarus died due to illness. Leading to, Jesus being greatly disturbed

- Lazarus had been entombed for four days

- Jesus arrived at Bethany after four days, Lazarus was raised from the dead by Jesus,  He emerged from his tomb wearing his burial clothes

- It was a miracle and many Jews saw it happening, the ones who had come to grieve

- This inspired many to believe in Jesus as the Christ, Mary anointed the feet of Jesus with expensive perfume

context with poem -

Lazarus of Bethany was resurrected by Jesus after death. He was buried for 4 days. Mrs Lazarus is a fictional character. Lazarus, in this story, is resurrected much later

Gives voice to a character who was overlooked

Jesus did not consider how Mrs Lazarus would feel when resurrecting her husband

Time can heal everything, losing someone changes you so much that you can’t go back, you have to go on

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chosen GI- grief and power

- The poem begins with the speaker in terrible grief over her husband's death.  The poetic voice utilizes "wept," "howled, shrieked, clawed" to indicate the initial distress of loss
- Grieving process was empowering so Jesus was indirectly undermining Mrs. Lazarus
- Criticises societal norms of marriage and love, traditional Catholic values

Repetition of “dead, dead” – she can’t come to terms with the truth, has to tell herself, finality

Asyndeton and triplet of “howled, shrieked, clawed” shows her intial greif

Zoomorphism which is behaviour relating to animal, uncontrollable, wild

“Gaunt nun” “touching herself” is attempt at Sarcasm- expected to be so religious and god-loving. No pleasure, ironic, nuns are celibate | “Gaunt nun” “touching herself”

“BUT i was faithful” :  she anticipates that society is criticizing her so she sees the need to defend herself and actions

The words "could" "healed" "able" indicate that she is "able" to do things again,"able" to live her life without her husband and achieved closure. The element of nature, where the speaker is watching "the edge of the moon occur to the sky and a hare thump from a hedge", also indicates new life, satisfaction and ultimately  accepted the death of her husband

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Panel- Panels can be large or small and defined with a border. It often affects the way the reader interprets the story and portrays different POV's or shifts in setting
Borders- the edge of the panel. In some cases, panels do not have a defined border.
Gutter- the empty white space between panels.
Speech bubbles- speech bubbles are used when a character is speaking, shown with a pointer. Sometimes it is accompanied with smaller and series of bubbles to indicate the character's thoughts instead of speaking.
Emanate- graphic signs used to relate information that can not be easily perceived such as state of mind, feelings, or non-visible phenomena.
tier- a row of panels
Icon- representation for a particular thing on the page. With regards to how realistic, stylized, concrete, or abstract icons are they affect the way readers interpret them.
Sound effect- various iconic indicate sounds, jagged speech bubbles, and words are often used.
Caption- a sense of narrative voice, use of words to display what is going on within a panel.

Characteristics such as text, composition, and layout, impact, perspectives, transitions, stylistic features are the properties that help us analyze the graphic novel.

I was aware of captions, gutter, panels, border, speech bubbles, and sound effects.
I was not aware of icons, tiers, and emanate.

Salient means important or dominant characters found in the work. It could also be the dominant tone, theme, or plot it conveys. Cartoons do have a salient feature, it could be the theme/purpose of the cartoon or the main lead character.

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- they are interpretive drawings, may contain words/dialogues that help understand the cartoon. - usually convey an idea about a current issue, event, or problem. Additionally, they are simple (black and white) and help to understand people's stance on the topic.
Common characteristics for a political cartoon:
- wit and humor to send a message
- has a foundation in truth
- recognizable characters
- has a moral purpose- the cartoon should provide opportunities for critical thinking and inform the viewer about an issue.
interpretation: 5 techniques
- symbolism
- exaggeration
- labeling
- analogy
- irony

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The provided informative infographic is published by the UK Chief medical Officers, in 2019. It's target audience is new parents, nannies, school teachers and any other important roles in a child's life from the ages of birth to 5 years old. Further, it attempts to advise and inform the importance of physical activities in a child's life. The following analysis will explore how the authorial choices of graphology, persuasive methods, and visual appeal supports the infographic.

can add- contradicting tone

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Communication: Writers, we may assume, communicate with readers, manipulating language, style, and structure to establish ideas. Writers may write for particular purposes and for different intended audiences
Perspective: the concept of perspective suggests that works and texts have a range of potential meanings. The potential can arise, for example, from authorial intent, reader bias, and from the time and place in which a work or text was written.
PROPAGANDA: techniques used to influence opinions, emotions, attitudes, or behavior.
Persuasion: Generally an appeal to emotion, not intellect. An attempt to change your behavior. It attempts to “guide your choice”
Who uses propaganda: Military, Media, Advertisers, Politicians, You and I.
techniques of propaganda:
•Bandwagon Technique- everyone is doing it so you should too.

•Testimonial- quotations or endorsements which connect a famous or respectable person with a product or item.

•Loaded Words- example- new, improved, better, safe, best

•Misuse of statistics- When the statistics are based on a falsehood.

•Name calling or stereotyping- smears or damages a person, used by politicians.

•Plain Folks- Makes the leaders look like plain folks (mom and pop style), a convincing method to show they are just common people. Opposite of snob appeal.

•Snob Appeal- aims to flatter

•Transfer- Transfer tries to make you view something in the same way as they view something else.

