Charisma: April 2010

Friday, April 30, 2010

Home Listening Due 3 May 2010

GROWING PAINS
To view the video, go here. (Only part 1 is assigned.)

    1. What did Ben get on his test?
    2. What did Luke get?
    3. Feeling threatened by Ben, what grade does Luke say he'll get next time?
    4. What did Ben do in phase one of his master plan to conquer Sasha?
    5. Phase 2?
    6. Which class did Ben get into by pulling some strings?
    7. How long didn't he talk to Sasha? The whole ______.
    8. What does Ben say Cheryl practically did with her eyes?
    9. How many coincidences does Ben say happened with Cheryl?
    10. What does Cheryl say she memorized?
    11. What presentation does Cheryl say she and Ben signed up for?
    12. What was Ben doing when Cheryl held up his hand in class?
    13. What night is the Sadie Hawkins dance?
    14. What does Ben say his mom is having on that night?
    15. What does Ben say his mother is donating?
    16. What grade did Carol (Chrissie's older sister) get on her lab assignment?
    17. What is Carol's favorite time of year?
    18. What did she see Frosty the Snowman as a metaphor of?
    19. How many teacher conferences does the father say they had over Carol's paper?
    20. Whose voyage is Cheryl's presentation on?
    21. According to the father (Mr. Seaver), what does the couch help patients do?
    22. Who was one of his patients upset with?
    23. What is inside of every person?
    24. What job does Chrissie tell her father would be easier for her to understand than being a psychiatrist?

REQUIRED MOVIE: Jeremiah (due 10 May 2010)

Students,
Since the TV movie, Jeremiah (go here for part 1 of 10), based on the book of Jeremiah is both short and has subtitles, I think it should be required viewing. It will help put you in the culture of the time and make the book of Jeremiah, including the kings of his time, come alive in a way that mere reading might not be able to do.
    In addition to viewing the film, you should prepare a report on how the film influenced your understanding of the book on which it is based. You can give any examples you choose, but those examples should illustrate how the film helped you to understand the book or, alternately, how you think the film may have falsified the book.
    The main goal of the presentation is to show that you have engaed yourself with both the film and the book of Jeremiah. Presentations should be between 5-10 minutes. I sent the link last time. If you lost it contact me or a classmate.
    Finally, Real Player allows downloads, so you can view the film at your convenience and without pauses caused by buffering (loading the video) with slow connections or at slow times of the day. Obviously the downloads should be for your private use only!
    Since I don't want students to feel pressured to view the film in the next few days, this assignment will be due the Monday after next, 10 May. Since we can't spend too much time on this assignment, try to organize your ideas and present them fluently. Get to the main point (state your thesis or argument), give a couple of examples, and compare and contrast with the book of Jeremiah.
    EXAMPLE (do NOT use THIS example):

"The film, Jeremiah, helped me to see how reluctant Jeremiah was to become a voice for God, in other words, a prophet. We see him plead with God not to force him into prophecy. By having God represented as different persons, even a child, it made God's command to Jeremiah more real, as Jeremiah repeatedly tries to avoid God's request. Moreover, we see the harsh physical punishment that Jeremiah endured because of his reluctant calling. Although this is in the book of Jeremiah, physical punishment seems more harsh when it is visualized on the screen, such as when Hananiah hammers the yoke off of Jeremiah, which looks very brutal in the film. Jeremiah's later beatings become more real when seen on the screen, as does the killing of Zedekiah's sons. This is what the film helped me to see."

Songs based on EZEKIEL (not required)

EZEKIEL SAW THE WHEEL
The song relates Ezekiel's vision of God in chapter 1 of Ezekiel's book. Chapter one was considered potentially dangerous for beginners to read and was forbidden by rabbis since it can be misinterpreted to create an image of God (the Hebrew religion is aniconic, without images). But this song reads the vision on an abstract level, with the two wheels representing faith and grace. As usual with black Gospel songs (or folk songs in general) the lyrics change a little with each performance. Below are the lyrics for one version. Go here.
Ezekiel saw the wheel way up in the middle of the air. (Repeat x) The big wheel runs by faith and the little wheel runs by the grace of God. A wheel in a wheel way in the middle of the air. Beware my brother or you'll step on the cross, your foot might slip and your soul be lost. O Satan wears a mighty shoe and if you don't mind he'll slip it on you. {Repeat chorus} Some go to church for to sing and shout, Hallelujah (x). {Repeat chorus}
SHOWERS of BLESSINGS
"I will bless them and the places surrounding my hill. I will send down showers in season; there will be showers of blessing."
EZEKIEL 34:26
Go here. Lyrics at right hand corner of screen.

EVEN ME
Ezekiel 34:26
By the famed contemporary Gospel singer, Yolanda Adams, sung in the pentacostal style (that is, with a lot of shouts inspired by the Holy Spirit). I have transcribed only the main ideas of Adams' testimonial shouts below, but the song is complete.

Go here.
Lord I hear of, showers of blessing,
Thou are scattering full and free
Showers the thirty, souls refreshing
Let some drops now fall on me
Even me Lord, even me,
Let some drops now fall on me.

I need you to come down right now and bless me, even me, even me Lord, yeah, I need your mercy, I need your grace, I need your Holy Ghost, yes I do. Lord while you're in the blessing business, today, not tomorrow, today not tomorrow, I need it right now, right now, right now I need you to see me through. I need your forgiveness, I need your grace, I need your blessing. I need a blessing, Jesus. I need a little more love, I've got to love my enemies. I need a little more faith. I've got to stand the test. I need a little mor mercy, there's somebody I must forgive. Even me, Lord Jesus. Bless even me, Lord Jesus.