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Abstract: An image emphasising formal elements such as line and shape rather than particular, recognizable objects.
Content: The subject, topic, or information in the image.
Direct approach: Capturing an image of a scene in a straightforward way without using distortion or unusual angles.
Documentary photography: Photographs where the main purpose is to record a place, person, or event.
Expressive: Photographs intended to communicate emotion.
Geometric shape: Simple shapes found in geometry such as circles, squares, rectangles, triangles, and so on.
Intention: The reason(s) why the photographer made the image.
Landscape: A photograph of the natural environment.
Objective: A point of view that attempts to limit personal bias, considering all information with equal regard and fairness.
Organic shape: Shapes that are based on objects in nature such as tree, mountains, leaves, and so on.
Representational: A photograph showing recognisable objects.
Subject: The main object or person(s) in a photograph.
Theme: A central or unifying aspect in a body of work or collection of works.
visual elements-
Focus: Areas that appear clear and sharp (in contrast to areas that do not).
Line: Objects in photographs can sometimes act as lines. They may be used to establish outline, direction, movement, and energy. Lines can be, for example, straight, curvy, thick, or thin.
Light: Areas of brightness and shadow. Light can be used to suggest time of day. Light may be artificial or natural, harsh or soft, reflected or direct.
Repetition: Objects, shapes, lines etc. that repeat and create a pattern.
Shape: See above – geometric shape and organic shape. When you look at an image, is the geometric or organic dominant?
Space: This is an aspect of an image's composition. Photographs can suggest depth, or they may appear shallow (and you might consider how this is established; sometimes this is created by special illusion). In addition space can be both positive (areas that attract most attention) and negative (the emptier areas).
Texture: This is about the quality of ‘feel’ in the photograph; if you could touch an image, what would it feel like?
Value: This is a quality of light. In considering an image, you might ask if it suggests a range of tones from light to dark. Where are the lightest and darkest values?
Angle: This is the vantage point from where a photograph was taken. It is often used when discussing images taken from an unusual or exaggerated vantage point.
Background: This is the part of an image that seems to be towards the back.
Balance: This refers to the distribution of visual elements. Symmetrical balance distributes visual elements evenly in an image. Asymmetrical balance distributes visual elements unevenly.
Central focus: This refers to the object(s) that seem most prominently or clearly focused in a photograph
Composition: This is the arrangement or structuring of formal elements that make up an image.
Contour: The outline of an object or shape.
Contrast: Significant visual differences between light and dark, varying textures, sizes, and so on.
Framing: What the photographer has placed within the boundaries of the photograph.
Setting: This is the actual physical surrounding or scenery whether real or artificially constructed.
Vantage point: The place or position from which the photographer takes a photograph.

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15th-
18th September - revision on cartoons and cartoon elements
20th- Political cartoon analysis
22rd- revision on techniques of advert
24th-revision of photography elements
27th- revision and overview of all- adverts, political cartoons, graphic novel, photography elements

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Outline from the Language and Literature guide - HL

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Outline from the Language and Literature guide - HL

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-  Paper 1: Guided textual analysis - 2 hours 15 minutes - 35% weightage
Paper 1 consists of two non-literary passages, from two different text types, each accompanied by a question. Students write an analysis of each of the passages. (40 marks)
- Paper 2: comparative essay- 1 hour 45 minutes - 25% weightage
Paper 2 consists of four general questions, in response to one question the students write a comparative essay in two works studied in the course. (30 marks)
- HL essay - 20% weightage - 1,200-1,500 words in length.
students submit an essay on one non-literary text or collection of non-literary texts by one same author, or a literary text or work studied during the course.  (20 marks)
- internal assessment - individual oral (15 minutes) - 20% weightage
Supported by an extract from both one non-literary text and one from a literary work, students will offer a prepared response of 10 minutes, followed by 5 minutes of questions by the teacher, to the following prompt:

Examine the ways in which the global issue of your choice is presented through the content and form of two of the works that you have studied. (40 marks)

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Allusion- A similarity between 2 works. Where one work is inspired by another artwork.
Sibilance- symbolisation
Emanate- icons used in cartoons when they can not be expressed otherwise, for example, feelings.
Gutter- The white, empty space between panels.
Icons- a representation for a specific item.
border- the edges of the panels.
re-writing the incorrect one:
Allusion- indirect or implied reference to another person, event, or thing or to a part of another text.
Sibilance- a figure of speech with repetitive 's' sounds.
Asyndeton- the omission of the conjunction that ordinarily joins coordinate words of clauses, as in the phrase 'I came, I saw, I conquered
Polysyndeton- the repeated use of coordinate conjunctions to connect different items in a sentence
_________________________________________________________________

cartoon introduction:
The above cartoon made by Jhanavi Malhotra depicts the central issue about the healthcare system of the United States. While the primary target audience is focused on Muslims and/or Mexicans that have had to face discrimination, it also symbolizes the privilege of other citizens that can afford it because it is very costly.

Final:
The above cartoon made by Jhanavi Malhotra depicts the central issue of the USA's healthcare system. While the primary target audience relates to Mexicans and/or Muslims that have been victims of Racism, it also conveys the privilege of wealthier citizens through symbolization and exaggeration as they can afford the rather expensive healthcare.

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An infographic is defined as a visualization of data or ideas that tries to convey complex information to an audience in a manner that can be quickly consumed and easily understood.

- they are aesthetically pleasing, have high shareability (word of mouth), and utilize short attention spans.
Brand infographics can be appropriate for:

1. Promoting or explaining services and products
2. Explaining sales or internal survey data
3. Establishing your company as a thought leader
Editorial infographics can have myriad purposes, including:

1. Stating facts or explaining processes

2. Exploring the history of a person or topic

3. Comparing companies, countries, educational institutions, teams, and so on

4. Supporting a political ideology

Salient features of an infographic-
descriptive title and subheadings, informative statistics, cohesive colour schemes, eye-catching graphics, sequential narrative, and bold inflation e.g. unique facts.

qualities-
- takes no more than 30-40seconds to read
- presents data accurately and ethically
- citations
- tells a story in a simple and creative fashion

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Magazine covers are used to attract their target audience and persuade them to buy the magazine.

Four F's-
Format: the format is the design choices that can be found on every edition of magazine, this is also known as the house style. The format includes aspects of the magazine such as the logo, size of the magazine and the font. magazine designers ensure that the house style is consistent throughout all editions of the magazine so that is it easily recognisable for the reader.
Formula: the formula is also known as the editorial content, this means what is actually in the magazine. the formula includes the length and type of article used in the magazine as well as the sections in the magazine from front to back.
Frame: the frame is the standard size of the magazine including the outer page margins and gutters. the rule of using magazine margins establishes the consistency from issue to issue.
Function: the function is what the magazine is trying to achieve and the message the magazine is trying to put forward.

Features-
1. Masthead- displayed on every edition of the magazine in the same typeface and position on the magazine to ensure consistency throughout their magazines. The typeface is often in a specific font that is unique to the magazine, this is done for advertising purposes to make sure that the magazine is easily recognizable.
2. Dateline- The month and price are often written on the magazine, but magazines usually come onto shelves a month before the date on the magazine.
3. Cover lines- used to give the reader an insight into the magazine. The cover lines are written around the edge of the magazine but not in front of the main image to take the focus away from it.
4. The main cover line- the largest cover line on the magazine cover and is in bold font to draw the reader's eye towards it. The main cover line is usually short and gives an insight into the main story within the issue of the magazine.
5. The main image- gives the reader an idea of what the magazine is based on. It is usually a simple image, for example the image used in the magazine above is a simple mid-shot image with not too much going on around it to distract the reader.
6. Model credit-  sometimes written on the front cover in some fashion magazines, for example, the magazine above where it says 'Model of the year Cara Delevingne'.

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Mock IOs- March 7th - 11th
Final- April first/second week
Paper 1- Web appeal/speech/article
text for IO- Duffy, Tim O' Brien and Achebe's things fall apart.

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Chronicle of a Death Foretold I Gabriel García Márquez | Draw My Life

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Santiago Nasar

Everything in this novel is about Santiago Nasar. The story is centered on his murder, and he's rich, engaged to be married, likes to party, and has a bunch of guns.

Angela Vicario

Angela has no spunk or spark of life; she's a wimpy little girl, exactly how her mom wanted her to be. Angela is also forced into the marriage with Bayardo by her family as if she had absolutely no free will. Just like Divina Flor, Angela just gave in to her fate as if it were inevitable.
Angela completely changed when she returned to her family. She's no longer under the thumb of her mother, not afraid of anything, and totally independent. She's not even ashamed of what happened and is willing to tell everyone the story. That's a  different Angela from the one we met as a teenager.

Why is Angela able to turn her life around? Maybe it's because she didn't have anything to fear anymore. The girls in the town had to protect their honor with all of their might. That's what made them 'good girls'. But the worst had already happened, Angela. So what was there for her to be afraid of?

The Vicario Brothers, Pablo and Pedro

the brothers mainly function as a vehicle for certain cultural values throughout the story. The word machismo is used to describe sexism, misogyny, chauvinism, and hyper-masculinity.  In many Latin American societies, men are expected to display this sort of super masculine and aggressive behavior. Part of that is defending one's honor. So Angela's brothers, Pedro and Pablo are basically required to go and kill Santiago. Even if they're killed in the process, then at least they get the honor of trying to kill him. If they don't even try, then they will have absolutely no respect in the community. They wouldn't be men anymore.

Bayardo San Román

He's a handsome man and all the ladies in town admire him. He's a track engineer, who knows more about telegrams than the telegrapher, knows as much about medicine as a doctor, is a good drinker, goes to church, and swims better than the best swimmers in the town. He's also filthy rich, for him, money is the answer to everything.

Purísima del Carmen

Purísima del Carmen is meek (at least in appearance) and completely devotes herself to taking care of her husband and her children. She's completely self-effacing, lives to suffer, and is totally subject to the will of the men around her.

If the fate of Pablo and Pedro is what happens to men in a society fueled by machismo, then Pura and her daughters are the female equivalents. So it's no wonder that Pura beats Angela for two hours straight when she finds out that she hasn't exactly been following the perfect daughter script.

María Alejandrina Cervantes

Men do not teach her, she teaches them. Her virginity is not taken; she takes men's virginity. Her honor can't be removed by something as simple as sex. She is also the only woman in the whole book who seems to actually be loved by someone, and not just part of a marriage of convenience.