Wednesday, April 28, 2010

Revised Midterm Grade Chart

The Airport Sequence from CASABLANCA

CASABLANCA

This sequence (go here), the famous airport scene from Casablanca (Michael Curtiz, 1942), is built on editing, dolly shots, close-ups, sound effects, and underscore. It's hard to imagine this scene on the stage with the same dramatic impact. In the classical studio system, with a lot of coverage (safety footage of many takes from many angles) the editor would have final control over which shots were used from many and, often, where to spot the film (put the music). Spotting in this sequence is critical.
    The close-ups are the heart of the sequence, especially one long close-up on Ilsa (Ingrid Bergman) as Rick (Humphrey Bogart) comforts her as she holds back tears.
    There are several important dolly shots, both in and back. Several are follow shots, moving back as the character (for example, Louis, the police captain) moves towards the camera, thus invisible. But several (not all in this clip) are dramatic dolly-in shots to emphasize a dramatic moment, as when Rick says names Victor and Ilsa as the passengers for the flight, stunning Ilsa, who expects to leave with Rick. The dolly-in at this moment adds punch to the scene.
    The cutaway shot to Major Strasser, as he races to the airport to stop the plane from taking off is a good example of intercutting, or parallel montage.
    As in several key sequences, Max Steiner's underscore is very effective. Other effective moments of Steiner's score to listen to is the somber chord as Rick announces Laszlo's name as one of the passengers on the plane. Also noteworthy are the variations on the song, "As Time Goes By," associated with the lovers throughout the film. The variations are heard during the two-shots on the lovers.
    Another superb use of underscore is the noble theme as Rick explains to Victor Lazlo that Ilsa and he are no longer in love (a lie). The cue perfectly captures Rick's nobility at this moment.
    Even more effective is the cue that follows this, after Victor's line, "Welcome back to the fight, Rick. This time I know our side will win." (The fight is World War II, just before America entered the war.) Steiner puncuates this moment, as the plane's propellers start to spin, with a single "sforzando" ("with force") chord. The editing then starts a series of short close-ups on all the characters, an example of pure cinema, since the shots are meaningless in themselves and gain meaning only in relation to each other.
    The most important sound effects are the sound of the plane.
    A sequence like this merits repeat study. Students are also advised to download the song, "As Time Goes By," in order to identify the way Max Steiner varies it in the two-shots of the lovers mentioned above.

BENSHI: Your chance to SHINE!

Students,
The benshi is not just another presentation. NO! This is your chance to SHINE! You can use a rich vocabulary, a wide range of intonation (command, question, declarative, fear, love, anger, sweetness, and hundreds more!), variety of pitch, fluency, volume, and pace (apart from standard pronunciation). By pace I mean fast-slow. By pitch I mean up or down the vocal scale (not necessarily the same as volume). By fluency I mean "flow," as the word means. (Fluency has nothing to do with pauses, which can be quite effective: "I told you . . . no.") By volume I mean soft-loud. By intonation I mean plotting the sentence in terms of rise and fall: "Do you REALLY want to DO that?" "I TOLD you!" "I told YOU." "I told you." Of course there are many more variations apart from the illustrations.
    When you select a video don't paint yourself into a corner as it were. If you're not making progress with one video clip try another. The main goal is to come up with ideas and then to execute those ideas.
    I would like you to send me drafts of your presentations. It doesn't have to be a final draft, just so I know you're on the right track.
    Remember, the time range is between 3-5 minutes. That range is variable, depending on how much text you use in the presentation. Obviously if you don't talk too much during some moments in your clip, or if you talk slowly, you may have to increase the range to 5 minutes. If you're very verbose during the clip the duration can be proportionately lower than 5 minutes.

TREES

TREES

THIS SHORT POEM by Joyce Kilmer used to be taught to American schoolchildren, and probably still is. There is metaphor (tree) and personification (the tree is human [in fact, female], therefore "hungry," with a "mouth," etc.
The verses are equally famous as set to a melody, recorded by Mario Lanza, among others. Lanza's recording is a pick-up from his radio broadcast of 1952, sponsored by Coca-Cola. Go here.
Incidentally, "Joyce" is here a man's name, though it is usually given only to women. Also, this writer should not be confused with the more formidable Irish literary genius, James Joyce.

                   I THINK THAT I shall never see
            A poem lovely as a tree.

            A tree whose hungry mouth is pressed
            Against the earth's sweet flowing breast;

            A tree that looks at God all day,
            And lifts her leafy arms to pray;

            A tree that may in summer wear
            A nest of robins in her hair;

            Upon whose bosom snow has lain;
            Who intimately lives with rain.

            Poems are made by fools like me,
            But only God can make a tree.

Tuesday, April 27, 2010

Pie Jesu

Pie Jesu

AS DISCUSED IN class, the threat of the Last Judgment in the "Dies Irae" ("Day of Wrath") has (since 1970) been removed from Requiem masses (masses for the dead), often replaced by the gentler, "Pie Jesus" ("Sweet Jesus"), asking for mercy.
The "Pie Jesus" is also from the hymn, "Dies Irae," based mainly on Zephaniah 1:15f. Here is the "Pie Jesu" from Andrew Lloyd-Webber's Requiem, written for Webber's deceased father. It has since become among Webber's most popular pieces. This version has Latin and English lyrics. Go here. Or you might be able to play the console below.

Monday, April 26, 2010

Rick's Philosophy

A poem based on JEREMIAH 12:1-4, and my prose paraphrase

THOU ART INDEED JUST

This poem (1918), by the famous English poet-priest, Gerard Manley Hopkins, is a verse paraphrase of JEREMIAH 12:1-4. The poet makes the issues personal. Hopkins is famous for his tortured word order. Of course most poetry uses some degree of transposition (reversed word order) for the sake of rhyme or meter, but Hopkins seemed to use it as an end in itself, or rather, to express his inner torment. The lines hurt and seem to bleed. So I will give a prose paraphrase of the lines. I make no claim to beauty, just simplicity and brevity:: ""You are just, God, so I beg for justice. Why do sinners live well while all I do ends in disappointment? You're my Friend, but if you were my enemy, how could you wound and hurt me more? Those who waste their lives on silly pleasures achieve more than I do. Yet I work hard to please you. I see flowers bloom and spring breezes blow. Birds build nests, but I don't. I'm Nature's freak. I make useless efforts, but accomplish nothing. Please, God, revive my spirit."
THOU ART INDEED just, Lord, if I contend
With thee; but, sir, so what I plead is just.
Why do sinners' ways prosper? and why must
Disappointment all I endeavour end?
Wert thou my enemy, O thou my friend,
How wouldst thou worse, I wonder, than thou dost
Defeat, thwart me? Oh, the sots and thralls of lust
Do in spare hours more thrive than I that spend,
Sir, life upon thy cause. See, banks and brakes
Now, leavèd how thick! lacèd they are again
With fretty chervil, look, and fresh wind shakes
Them; birds build--but not I build; no, but strain,
Time's eunuch, and not breed one work that wakes.
Mine, O thou lord of life, send my roots rain.

Gospel Songs based on the Major Prophets

GOSPEL SONGS from the Major Prophets

THE GREAT SPECKLED BIRD

THIS GOSPEL SONG is based on Jeremiah 12:9. The "speckled bird" is the Church, upon whose wings the Christian is carried to Heaven. There are many recordings of this song, including by Country great, Johnny Cash. Go here.

1.What a beautiful thought I am thinking
Concerning a great speckled bird
And to know that my name is recorded
On the pages of God's Holy Word.

4. Desiring to lower her standard
They watch every move that she makes
They long to find fault with her teachings
But really she makes no mistakes.

7. I am glad I have learned of her meekness
I am proud that my name is on her book
For I want to be one never fearing
The face of my Savior to look.

8. And when He cometh descending from heaven
On the cloud that He writes in His Word
I'll be joyfully carried to meet Him
On the wings of that great speckled bird.