Considering how much importance this town places on virginity and sex, you might be surprised that the woman with all of these positive attributes is a prostitute—but it's also no coincidence. A prostitute does not have to follow the same rules as the rest of the women in this patriarchal society. She doesn't have to maintain her virginity or do whatever men want her to. She is not dependent on men to take care of her; she makes her own money and has her own job. In other words, she's an independent woman.

Victoria Guzmán

Divina Flor

Xius

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The narrative outlines the events surrounding the murder of Santiago Nasar, a young man who is thought to have taken the virginity of Angela Vicario. On her wedding night, after discovering that she was not a virgin, Angela's husband, Bayardo San Roman, returns her to her house. Angela's twin brothers, Pedro Vicario and Pablo Vicario, ask her who took her virginity, and she tells them that Santiago Nasar did. The brothers find Santiago and kill him.

The narrative is non-linear. The narrator begins the story by telling us about Santiago Nasar's household the morning he was murdered. In the course of the chapter, we learn that Santiago lived with his mother, Placida Linero; their cook, Victoria Guzman; and her daughter, Divina Flor. Santiago's father, Ibrahim Nasar, has died three years previously. After his father died, Santiago took over the family ranch, which has been very successful; the Nasars are wealthy in their community.

The day that Santiago is murdered was a significant day in town because the Bishop was coming by boat to bless the marriage of Angela Vicario and Bayardo San Roman. Many people were heading over to the dock to see the boats. Pedro and Pablo Vicario were sitting in the local milk-shop, which was en route to the dock, so that they could see Santiago Nasar either going or returning in order to track him down and kill him. The narrator's sister learns that Angela Vicario was returned home on the night of her wedding.

Bayardo San Roman had come to town to find a bride. After deciding on Angela, the courtship was short. Because Bayardo came from a prestigious, wealthy family, and the Vicarios were relatively poor, Angela did not really have a choice, even though she did not love Bayardo at the time they were wed.

The night before the murder, there had been lots of wedding revelry that had continued into the early morning at a local whorehouse run by Maria Alejandrina Cervantes, where Santiago Nasar had been carousing with the twins and the narrator until early in the morning. After returning home and finding their sister in disgrace, the Vicario brothers set out to avenge her honor by murdering Santiago Nasar. Even though they repeatedly announced their intent to murder him, the butcher, the police officer, and the Colonel all thought that the Vicarios are largely bluffing. Clothilde Armenta, the proprietor of the milk shop, even told the local priest about what the Vicario twins were threatening to do. However, in the excitement surrounding the arrival of the bishop, he forgot about her warning.

After the murder, the entire Vicario family left town because of the disgrace the combination of events had brought upon their family. A week after the murder, Bayardo San Roman left with his family; they came and retrieved him by boat. The Vicario brothers were imprisoned for three years. After their release from prison, Pablo proceeded to marry his betrothed, Prudencia Cotes, and Pedro went back into the armed forces.

After Bayardo returned Angela to her home on their wedding night, she fell in love with him. After she moved away from the town where she was disgraced, she wrote him letters every week for seventeen years, and eventually he returned to her.

For years after the crime, it was all anyone in the town spoke of. The narrator tells how his friend Cristo Bedoya searched frantically for Santiago the morning of the murder in order to warn him of the Vicario brothers' plan, but failed to find Santiago because he did not realize that Santiago had gone to the house of his fiance, Flora Miguel. Her father was the first to warn Santiago of the murder. At this point, there were crowds of people outside who had come to see the Bishop but had lingered because they had heard the rumor that Santiago was to be killed.

When he left Flora Miguel's house, Santiago was very confused. Clothilde Armenta yelled at him to run, and he ran the fifty yards to his front door. The Vicario brothers easily caught up with him, and stabbed him to death right outside of Santiago's front door.

https://www.sparknotes.com/lit/chrondeath/summary/#:~:text=The%20narrative%20outlines%20the%20events,returns%20her%20to%20her%20house.

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The narrative outlines the events surrounding the murder of Santiago Nasar, a young man who is thought to have taken the virginity of Angela Vicario. On her wedding night, after discovering that she was not a virgin, Angela's husband, Bayardo San Roman, returns her to her house. Angela's twin brothers, Pedro Vicario and Pablo Vicario, ask her who took her virginity, and she tells them that Santiago Nasar did. The brothers find Santiago and kill him.

The narrative is non-linear. The narrator begins the story by telling us about Santiago Nasar's household the morning he was murdered. In the course of the chapter, we learn that Santiago lived with his mother, Placida Linero; their cook, Victoria Guzman; and her daughter, Divina Flor. Santiago's father, Ibrahim Nasar, has died three years previously. After his father died, Santiago took over the family ranch, which has been very successful; the Nasars are wealthy in their community.

The day that Santiago is murdered was a significant day in town because the Bishop was coming by boat to bless the marriage of Angela Vicario and Bayardo San Roman. Many people were heading over to the dock to see the boats. Pedro and Pablo Vicario were sitting in the local milk-shop, which was en route to the dock, so that they could see Santiago Nasar either going or returning in order to track him down and kill him. The narrator's sister learns that Angela Vicario was returned home on the night of her wedding.

Bayardo San Roman had come to town to find a bride. After deciding on Angela, the courtship was short. Because Bayardo came from a prestigious, wealthy family, and the Vicarios were relatively poor, Angela did not really have a choice, even though she did not love Bayardo at the time they were wed.

The night before the murder, there had been lots of wedding revelry that had continued into the early morning at a local whorehouse run by Maria Alejandrina Cervantes, where Santiago Nasar had been carousing with the twins and the narrator until early in the morning. After returning home and finding their sister in disgrace, the Vicario brothers set out to avenge her honor by murdering Santiago Nasar. Even though they repeatedly announced their intent to murder him, the butcher, the police officer, and the Colonel all thought that the Vicarios are largely bluffing. Clothilde Armenta, the proprietor of the milk shop, even told the local priest about what the Vicario twins were threatening to do. However, in the excitement surrounding the arrival of the bishop, he forgot about her warning.

After the murder, the entire Vicario family left town because of the disgrace the combination of events had brought upon their family. A week after the murder, Bayardo San Roman left with his family; they came and retrieved him by boat. The Vicario brothers were imprisoned for three years. After their release from prison, Pablo proceeded to marry his betrothed, Prudencia Cotes, and Pedro went back into the armed forces.

After Bayardo returned Angela to her home on their wedding night, she fell in love with him. After she moved away from the town where she was disgraced, she wrote him letters every week for seventeen years, and eventually he returned to her.

For years after the crime, it was all anyone in the town spoke of. The narrator tells how his friend Cristo Bedoya searched frantically for Santiago the morning of the murder in order to warn him of the Vicario brothers' plan, but failed to find Santiago because he did not realize that Santiago had gone to the house of his fiance, Flora Miguel. Her father was the first to warn Santiago of the murder. At this point, there were crowds of people outside who had come to see the Bishop but had lingered because they had heard the rumor that Santiago was to be killed.

When he left Flora Miguel's house, Santiago was very confused. Clothilde Armenta yelled at him to run, and he ran the fifty yards to his front door. The Vicario brothers easily caught up with him, and stabbed him to death right outside of Santiago's front door.

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chronicle of a death foretold short summary

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chronicle of a death foretold plot outline

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Chronicle of a Death Foretold: Full Book Summary | SparkNotes

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The narrative outlines the events surrounding the murder of Santiago Nasar, a young man who is thought to have taken the virginity of Angela Vicario. On her wedding night, after discovering that she was not a virgin, Angela's husband, Bayardo San Roman, returns her to her house.

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Othello begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him win Desdemona's hand in marriage. But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier Michael Cassio.

Unseen, Iago and Roderigo cry out to Brabantio that his daughter Desdemona has been stolen by and married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries back to Othello before Brabanzio sees him. At Othello’s lodgings, Cassio arrives with an urgent message from the duke: Othello’s help is needed in the matter of the imminent Turkish invasion of Cyprus. Not long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter by witchcraft. When he finds out that Othello is on his way to speak with the duke, Brabanzio decides to go along and accuse Othello before the assembled senate.

Brabanzio’s plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the stories of his adventures in travel and war. The duke finds Othello’s explanation convincing, and Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that her allegiance is now to her husband. Brabanzio is frustrated but acquiesces and allows the senate meeting to resume. The duke says that Othello must go to Cyprus to aid in the defense against the Turks, who are headed for the island. Desdemona insists that she accompany her husband on his trip, and preparations are made for them to depart that night.

In Cyprus the following day, two gentlemen stand on the shore with Montano, the governor of Cyprus. A third gentleman arrives and reports that the Turkish fleet has been wrecked in a storm at sea. Cassio, whose ship did not suffer the same fate, arrives soon after, followed by a second ship carrying Iago, Roderigo, Desdemona, and Emilia, Iago’s wife. Once they have landed, Othello’s ship is sighted, and the group goes to the harbor. As they wait for Othello, Cassio greets Desdemona by clasping her hand. Watching them, Iago tells the audience that he will use “as little a web as this” hand-holding to ensnare Cassio (II.i.169).

Othello arrives, greets his wife, and announces that there will be reveling that evening to celebrate Cyprus’s safety from the Turks. Once everyone has left, Roderigo complains to Iago that he has no chance of breaking up Othello’s marriage. Iago assures Roderigo that as soon as Desdemona’s “blood is made dull with the act of sport,” she will lose interest in Othello and seek sexual satisfaction elsewhere (II.i.222). However, Iago warns that “elsewhere” will likely be with Cassio. Iago counsels Roderigo that he should cast Cassio into disgrace by starting a fight with Cassio at the evening’s revels. In a soliloquy, Iago explains to the audience that eliminating Cassio is the first crucial step in his plan to ruin Othello. That night, Iago gets Cassio drunk and then sends Roderigo to start a fight with him. Apparently provoked by Roderigo, Cassio chases Roderigo across the stage. Governor Montano attempts to hold Cassio down, and Cassio stabs him. Iago sends Roderigo to raise alarm in the town.

The alarm is rung, and Othello, who had left earlier with plans to consummate his marriage, soon arrives to still the commotion. When Othello demands to know who began the fight, Iago feigns reluctance to implicate his “friend” Cassio, but he ultimately tells the whole story. Othello then strips Cassio of his rank of lieutenant. Cassio is extremely upset, and he laments to Iago, once everyone else has gone, that his reputation has been ruined forever. Iago assures Cassio that he can get back into Othello’s good graces by using Desdemona as an intermediary. In a soliloquy, Iago tells us that he will frame Cassio and Desdemona as lovers to make Othello jealous.