GREAT IS THY FAITHFULNESS

This famous hymn is based on two texts, including Lamentations 3:22-24 and James 1:17. There are many versions on youtube but this has lyrics.

THERE IS A BALM IN GILEAD

This famous spiritual is sung here in New Age style by Deborah Liv Johnson. A more powerful Gospel reading is given by Mahalia Jackson, also on youtube. Note how deeply Jackson goes into the song, singing slightly different lyrics. The song is based on JEREMIAH 8:22, but with a Christian twist. Jeremiah mockingly asks his Jewish countrymen who rely on other nations, "Why can't you find a cure in Gilead?" The Christian answers, there is a balm, but it comes from Jesus, not the people of Gilead.

There is a balm in Gilead to make the wounded whole, there is a balm in Gilead to heal the sinsick soul. Sometimes I feel discouraged and think my work's in vain, but then the Holy Spirit revives my soul again. There is a balm in Gilead to make the wounded whole, there is a balm in Gilead to heal the sinsick soul. Don't ever feel discouraged for Jesus is your friend, and if you lack for knowledge he'll ne'er refuse to lend. There is a balm in Gilead to make the wounded whole, there is a balm in Gilead to heal the sinsick soul.

SWING LOW, SWEET CHARIOT

This song is based on Ezekiel's chariot vision in chapter 1 of Ezekiel. As usual with Gospel songs, the original source is only loosely used. The song, like most Gospel songs, blends several source texts in an individual style; here the writer is also thinking of Elijah's "chariot of fire" in 2 Kings 2:11. This song should not be confused with an even more famous Spiritual, "Swing Down, Sweet Chariot," more closely related to the Elijah motif. Elvis Presley recorded the song in a wonderful arrangement, influenced by a previous Black record. Go here. He later recorded the song again, in a more popular vein for the film, The Trouble with Girls, here.
Well, well, well, well
I looked over yonder and what I see seems like a chariot coming after me
Swing low, sweet chariot, coming to carry me home

Why don't you swing down chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
I've got a home on the other side

Swing, swing, swing
Well, Ezekiel was out in the middle of the field
He said he saw an angel with a chariot wheel
He wasn't too particular about the chariot wheel
He just wanted to see how a chariot feels

Why don't you swing down chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
I've got a home on the other side

Swing, swing, swing, swing, swing, swing
Well, Ezekiel went down and he got on board
The chariot went bumping on down the road
Zeke wasn't particular about the bumpin' of the road
He just wanted to lay down his heavy load

Why don't you swing down chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
I've got a home on the other side

Well, I got a Father in the Promised Land
And I ain't stopping till I shake His hand
Rock me, Lord, rock me, Lord, calm and easy
I got a home on the other side

Swing down, sweet chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
I've got a home on the other side

Friday, April 23, 2010

Scheduled Film for 30 April 2010

MAN WITH A MOVIE CAMERA

THIS 1929 SILENT film by the Soviet filmmaker, Dziga Vertov, is one of the classics of montage. Vertov's goal was to challenge the idea of cinematic realism, continuity (invisible) editing, and traditional narrative cinema.
In many ways it's a complex film, with fast editing, almost every cinematic technique (slow motion, double exposure, split screen, etc.) and, since there is no narrative, association montage (that is, montage based on associations of ideas rather than narrative development).

1 Timothy

Film Midterm Exam Grades

Thursday, April 22, 2010

HOME LISTENING DUE 26 April 2010

VANESSA WILLIAMS
Home Listening Due 26 April 2010
Go here:
http://abcnews.go.com/GMA/video/vanessa-williams-stars-sondheim-sondheim-10413400

1. What is Vanessa Williams performing in on Broadway?
2. How old is composer/lyricist Stephen Sondheim?
3. What award was Williams nominated for for one of Sondheim's shows?
4. What was the name of the show?
5. How often, at minimum, does Sondheim come to rehearsals?
6. What is the name of the song that begins Act 2 of Sondheim on Sondheim?
7. On what day of the week does Sondheim on Sondheim open?
8. What kind of audience does Williams say there's nothing like?
9. What according to the interviewer did the TV show, Ugly Betty, finally find?
10. How many years did the cast of the TV show spend together?
11. Which choir does Williams sing in?
12. What did she sing in that choir?
13. What special day was it?
14. What can't you have on Broadway?
15. What instrument does Williams say has to be taken care of?
16. What month will Sondheim on Sondheim close?
17. What theatre is the show at?
18. When is Williams' day off?

Wednesday, April 21, 2010

Exam Day

Elderly student late for exam

Monday, April 19, 2010

Midterm Grades

Sunday, April 18, 2010

Monday Midterm

MIDTERM EXAM

TURQUOISE

Exam Week

Reminder: BIBLE EXAM ON MONDAY 19 APRIL 2010, regular class time

WHAT MEN LIVE BY (not required reading)