In an attempt at reconciliation, Cassio sends some musicians to play beneath Othello’s window. Othello, however, sends his clown to tell the musicians to go away. Hoping to arrange a meeting with Desdemona, Cassio asks the clown, a peasant who serves Othello, to send Emilia to him. After the clown departs, Iago passes by and tells Cassio that he will get Othello out of the way so that Cassio can speak privately with Desdemona. Othello, Iago, and a gentleman go to examine some of the town’s fortifications.

Desdemona is quite sympathetic to Cassio’s request and promises that she will do everything she can to make Othello forgive his former lieutenant. As Cassio is about to leave, Othello and Iago return. Feeling uneasy, Cassio leaves without talking to Othello. Othello inquires whether it was Cassio who just parted from his wife, and Iago, beginning to kindle Othello’s fire of jealousy, replies, “No, sure, I cannot think it, / That he would steal away so guilty-like, / Seeing your coming” (III.iii.37–39).

Othello becomes upset and moody, and Iago furthers his goal of removing both Cassio and Othello by suggesting that Cassio and Desdemona are involved in an affair. Desdemona’s entreaties to Othello to reinstate Cassio as lieutenant add to Othello’s almost immediate conviction that his wife is unfaithful. After Othello’s conversation with Iago, Desdemona comes to call Othello to supper and finds him feeling unwell. She offers him her handkerchief to wrap around his head, but he finds it to be “[t]oo little” and lets it drop to the floor (III.iii.291). Desdemona and Othello go to dinner, and Emilia picks up the handkerchief, mentioning to the audience that Iago has always wanted her to steal it for him.

Iago is ecstatic when Emilia gives him the handkerchief, which he plants in Cassio’s room as “evidence” of his affair with Desdemona. When Othello demands “ocular proof” (III.iii.365) that his wife is unfaithful, Iago says that he has seen Cassio “wipe his beard” (III.iii.444) with Desdemona’s handkerchief—the first gift Othello ever gave her. Othello vows to take vengeance on his wife and on Cassio, and Iago vows that he will help him. When Othello sees Desdemona later that evening, he demands the handkerchief of her, but she tells him that she does not have it with her and attempts to change the subject by continuing her suit on Cassio’s behalf. This drives Othello into a further rage, and he storms out. Later, Cassio comes onstage, wondering about the handkerchief he has just found in his chamber. He is greeted by Bianca, a prostitute, whom he asks to take the handkerchief and copy its embroidery for him.

Through Iago’s machinations, Othello becomes so consumed by jealousy that he falls into a trance and has a fit of epilepsy. As he writhes on the ground, Cassio comes by, and Iago tells him to come back in a few minutes to talk. Once Othello recovers, Iago tells him of the meeting he has planned with Cassio. He instructs Othello to hide nearby and watch as Iago extracts from Cassio the story of his affair with Desdemona. While Othello stands out of earshot, Iago pumps Cassio for information about Bianca, causing Cassio to laugh and confirm Othello’s suspicions. Bianca herself then enters with Desdemona’s handkerchief, reprimanding Cassio for making her copy out the embroidery of a love token given to him by another woman. When Desdemona enters with Lodovico and Lodovico subsequently gives Othello a letter from Venice calling him home and instating Cassio as his replacement, Othello goes over the edge, striking Desdemona and then storming out.

That night, Othello accuses Desdemona of being a whore. He ignores her protestations, seconded by Emilia, that she is innocent. Iago assures Desdemona that Othello is simply upset about matters of state. Later that night, however, Othello ominously tells Desdemona to wait for him in bed and to send Emilia away. Meanwhile, Iago assures the still-complaining Roderigo that everything is going as planned: in order to prevent Desdemona and Othello from leaving, Roderigo must kill Cassio. Then he will have a clear avenue to his love.

Iago instructs Roderigo to ambush Cassio, but Roderigo misses his mark and Cassio wounds him instead. Iago wounds Cassio and runs away. When Othello hears Cassio’s cry, he assumes that Iago has killed Cassio as he said he would. Lodovico and Graziano enter to see what the commotion is about. Iago enters shortly thereafter and flies into a pretend rage as he “discovers” Cassio’s assailant Roderigo, whom he murders. Cassio is taken to have his wound dressed.

Meanwhile, Othello stands over his sleeping wife in their bedchamber, preparing to kill her. Desdemona wakes and attempts to plead with Othello. She asserts her innocence, but Othello smothers her. Emilia enters with the news that Roderigo is dead. Othello asks if Cassio is dead too and is mortified when Emilia says he is not. After crying out that she has been murdered, Desdemona changes her story before she dies, claiming that she has committed suicide. Emilia asks Othello what happened, and Othello tells her that he has killed Desdemona for her infidelity, which Iago brought to his attention.

Montano, Graziano, and Iago come into the room. Iago attempts to silence Emilia, who realizes what Iago has done. At first, Othello insists that Iago has told the truth, citing the handkerchief as evidence. Once Emilia tells him how she found the handkerchief and gave it to Iago, Othello is crushed and begins to weep. He tries to kill Iago but is disarmed. Iago kills Emilia and flees, but he is caught by Lodovico and Montano, who return holding Iago captive. They also bring Cassio, who is now in a chair because of his wound. Othello wounds Iago and is disarmed. Lodovico tells Othello that he must come with them back to Venice to be tried. Othello makes a speech about how he would like to be remembered, then kills himself with a sword he had hidden on his person. The play closes with a speech by Lodovico. He gives Othello’s house and goods to Graziano and orders that Iago be executed.

https://www.sparknotes.com/shakespeare/othello/summary/

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Othello begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him win Desdemona's hand in marriage. But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier Michael Cassio.

Unseen, Iago and Roderigo cry out to Brabantio that his daughter Desdemona has been stolen by and married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries back to Othello before Brabanzio sees him. At Othello's lodgings, Cassio arrives with an urgent message from the duke: Othello's help is needed in the matter of the imminent Turkish invasion of Cyprus. Not long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter by witchcraft. When he finds out that Othello is on his way to speak with the duke, Brabanzio decides to go along and accuse Othello before the assembled senate.

Brabanzio's plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the stories of his adventures in travel and war. The duke finds Othello's explanation convincing, and Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that her allegiance is now to her husband. Brabanzio is frustrated but acquiesces and allows the senate meeting to resume. The duke says that Othello must go to Cyprus to aid in the defense against the Turks, who are headed for the island. Desdemona insists that she accompany her husband on his trip, and preparations are made for them to depart that night.

In Cyprus the following day, two gentlemen stand on the shore with Montano, the governor of Cyprus. A third gentleman arrives and reports that the Turkish fleet has been wrecked in a storm at sea. Cassio, whose ship did not suffer the same fate, arrives soon after, followed by a second ship carrying Iago, Roderigo, Desdemona, and Emilia, Iago's wife. Once they have landed, Othello's ship is sighted, and the group goes to the harbor. As they wait for Othello, Cassio greets Desdemona by clasping her hand. Watching them, Iago tells the audience that he will use "as little a web as this" hand-holding to ensnare Cassio (II.i. 169).

Othello arrives, greets his wife, and announces that there will be reveling that evening to celebrate Cyprus's safety from the Turks. Once everyone has left, Roderigo complains to Iago that he has no chance of breaking up Othello's marriage. Iago assures Roderigo that as soon as Desdemona's "blood is made dull with the act of sport," she will lose interest in Othello and seek sexual satisfaction elsewhere (II.i. 222). However, Iago warns that "elsewhere" will likely be with Cassio. Iago counsels Roderigo that he should cast Cassio into disgrace by starting a fight with Cassio at the evening's revels. In a soliloquy, Iago explains to the audience that eliminating Cassio is the first crucial step in his plan to ruin Othello. That night, Iago gets Cassio drunk and then sends Roderigo to start a fight with him. Apparently provoked by Roderigo, Cassio chases Roderigo across the stage. Governor Montano attempts to hold Cassio down, and Cassio stabs him. Iago sends Roderigo to raise alarm in the town.

The alarm is rung, and Othello, who had left earlier with plans to consummate his marriage, soon arrives to still the commotion. When Othello demands to know who began the fight, Iago feigns reluctance to implicate his "friend" Cassio, but he ultimately tells the whole story. Othello then strips Cassio of his rank of lieutenant. Cassio is extremely upset, and he laments to Iago, once everyone else has gone, that his reputation has been ruined forever. Iago assures Cassio that he can get back into Othello's good graces by using Desdemona as an intermediary. In a soliloquy, Iago tells us that he will frame Cassio and Desdemona as lovers to make Othello jealous.

In an attempt at reconciliation, Cassio sends some musicians to play beneath Othello's window. Othello, however, sends his clown to tell the musicians to go away. Hoping to arrange a meeting with Desdemona, Cassio asks the clown, a peasant who serves Othello, to send Emilia to him. After the clown departs, Iago passes by and tells Cassio that he will get Othello out of the way so that Cassio can speak privately with Desdemona. Othello, Iago, and a gentleman go to examine some of the town's fortifications.

Desdemona is quite sympathetic to Cassio's request and promises that she will do everything she can to make Othello forgive his former lieutenant. As Cassio is about to leave, Othello and Iago return. Feeling uneasy, Cassio leaves without talking to Othello. Othello inquires whether it was Cassio who just parted from his wife, and Iago, beginning to kindle Othello's fire of jealousy, replies, "No, sure, I cannot think it, / That he would steal away so guilty-like, / Seeing your coming" (III.iii. 37-39).

Othello becomes upset and moody, and Iago furthers his goal of removing both Cassio and Othello by suggesting that Cassio and Desdemona are involved in an affair. Desdemona's entreaties to Othello to reinstate Cassio as lieutenant add to Othello's almost immediate conviction that his wife is unfaithful. After Othello's conversation with Iago, Desdemona comes to call Othello to supper and finds him feeling unwell. She offers him her handkerchief to wrap around his head, but he finds it to be "[t]oo little" and lets it drop to the floor (III.iii. 291). Desdemona and Othello go to dinner, and Emilia picks up the handkerchief, mentioning to the audience that Iago has always wanted her to steal it for him.