WHAT MEN LIVE BY
Leo Tolstoy
Adapted and Abridged by Blogger

NO ONE SEWED boots so neatly and strongly as Simon’s workman, Michael; and from all the district round people came to Simon for their boots.
   One winter day a fine carriage drove up to the hut. A gentleman in a fur coat got out and walked up to Simon’s hut.
   Up jumped Matryona, Simon's wife, and opened the door. The gentleman stooped to enter the hut, and when he drew himself up again his head nearly reached the ceiling.
   Simon bowed and looked at the gentleman with astonishment. Simon himself was lean, Michael was thin, and Matryona was dry as a bone, but this man was like from another world, looking like he were cast in iron.
   The gentleman threw off his fur coat, sat down on the bench, and said, “Which of you is the master bootmaker?”
   “I am, your Excellency,” said Simon.
   Then the gentleman shouted to his servant, “Fedka, bring the leather!”
   The servant ran in, bringing a parcel.
   “Untie it,” said the gentleman and pointed to the exposed leather.
   “Do you know the kind of leather this is, Shoemaker?"
   Simon felt the leather and said, “It is good leather.”
   “Good, indeed! It’s German, and cost twenty roubles. Now, can you make it into boots for me?”
   “Yes, your Excellency, I can.”
   The gentleman shouted at him:
   “Remember whom you are to make them for, and what the leather is. You must make me boots that will wear for a year. Otherwise I will have you put in prison. If they don’t burst or lose shape for a year I will pay ten roubles.”
   Calling his servant, the gentleman told him to pull the boot off his left leg, which he stretched out.
   “Measure my feet!” he commanded Simon. Meanwhile he had noticed Michael.
   “Who's he?”
   “That's my workman. He will sew the boots.”
   “Mind,” said the gentleman to Michael, “remember to make them so they will last a year.”
   Simon saw that Michael was gazing into the corner behind the gentleman, as if he saw someone. Then he smiled, and his face brightened.
   “What are you grinning at, you fool?” thundered the gentleman. “You had better look to it that the boots are ready in time.”
   When the gentleman left, Simon said: “What a man! You couldn't kill him with a mallet.”
   His wife agreed: “Living as he does, how should he not grow strong? Death itself can’t touch a rock like that.”
   Michael sewed till noon. Then Simon rose for dinner, looked around, and saw that Michael had made slippers out of the gentleman’s leather.
   And he said to Michael, “What have you done? You've ruined me! You know the gentleman ordered high boots, but see what you have made!”
   Hardly had he begun to rebuke Michael, when there was a knock at the door. They opened it, and the servant who had been with the gentleman came in.
   "Good day,” said Simon. “Can I help you?”
   “My mistress has sent me about the boots.”
   Simon trembled.
   “What about the boots?”
   “My master no longer needs them. He is dead.”
   Michael handed the slippers to the servant, who left.
   Michael was now living his sixth year with Simon. They were all home one day.
   Matryona put iron pots in the oven as the children ran along the benches and looked out the window. Simon sewed at one window, and Michael fastened a heel at the other.
   “Look, Uncle Michael!" one child said. "There is a lady with little girls! She seems to be coming here. And one of the girls is lame.”
   Michael looked out into the street. He never used to look out into the street, but now he pressed against the window, staring at something.
   Simon saw a well-dressed woman enter his hut, leading by the hand two little girls in fur coats and woolen shawls. The girls looked alike except one was crippled in her left leg and walked with a limp.
   “Come in,” said Simon. “What can we do for you?”
   “I want leather shoes made for these two little girls for spring.”
   “We never have made such small shoes, but we can make them. My man, Michael, is a master at the work.”
   Simon glanced at Michael and saw him sitting with his eyes fixed on the girls. Simon could not understand why Michael should look at them like that—as if he had known them before.
   He was puzzled, but went on talking with the woman, arranging the price. The woman lifted the lame girl on to her lap and said: “Take two measures from this little girl. Make one shoe for the lame foot and three for the sound one. They both have the same size feet. They are twins.”
   Matryona wondered who this woman was, and whose the children were, so she asked: “Are not you their mother?”
   “I am neither their mother nor related to them. They were orphans, so I adopted them.”
   She pressed the lame little girl to her with one hand, while with the other she wiped the tears from her cheeks.
   And Matryona sighed, and said: “The proverb is true: ‘One may live without parents, but one cannot live without God.’”
   So they talked together, when suddenly the whole hut lit up from the corner where Michael sat. They looked towards him and saw him sitting, his hands folded on his knees, gazing upwards and smiling.
   The woman left with the girls. Michael rose from the bench, put down his work, and took off his apron. Then, bowing low to Simon and his wife, he said: “Goodbye. God has forgiven me. I ask your forgiveness, too, for any mistake.”
   And they saw that a light shone from Michael. And Simon rose, bowed down to Michael, and said: “I see, Michael, you are no common man. I can neither keep you nor question you. But tell me this: how is it that when I found you and brought you home, you were gloomy, and when my wife gave you food you smiled at her and became brighter? Then when the gentleman came to order the boots, you smiled again and became brighter still? And now, when this woman brought the little girls, you smiled a third time, and have become as bright as day?”
   And Michael answered: “Light shines from me because I have been punished. Now God has pardoned me. And I smiled three times, because God sent me to learn three truths, and I have learnt them. One I learnt when your wife pitied me, and that is why I smiled the first time. The second I learnt when the rich man ordered the boots, and then I smiled again. And now, when I saw those little girls, I learned the third and last truth, and I smiled the third time.”
   Simon said, “Tell me, Michael, what did God punish you for? and what were the three truths? that I, too, may know them.”
   Michael answered: “I was an angel in heaven and disobeyed God. God sent me to fetch a woman’s soul. I flew to earth, and saw a sick woman lying alone, who had just given birth to twin girls. When she saw me, she understood that God had sent me for her soul, and she wept and said: ‘Angel of God! My husband has just been buried, killed by a falling tree. Do not take my soul! Let me nurse my babes, feed them, and set them on their feet before I die. Children cannot live without father or mother.’ I obeyed her and returned to the Lord in heaven.
   "And God said: ‘Go. Take the mother’s soul, and learn three truths: Learn What dwells in man, What is not given to man, and What men live by. When you have learned these things, you can return to heaven.’
   So I flew again to earth and took the mother’s soul. The babes dropped from her breasts. Her body rolled over on the bed and crushed one babe, twisting its leg. I rose above the village, wishing to take her soul to God; but a wind seized me, and my wings drooped and dropped off. Her soul rose alone to God, while I fell to earth by the roadside.”
   And Simon and Matryona understood who it was that had lived with them, and whom they had clothed and fed. And they wept with awe and with joy.
   The angel said: “I was alone in the field, naked. I was starved, frozen, and did not know what to do. Then I saw you. I saw death in your face. But you became alive, and I saw the presence of God. Your wife was even more terrible. The spirit of death came from her mouth. But you spoke to her of God, and when she brought me food and looked at me, I saw that death no longer dwelt in her; she had become alive, and in her, too, I saw God.
   “Then I remembered the first lesson God had set me: ‘Learn what dwells in man.’ And I understood that in man dwells Love!
   "I was glad God had already begun to show me what He had promised, and I smiled for the first time. But I did not yet know What is not given to man, and What men live by.
   “I lived with you for a year. A man came to order boots that should last a year. I looked at him, and suddenly, behind his shoulder, I saw my comrade—the angel of death. None but me saw that angel; but I knew him, and knew that before the sun set he would take that rich man’s soul. And I thought to myself, ‘The man is making preparations for a year, and does not know he will die before evening.’ And I remembered God’s second saying, ‘Learn what is not given to man.’
   “What dwells in man I already knew. Now I learnt what is not given him. It is not given to man to know his own needs. And I smiled for the second time.
   “But I still did not know What men live by. And I waited till God should reveal the last lesson. In the sixth year came the twins with the woman; and I recognized them, and heard how they had been kept alive. I thought, ‘Their mother begged me for the children’s sake, and I believed her when she said that children cannot live without father or mother; but a stranger has nursed them, and has brought them up.’ And when the woman showed her love for the children that were not her own, and wept over them, I saw in her the living God and understood What men live by. And I knew that God had revealed to me the last lesson, and had forgiven my sin. And then I smiled for the third time.”
   And the angel’s body was clothed in light so that eye could not look on him; and his voice grew louder, as though it came not from him but from heaven above. And the angel said:
   “I have learnt that all men live not by care for themselves but by love.
   “It was not given to the mother to know what her children needed for their life. Nor was it given to the rich man to know what he needed. Nor is it given to any man to know whether, when evening comes, he will need boots for his body or slippers for his corpse.
   “I have now understood that though it seems to men that they live by care for themselves, in truth it is love alone by which they live. He who has love, is in God, and God is in him, for God is love.”
   And the angel sang praise to God, so that the hut trembled at his voice. The roof opened, and a column of fire rose from earth to heaven. Simon and his wife and children fell to the ground. Wings appeared upon the angel’s shoulders, and he rose into the heavens.
   And when Simon came to himself the hut stood as before, and there was no one in it but his own family.

Saturday, April 17, 2010

HOW MUCH LAND DOES A MAN NEED?

HOW MUCH LAND DOES A MAN NEED?
Leo Tolstoy
Adapted and Abridged by Blogger

AN ELDER SISTER came to visit her younger sister in the country. The elder was married to a tradesman in town, the younger to a peasant in the village.
   The elder boasted of the advantages of town life and how she went to the theatre, promenades, and entertainments. The younger sister was annoyed, and defended peasant life.
   “We may live roughly, but at least we are free from anxiety," she said. "But you, in your towns, are surrounded by temptations; to-day all may be right, but to-morrow the Evil One may tempt your husband with card, wine, or women, and all will go to ruin. Don’t such things happen often enough?”
   Pahom, her husband was lying on the top of the stove and he listened to the chatter.
   “It's true,” he thought. "We peasants have no time to let any nonsense settle in our heads. Our only trouble is we haven’t land enough. If I had plenty of land, I shouldn’t fear the Devil himself!”
   Presently Pahom heard that a neighbor of his was buying fifty acres, and that the lady had consented to accept one half in cash and to wait a year for the other half. Pahom felt envious. So he and his wife sold a colt and half of their bees, hired out one of their sons as a laborer and took his wages in advance; borrowed the rest from a brother-in-law, and scraped together half the money.
   Then Pahom chose a farm of forty acres, some of it wooded, and bargained for it. He paid half down, and promised the rest in two years.
   Now Pahom had land of his own. He borrowed seed, and sowed it.
   The harvest was good. In a year he paid off his debts. So he became a landowner.
   One day Pahom was sitting at home when a peasant, passing through the village, happened to call in. He came from beyond the Volga, and said many people were settling there. The land was so good, he said, that the rye sown on it grew as high as a horse.    Pahom thought,
   “Why should I suffer in this narrow hole?"
   Pahom sold his land at a profit, then started with his family for the new settlement. As soon as Pahom and his family reached their new abode, he applied for admission into the Commune of a large village.
   He was ten times better off than he had been. He had plenty of arable land and pasturage, and could keep as many head of cattle as he liked.
   At first, in the bustle of building and settling down, Pahom was pleased with it all, but when he got used to it he began to think that even here he had not enough land. Pahom wanted to sow more wheat, so he rented land from a dealer for a year.
   He had a fine crop, but the land was too far from the village - the wheat had to be carted more than ten miles. After a time Pahom noticed that some peasant-dealers were living on separate farms and were growing wealthy. He thought:
   “If I were to buy some freehold land and have a homestead on it, it would be different. Then it would be nice and compact.”
   So Pahom began looking for land he could buy; and he came across a peasant who had bought thirteen hundred acres. Pahom haggled and they settled the price at 1,500 rubles, part in cash and part to be paid later.
   They had all but clinched the matter when a passing dealer happened to stop at Pahom’s one day to get a feed for his horses. He drank tea with Pahom and they talked.
   The dealer said he was returning from the land of the Bashkirs, far away, where he had bought thirteen thousand acres of land for 1,000 rubles.
   “There is more land there than you could cover if you walked a year, and it all belongs to the Bashkirs. They are as simple as sheep, and land can be got almost for nothing.”
   Pahom left his wife to look after the homestead, and started on his journey taking his man with him. On the seventh day they came to a place where the Bashkirs had pitched their tents.
   As soon as they saw Pahom, they came out of their tents and gathered round their visitor. An interpreter was found.
   “They wish to tell you,” said the interpreter, “that they like you, and it is our custom to do all we can to please a guest and to repay him for his gifts. You have given us presents. Now tell us which of the things we possess please you best, that we may give them to you.”
   “What pleases me best here,” answered Pahom, “is your land."   The interpreter translated. The Bashkirs talked among themselves. Then the interpreter said:
   “They wish me to tell you that in return for your presents they will give you as much land as you want. Just point it out with your hand and it's yours."
   “How much?” asked Pahom.
   “As much as you can go round on your feet in a day is yours, and the price is one thousand rubles a day."
   Pahom was surprised.
   “But in a day you can get round a large tract of land,” he said.
   The Chief laughed.
   “It will all be yours!” said he. “But if you don’t return on the same day to the spot where you started, your money is lost.”
   “But how can I mark the way that I have gone?”
   “We shall go to any spot you like, and stay there. You must start from that spot and make your round with a spade. Wherever you think necessary, make a mark. Then dig a hole and pile up the turf. You may make as large a circuit as you please, but before the sun sets you must return to the place you started from. All the land you cover will be yours.”
   Pahom lay awake all night, and dozed off just before dawn. He dreamed he was lying in his tent and heard somebody chuckling outside. It was the Devil.
   “What things one does dream,” he thought when he awoke.
   Looking around he saw the dawn was breaking.
   “It’s time to go to the steppe to measure the land,” he said.
   The Bashkirs rose and assembled. The Chief came too. They offered Pahom tea, but he would not wait.
   “If we are to go, let's go. It's high time,” said he.
   They ascended a hillock. The Chief came up to Pahom and stretched out his arm towards the plain:
   “See,” he said, “all this, as far as your eye can reach, is ours. You may have any part of it you like.”
   The Chief took off his fox-fur cap, placed it on the ground and said:
   “This will be the mark. Start here, and return here again. All the land you go round shall be yours.”
   Pahom started walking. After a thousand yards he dug a hole, and placed pieces of turf to make it more visible. After a while he dug another hole.
   “I will go on for another three miles,” he thought, “and then turn to the left. This spot is so fine, it would be a pity to lose it. The further one goes, the better the land seems.”
   After many hours the hillock was scarcely visible and the people on it looked like black ants.
   "It's time to turn," he thought. "Besides I am in a regular sweat, and very thirsty.”
   Pahom grew tired. He sat down, ate bread and drank water; but he did not lie down, afraid to fall asleep.
   After sitting a while, he went on again. He went a long way when he saw a damp hollow.
   “It would be a pity to leave that out,” he thought. “Flax would do well there.” So he dug a hole on the other side of it before he turned the corner.
   Pahom looked towards the hillock.    He longed to rest, but it was impossible if he meant to get back by sunset.
   It was hard walking but Pahom went quicker. He began running, threw away his coat, his boots, his flask, and his cap, and kept only the spade for support.
   His breast was working like a blacksmith’s bellows, his heart was beating like a hammer, and his legs were giving way as if they did not belong to him.
   Though afraid of death, he could not stop. He took a long breath and ran up the hillock.
   It was still light. He reached the top and saw the cap. Before it sat the Chief chuckling.
   Pahom remembered his dream, and uttered a cry. His legs gave way beneath him, he fell forward.
   “Ah, that’s a fine fellow!” exclaimed the Chief. “He has gained much land!”
   Pahom’s servant came and tried to raise him, but he saw that blood was flowing from his mouth. Pahom was dead!
   His servant picked up the spade and dug a grave long enough for Pahom to lie in, and buried him in it. Six feet from his head to his heels was all he needed.