Iago is ecstatic when Emilia gives him the handkerchief, which he plants in Cassio's room as "evidence" of his affair with Desdemona. When Othello demands "ocular proof" (III.iii. 365) that his wife is unfaithful, Iago says that he has seen Cassio "wipe his beard" (III.iii. 444) with Desdemona's handkerchief-the first gift Othello ever gave her. Othello vows to take vengeance on his wife and on Cassio, and Iago vows that he will help him. When Othello sees Desdemona later that evening, he demands the handkerchief of her, but she tells him that she does not have it with her and attempts to change the subject by continuing her suit on Cassio's behalf. This drives Othello into a further rage, and he storms out. Later, Cassio comes onstage, wondering about the handkerchief he has just found in his chamber. He is greeted by Bianca, a prostitute, whom he asks to take the handkerchief and copy its embroidery for him.

Through Iago's machinations, Othello becomes so consumed by jealousy that he falls into a trance and has a fit of epilepsy. As he writhes on the ground, Cassio comes by, and Iago tells him to come back in a few minutes to talk. Once Othello recovers, Iago tells him of the meeting he has planned with Cassio. He instructs Othello to hide nearby and watch as Iago extracts from Cassio the story of his affair with Desdemona. While Othello stands out of earshot, Iago pumps Cassio for information about Bianca, causing Cassio to laugh and confirm Othello's suspicions. Bianca herself then enters with Desdemona's handkerchief, reprimanding Cassio for making her copy out the embroidery of a love token given to him by another woman. When Desdemona enters with Lodovico and Lodovico subsequently gives Othello a letter from Venice calling him home and instating Cassio as his replacement, Othello goes over the edge, striking Desdemona and then storming out.

That night, Othello accuses Desdemona of being a whore. He ignores her protestations, seconded by Emilia, that she is innocent. Iago assures Desdemona that Othello is simply upset about matters of state. Later that night, however, Othello ominously tells Desdemona to wait for him in bed and to send Emilia away. Meanwhile, Iago assures the still-complaining Roderigo that everything is going as planned: in order to prevent Desdemona and Othello from leaving, Roderigo must kill Cassio. Then he will have a clear avenue to his love.

Iago instructs Roderigo to ambush Cassio, but Roderigo misses his mark and Cassio wounds him instead. Iago wounds Cassio and runs away. When Othello hears Cassio's cry, he assumes that Iago has killed Cassio as he said he would. Lodovico and Graziano enter to see what the commotion is about. Iago enters shortly thereafter and flies into a pretend rage as he "discovers" Cassio's assailant Roderigo, whom he murders. Cassio is taken to have his wound dressed.

Meanwhile, Othello stands over his sleeping wife in their bedchamber, preparing to kill her. Desdemona wakes and attempts to plead with Othello. She asserts her innocence, but Othello smothers her. Emilia enters with the news that Roderigo is dead. Othello asks if Cassio is dead too and is mortified when Emilia says he is not. After crying out that she has been murdered, Desdemona changes her story before she dies, claiming that she has committed suicide. Emilia asks Othello what happened, and Othello tells her that he has killed Desdemona for her infidelity, which Iago brought to his attention.

Montano, Graziano, and Iago come into the room. Iago attempts to silence Emilia, who realizes what Iago has done. At first, Othello insists that Iago has told the truth, citing the handkerchief as evidence. Once Emilia tells him how she found the handkerchief and gave it to Iago, Othello is crushed and begins to weep. He tries to kill Iago but is disarmed. Iago kills Emilia and flees, but he is caught by Lodovico and Montano, who return holding Iago captive. They also bring Cassio, who is now in a chair because of his wound. Othello wounds Iago and is disarmed. Lodovico tells Othello that he must come with them back to Venice to be tried. Othello makes a speech about how he would like to be remembered, then kills himself with a sword he had hidden on his person. The play closes with a speech by Lodovico. He gives Othello's house and goods to Graziano and orders that Iago be executed.

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Othello begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him win Desdemona's hand in marriage. But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign.

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Othello

The play’s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a “free and open nature,” which his ensign Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy.

Desdemona

The daughter of the Venetian senator Brabanzio. Desdemona and Othello are secretly married before the play begins. While in many ways stereotypically pure and meek, Desdemona is also determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello’s incomprehensible jealousy.

Iago

Othello’s ensign (a job also known as an ancient or standard-bearer), and the villain of the play. Iago is twenty-eight years old. While his ostensible reason for desiring Othello’s demise is that he has been passed over for promotion to lieutenant, Iago’s motivations are never very clearly expressed and seem to originate in an obsessive, almost aesthetic delight in manipulation and destruction.

Michael Cassio

Othello’s lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth, good looks, and friendship with Desdemona to play on Othello’s insecurities about Desdemona’s fidelity.

Emilia

Iago’s wife and Desdemona’s attendant. A cynical, worldly woman, she is deeply attached to her mistress and distrustful of her husband.

Roderigo

A jealous suitor of Desdemona. Young, rich, and foolish, Roderigo is convinced that if he gives Iago all of his money, Iago will help him win Desdemona’s hand. Repeatedly frustrated as Othello marries Desdemona and then takes her to Cyprus, Roderigo is ultimately desperate enough to agree to help Iago kill Cassio after Iago points out that Cassio is another potential rival for Desdemona.

Bianca

A courtesan, or prostitute, in Cyprus. Bianca’s favorite customer is Cassio, who teases her with promises of marriage.

Brabanzio

Desdemona’s father, a somewhat blustering and self-important Venetian senator. As a friend of Othello, Brabanzio feels betrayed when the general marries his daughter in secret.

Duke of Venice

Montano

Lodovico

Graziano

Clown