Monday, April 12, 2010

GOSPEL SONGS from ISAIAH

Gospel Songs for Isaiah

A lot of Gospel songs are based on verses from Isaiah, not to mention Handel's Messiah, which uses Isaiah more than any other biblical book (for example, the famed Hallelujah Chorus).

Children, Go Where I Send Thee

This is probably based on the commision of the prophet, Isaiah, in that book. Like many Afro-American spirituals, a series of repetitions are an aid in remembering the song. Go here.

Children, go where I send thee

How shall I send thee?

I'm gonna send thee one-by-one

well one was a little bitty baby

wrapped in swaddling clothing

lying in the manger,

Born, born, born in Bethlehem.

Children, go where I send thee

How shall I send thee?

I'm gonna send thee two-by-two

Two for Paul and Silas

One for the little bitty baby

Born, born, born in Bethlehem.

Three for the three men riding (or: the Hebrew children)

Four for the four that stood at the door (or: were knocking at the door)

Five for the gospel preachers (or: the five that came back alive)

Six for the six that never got fixed (or: picked)

Seven for the seven that never got to Heaven (originally "the seven that all went to Heaven", probably alluding to Luke 20:27-33)

Eight for the eight that waited (or: stood) at the gate

Nine for the nine all dressed so fine (or: the nine that stood in the line)

Ten for the Ten Commandments

Eleven for the eleven deriders

Twelve for the twelve Apostles

Another set of lyrics is here:

Twelve by twelve that couldn't get help

Eleven by eleven that couldn't get to heaven

Ten by ten that couldn't get in

Nine by nine that dressed so fine

Eight by eight that stood at the gate

Seven by seven that went on to heaven

Six by six that couldn't get fixed

Five by five that couldn't get by

Four by four that stood at the door

And three by the Hebrew children

And two by Paul and Silas

And one by the little bitty baby, who was born, born, born in Bethlehem

PEACE IN THE VALLEY

This is not a spiritual but a Gospel song, written by "The Father of Gospel Music," Thomas A. Dorsey. This is one of the most recorded Gospel songs in history. Elvis Presley recorded it on an early Gospel EP (extended play album, featuring 4 Gospel songs). The EP was the first Gospel EP to sell a million copies. Oddly Elvis won his only two Grammy awards for his Gospel recordings (How Great Thou Art, His Hand in Mine), not his Rock recordings. Go here. To see Elvis sing the song on Live Television (The Ed Sullivan Show) in 1957, go here.

Well, I'm tired and so weary
But I must go along
Till the lord will come and call, call me away, oh yeah
Well the morning's so bright
And the Lamb is the light
And the night, night is as black as the sea, oh yes
(alt lyric: 'and the night, night is as fair as the day, oh yes')

(There will be peace in the valley for me, some day)
There will be peace in the valley for me, oh Lord I pray
(There'll be no sadness, no sorrow, my Lord,
no trouble, trouble I see)
There will be peace in the valley for me

Well the bear will be gentle
And the wolf will be tame
And the lion shall lay down, down by the lamb, oh yes
And the beasts from the wild
Shall be led by a child
And I'll be changed, changed from this creature that I am, oh yes

(There will be peace in the valley for me, some day)
There will be peace in the valley for me, oh Lord I pray
(There'll be no sadness, no sorrow, oh my Lordy, no trouble, trouble I see)
There will be peace in the valley for me, [for me]

DOWN BY THE RIVERSIDE

One of the most famous Afro-American Spirituals, based on verses in Isaiah (some of these verses also appear in Micah, a minor prophet, living around the same time as Isaiah). Again, "minor" does NOT mean "lesser," but "shorter." To hear Gospel great, Mahalia Jackson, sing this song, go here. Another Gospel great, Rosetta Tharpe, sings the song here. But there are many more versions on youtube. As usual, Black artists rarely sing the same lyrics so there's no easy way to find a match of lyrics and recording.

Gonna lay down my sword and shield
Down by the riverside
Down by the riverside
Down by the riverside
Gonna lay down my sword and shield
Down by the riverside
Ain't gonna study war no more.

refrain

I ain't gonna study war no more,
I ain't gonna study war no more,
Study war no more.
I ain't gonna study war no more,
I ain't gonna study war no more,
Study war no more.

Gonna stick my sword in the golden sand;
Down By the riverside
Down by the riverside
Down by the riverside
Gonna stick my sword in the golden sand
Down by the riverside
Gonna study war no more.

refrain

Gonna put on my long white robe;
Down By the riverside
Down by the riverside
Down by the riverside
Gonna put on my long white robe; Down by the riverside
Gonna study war no more.

refrain

Gonna put on my starry crown; Down By the riverside
Down by the riverside
Down by the riverside
Gonna put on my starry crown;
Down by the riverside
Gonna study war no more.

refrain

Gonna put on my golden shoes;
(ETC)
Gonna talk with the Prince of Peace;
(ETC)
Gonna shake hands around the world;
(ETC)

DUE TO EXAM WEEK NEXT WEEK THERE WILL BE NO HOME LISTENING ASSIGNMENT DUE MONDAY.

NOTICE: MID-TERM EXAMS are scheduled for the WEEK OF 19 APRIL (next week; this is the last week of classes before the midterm). As usual there will be no makeup exam except with doctor's note and notification IN ADVANCE.

Notice

The mid-term examinations of the department are scheduled for the week of April 19th. It is recommended that no teaching activities be conducted during exam week.
    The Bible midterm will be on 20 April. It will cover the books from Job to Isaiah.
    The Film midterm will be on 23 April. It will cover the chapter on cinematography, the handouts (including the Study Pictures), and the special handout on acting.
    In Subject Line: NOTICE: MID-TERM EXAMS are scheduled for the WEEK OF 19 APRIL (next week; this is the last week of classes before the midterm). As usual there will be no makeup exam except with doctor's note and notification IN ADVANCE.

Sunday, April 11, 2010

Scheduled FILMS (2) for Friday, April 16, 2010

DOUBLE FEATURE

On Friday, April 16, you'll see two relatively early films by the Japanese director, Kenji Mizoguchi: Osaka Elegy (1936) and Women of the Night (1948). Certain stylistic traits of Mizoguchi's films will be evident, such as the avoidance of close-up or Hollywood-style editing, replaced by long takes and long shots (from a distance). This style will later (in the 1950s) be embellished by sequence shots (that is, long takes with florid camera movement), so students can follow a director's style through decades.
    These two films will also help you understand the Auteur Theory, which in the case of Mizoguchi is easy to understand, since there's a distinctive style in his films as well as a subject matter, especially focused on the plight of women and their exploitation, though Mizoguchi's point of view is not strictly feminist.
    Finally, Women of the Night is a good introduction to the Neorealist style of filmmaking, started by Italian directors after World War II. Neorealism attempted to get away from studio plots and mise-en-scene, replacing glamor with "realism," sometimes starring nonprofessional actors with on-location shooting.
    I would advise seeing Osaka Elegy first, and, after a reasonable break of 5-10 minutes, Women of the Night. The films are under 70 minutes each, so the two films combined may actually be shorter than some of the films students have seen without even a break. I think even with the break students should finish both films before the official class ends, at 3:10, leaving enough time for your next class. If, however, the film runs over, you should not be late for your next class. Students can always see the last minutes by themselves at a convenient time. At least you'll be exposed to two films by a recognized master of cinema.
    As for the break, if you choose to have one, I would prearrange rest room activities, perhaps groups of students agreeing to go to different rest rooms to avoid lines. Of course, more than ever it's imperative not to lunch in such a way that it might cause discomfort while viewing the films.
    Many students in fact may wish not to leave the auditorium at all, and just stand up for a few minutes before the second feature begins. After all, like I said, both films together are really the length of some single films you've seen or that students in previous classes saw.

Friday, April 9, 2010

Next class assignment for the week after next (April 19-21)

BENSHI ASSIGNMENT

AFTER WE CONCLUDE our next presentation, on hobbies or pastimes, we'll turn to the art of the BENSHI (Benzi), or voice-over narration of a film. Each student will select a video clip, about 5 minutes in length (Real Player allows editing, called "trimming," so exact length or nearly exact length should not be a problem) and perform the role of a benshi along with the clip.
    What is a benshi? A benshi, or film explainer, was popularized in Japan from the Silent to the early Sound era in movies. The role of the benshi was to "explain" the movie, present the background, describe the action, and speak the voices. Of course this was mainly for silent movies. But with the sound turned off it doesn't matter!
    A good mental exercise in order to practice your benshi performance is to pretend you're explaining the movie to a child. This should give you some clue of what to say.
    Let's take an example. This is a clip from Titanic (go here).

    "Let me briefly give you the background leading up to this scene. Rose, a wealthy woman, has told Jack, who has neither wealth nor status, that she cannot see him again. As the scene begins, she has changed her mind. [Start video.]
    "Jack is looking over the railing of the ship, called Titanic. What is he thinking of? He must be thinking of Rose who is not with him. But what he doesn't know is that she has returned.
    "Quietly, shyly, she approaches him. She says she has changed her mind about their relationship. Now Jack smiles, showing his happiness! Rose begins to speak but Jack hushes her and asks for her hand, which she gives him. Then he asks her to close her eyes. She hesitates for a moment, so he asks her again. Then he asks her to step close to the railing and guides her in position, asking her to hold on to the railing and not to peek. She complies.
    "Now he asks her to step up to the railing, still keeping her eyes closed, which she does. This shows Rose's complete trust in Jack. That's why Jacks asks her, "Do you trust me" and she says "yes."
    "After Jack gives Rose permission to open her eyes Rose realizes that she is standing on the railing of the ship and she says she feels like she's flying. He whispers words into her ear and soon they clasp hands and kiss.
    "The ship, the biggest of its time, is going very fast, and the breeze from the cross wind seems to put the lovers in another world. But the moment is short-lived. A lapdissolve takes us back to modern times, with only the hull of what was once the Titanic remaining."

Each benshi would use a different style and, of course, a benshi explainer would make more sense in the Silent Film era, where there was less dialogue (in the form of intertitles); and even that intertitles could be made more lively if spoken by a benshi in a dramatic voice.
Still it's obvious that benshi explainers can still be effective with a sound film if the sound is turned off. Depending on the film, more complex explanations would be required. For example, the benshi can explain a gun, cannon, or laptop computer. In a mystery drama the benshi might speak like this:

"He is walking alone on a street. It is after midnight. Few people are walking the streets at this time of night. Most people are at home, comfortable in their beds or at least in their armchairs, reading. So it's unlikely there will be anyone around. Then, suddenly, a shadow emerges from the moonlit night. Someone is following him. He soon senses someone behind him and begins to feel nervous. Wouldn't you? He quickens her footsteps."

    And so on.
    I don't think there are general rules for a benshi, except to make each film intelligible and entertaining to an average viewer. Of course, the benshi would no doubt have changed his vocabulary and style, depending on the film and audience. For example, a benshi would narrate a cartoon from the Disney Studio, exhibited for a young audience, differently from an adult movie about illicit romance, explained to a mature audience.
    I'm sending this now so you have time to reflect on which clip you wish to narrate, locate the clip, and then practice. I think five minutes is the ideal length. My example is shorter because I wanted to limit the example for easier reading.

Thursday, April 8, 2010

Home Listening Assignment Due Monday 12 April 2010

LADY GAGA
View here.

    1. What 3 words were used to describe Lady Gaga's MTV Music Awards performance?
    2. In one word, what does the announcer say that her performance was?
    3. What does Lady Gaga say we don't get to see with famous people such as Judy Garland, Monroe, and Princess Di? (You may have to use your dictionary to find the word.)
    4. What does that word mean?
    5. What was a touchy subject for the music executive?
    6. Who does Lady Gaga say she misses?
    7. What happened to the Kanye West-Lady Gaga tour?
    8. What does Gaga believe will bury autotunes and bring back real music?
    9. In one word, how does Lady Gaga describe vocals today?
    10. When did Dr. Dre and partner establish their headphone line?
    11. What will be different on Lady Gaga's new CD, The Fame Monster?
    12. What did Lady Gaga do a lot more of on her new record?
    13. What does she still make that her fans love?
    14. How long does Dr. Dre say he's been working on his own album?

Wednesday, April 7, 2010

NEXT IN-CLASS ASSIGNMENT, BEGINNING MONDAY 12 April 2010

In-Class Assignment Due Monday 12 April 2010

FOR YOUR NEXT assignment each student will make a short presentation of your favorite hobby, sport, pastime, skill, art, etc. The choice is up to you. You will explain what this consists of, the pleasures it affords you, how you participate in it, etc. For example, if your favorite sport or pastime is fishing you'll explain the step-by-step process of fishing. If your favorite sport is tennis, you'll explain the details of the game, famous tennis players, the rules of the game, the rankings (including how players are ranked), , the highlight of the season, etc..
    It's all up to you how you fill up your 10-15 minute presentation. There's one more important part of this assignment you will include. That's a VOCABULARY. That may be the most interesting part. This will be a list of words that are not too technical but not too common either (house, pot, etc.). These are rather routine words used in talking about the sport, pastime (cooking), hobby (making model airplanes), etc. This will be a vocabulary shared by anyone interested in the sport, such as used on a news groups.
    Here are some examples that may help.
    "Today I'm going to talk about my favorite hobby, which is wine tasting. First let me explain what wine tasting is. It's not the same as getting drunk on wine. Nor is it the same as just sipping wine. Rather the wine taster explores the varieties of wine in terms of their flavor, bouquet." (Here you'll present a vocabulary and define the terms. You may wish to include the technical term for wine tasting.) You also will go into the method or process of wine tasting. For example, the wine taster doesn't swallow the wine, no more than the chocolate taster (another subject) does. The wine taster SWILLS the wine in the mouth, for example. The wine taster sniffs the bouquet (aroma) of the wine. To separate one wine from another the wine taster eats plain crackers, in order not to interfere with a sensitive palate, without which it's impossible to judge or discriminate wines.
    "My special pastime is playing the piano. When people hear the phrase "play the piano" it seems simple enough. Just let your fingers run across the piano keyboard, like a virtuoso concert pianist. Perhaps one day I'll get to that point. But for now I'm quite content making slow but daily progress on the piano. To do this one must follow a routine. There are finger exercises, for example. There are even piano pieces, called Etudes, that help one practice the dexterity of one's fingers. And there's a word you might wish to know. "Dexterity" means agility, specifically agile fingers, nimble fingers. "Etudes" is another word, from the French, meaning "studies." Chopin, the famous Polish pianist and composer, wrote many etudes, as have many other great composers, such as Debussy. In Spanish etudes are called estudios. Bach, of course, wrote many etudes but he did not call them etudes, he called them Preludes. These are Preludes can range from very simple ones (such as the ones in C major, which everyone knows, or D-major. Related to etudes are scales. These are simple studies, with no musical value, where the pianist plays all the notes of the scale. Each key has its own scale, a progression of notes that make up the chords in that scale. I'll write down some words that every piano student learns early and that most music lovers will recognize." And so on.
    "Traveling is my main hobby. To me traveling is more like conquering a city than enjoying it. One "does" a city, and does not simply visit it. How does one "do" a city, such as Kaoshiung or Taipei or Vienna? First, one finds out all the landmarks. These are high profile places that have historical, political, or cultural interest. If one goes to Vienna (if one "does" Vienna, to use my favorite phrase) one of course will visit the birthplaces of the great Viennese composers, such as Beethoven's house, Schubert's house, and that of the Strauss family, who popularized the waltz. Then there's Freud's house too, which shouldn't be missed if one "does" Vienna. If one does Tainan, naturally one seeks out the temples, the historical landmarks, such as places where battles were fought, the original center of the city, the old part of the city, etc. Here's a vocabulary of words you need when traveling." And so on.
    "I know it sounds strange for a college student to say, but my favorite hobby is collecting comic books. Of course one doesn't collect comics, as they are also called, unless one likes to read them. But collecting is more serious than just reading them. The collector discriminates between different comics, their series, the characters, early and late edition, mint copies, and so on. One also follows the plot lines of different series, how the characters change. But for the comic book enthusiast (that's another word for lover, or one who is enthused over or has enthusiasm for something) the private language of comic books is as much fun as the comics themselves. For example, there's the splash cover. A splash cover or page. A splash page includes an entire page of a single scene (with no panels to break up the page). If the splash is on the cover, that image will not be repeated inside the comic book itself. It's more like a visual montage of action in the comic book. Each comic book page has strips, with each strip called a panel. When characters speak they speak through what is called a speech bubble or balloon. Action is usually indicated by what are called symbolia, such as Z's to show sleeping, a light bulb above the head to represent an idea that has entered the person's head, a round balloon led up to by hazy circles to suggest a thought rather than speech, which is shown by an enclosed diagonal near the lips or face, completed by a balloon with text inside representing the speaker's words." And so on.
    Shall I go on? I think these examples should be enough. Keep in mind I don't have the time to refine these sample presentations; they are not perfect models of coherence, completeness, or clarity. I typed them very fast. They are intended merely as sketches to give you an idea of the direction you should go. Certainly building a vocabulary is an important part of the presentation, for you as well as your classmates. If you present on cooking, you should also present an adequate vocabulary, avoiding, of course, the most common words, such as pot, spoon, fork, etc. Rather seek out less common words and phrases, such as garnish, stir fry, broil, seasoning, etc. Obviously you need to use the Internet to help you. Usually Wikipedia would be sufficient to give you the main terms in any field of interest, whether boxing, fishing, stamp collecting, or whatever.
    To develop your ideas use the commonplaces. These are "common places" where one typically expands or enlarges one's material,. One commonplace, for example, is DEFINITION. One naturally defines what one talks or writes about. Another commonplace is DIVISION. One naturally DIVIDES up a topic into different parts (shopping for the best meats, organizing one's utensils to chop up the meet, oiling the pot, etc.). Another commonplace is CONTRADICTION. One says what something is not, as in the first example, wine tasting: Wine tasting is not simply drinking wine or getting drunk. Or "doing" a city is not simply getting off a bus in a new city! Another commonplace is EXAMPLE. One gives examples, such as the rare Batman comic or first Superman comic and how much it sold for at auction. Another commonplace is TESTIMONY (more simply, quoting a reliable or trustworthy source, such as The New York Times on what travel means. CAUSE-EFFECT is another commonplace. One tells the causes of something or its effects. "Apart from the joy of cooking culinary delights, the climax of one's work is when one's sister, mother, or date tastes what one has made. There's no finer excitement than the delight on your date's face as he tastes a piece of the strawberry cake you made just an hour ago."
    Another way to organize your presentation and to amplify (enlarge) it is the tried and true method of the 5 W's and H: WHY, WHERE, WHEN, WHAT, WHO, HOW. HOW does one fish? WHAT does one need to fish? WHEN is the best time to fish. WHY does one fish (peace, relaxation, getting away from the noise of the city). WHERE does one fish? Where's the best place(s) to fish. WHO can love fishing? "Don't think you have to be a male or muscular to fish, or even specially skilled. NO! Anyone can fish. One doesn't even need that much skill. After all, the joy of fishing is in the fishing, not in the catch, though I won't deny that it's a joy to catch one's dinner! Still, fishing is not all about fish. It's about rising early in the morning, driving out into a distant part of a pond or stream when everyone else is a asleep," etc.
    Like all such models, one must use them rather than be constrained or limited by them. "WHY" for example can be used anyway one wishes, just so long as that word generates ideas, or helps one organize or amplify one's presentation.
    Any questions, feel free to ask. Let's make this an interesting and entertaining assignment!