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Joy in Shakespeare understanding, applying, and enjoying the works of Shakespeare


Joy in Shakespeare understanding, applying, and enjoying the works of Shakespeare Michael Round Theory of Constraints for Education 8th International Conference – PowerPoint PPT presentation

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Title: Joy in Shakespeare understanding, applying, and enjoying the works of Shakespeare

Joy in Shakespeareunderstanding, applying, and
enjoying the works of Shakespeare
Michael Round Theory of Constraints for
Education 8th International Conference August 11
August 14, 2005
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Ode on a Grecian Urn John Keats
THOU still unravish'd bride of quietness, Thou
foster-child of Silence and slow Time, Sylvan
historian, who canst thus express A flowery tale
more sweetly than our rhyme What leaf-fringed
legend haunts about thy shape Of deities or
mortals, or of both, In Tempe or the dales of
Arcady? What men or gods are these? What maidens
loth? What mad pursuit? What struggle to
escape? What pipes and timbrels? What wild
ecstasy? Heard melodies are sweet, but those
unheard Are sweeter therefore, ye soft pipes,
play on Not to the sensual ear, but, more
endear'd, Pipe to the spirit ditties of no
tone Fair youth, beneath the trees, thou canst
not leave Thy song, nor ever can those trees be
bare Bold Lover, never, never canst thou
kiss, Though winning near the goalyet, do not
grieve She cannot fade, though thou hast not thy
bliss, For ever wilt thou love, and she be
fair! Ah, happy, happy boughs! that cannot
shed Your leaves, nor ever bid the Spring
adieu And, happy melodist, unwearièd, For ever
piping songs for ever new More happy love! more
happy, happy love!
For ever warm and still to be enjoy'd, For ever
panting, and for ever young All breathing human
passion far above, That leaves a heart
high-sorrowful and cloy'd, A burning forehead,
and a parching tongue. Who are these coming to
the sacrifice? To what green altar, O mysterious
priest, Lead'st thou that heifer lowing at the
skies, And all her silken flanks with garlands
drest? What little town by river or sea-shore, Or
mountain-built with peaceful citadel, Is emptied
of its folk, this pious morn? And, little town,
thy streets for evermore Will silent be and not
a soul, to tell Why thou art desolate, can e'er
return. O Attic shape! fair attitude! with
brede Of marble men and maidens overwrought, With
forest branches and the trodden weed Thou,
silent form! dost tease us out of thought As doth
eternity Cold Pastoral! When old age shall this
generation waste, Thou shalt remain, in midst of
other woe Than ours, a friend to man, to whom
thou say'st, 'Beauty is truth, truth beauty,that
is all Ye know on earth, and all ye need to know.'
A Shakespeare System
THOUGHTS Shall we read together Lets
role-play, with characters Lets have a
discussion Mike what do you think?
A System Problem
No matter how much and how hard I try I do not
understand Shakespeare. Understand does not
even encompass my meaning, because I really do
not get it. How can I get it? How can I gain a
foothold in the play, allowing me to continue
Obstacle IO Action
I do not understand how to read Shakespeare. I have a means to get into Shakespeare material. I use any means necessary to get a foothold in Shakespeare.
The Action Item Goal
What constitutes any means necessary? Just
that! An internet summary, a movie, a
conversation, a great quote, etc. This may be a
necessary condition to get me into
Shakespeare, but is this sufficient? How can
we leverage this foothold, and not lose ground?
I logically understand my foothold by way of the
logic branch.
Iterate with clarity and causality reservations
Employing the action item, I gain and maintain a
good foothold in a work of Shakespeare.
Thinking Process Language
Shakespeare Language
Narrative Language
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Structure Achieved
With a simple structure in place, can I integrate
another aspect of the story again, drawn from
ANYWHERE? What does integrate mean? By way of
the thinking process reservations and logic as
the non-contradictory identification of reality,
can I complete additional logic chains of TP /
Shakespeare / Narrative?
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Famous Quotes
Brevity is the soul of wit? To be or not to
be? Weve heard these all our lives now we
have a structural understanding of the work by
which to really understand these quotes! But,
what constitutes Real understanding? The quote
itself? The context from which the quote arises?
The meaning of the actor in the context?
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OUR Famous Quotes
Brevity is the soul of wit? To be or not to
be? Great quotes yes. However, now that we
have a great understanding of this piece of
literature, why leave the great quotes to
Shakespeare, when we can create our own? What
would constitute a great quote? Validity in the
Shakespearean environment? Of course this
gives rise to the quote itself. Valid in another
environment? Certainly this is the meaning of
generalization. What about application to other
environments? Is it valid in other applications?
Is it not valid in other areas?
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Other Endings?
Must we accept tragedy as inevitable in Hamlet?
That was Shakespeares story, but does it have
to be ours? What might Hamlet have done to
rewrite history? What injection might have
Hamlet employed to arrive at a favorable reality?

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A Process of Ongoing Improvement
When am I done learning Hamlet / Shakespeare?
It, of course, depends however, with structure
in place, many additional questions come to mind!
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The Future
Shakespeare Textbooks
Preliminary discussions have been held with the
Heart of America Shakespeare Festival
organization about co-authoring
/ overseeing the writing of the 37 books to the
left They have the Shakespearean expertise
by way of the Thinking Processes of TOC, we have
the structure to make Shakespeare Enjoyable for
Feel free to comment on the layout of the book,
the structure, the categories, the initiatives,
etc. As I said, this truly is a process of
ongoing improvement, and an exciting process
Education as a System
The Left / Right Dilemma
How Right-Brain vs. Left-Brain Thinking Impacts
Learning Curriculum--In order to be more
"whole-brained" in their orientation, schools
need to give equal weight to the arts,
creativity, and the skills of imagination and
synthesis. Instruction--To foster a more
whole-brained scholastic experience, teachers
should use instruction techniques that connect
with both sides of the brain. They can increase
their classroom's right-brain learning activities
by incorporating more patterning, metaphors,
analogies, role playing, visuals, and movement
into their reading, calculation, and analytical
activities. Assessment--For a more accurate
whole-brained evaluation of student learning,
educators must develop new forms of assessment
that honor right-brained talents and skills.
Reading Bernice McCarthy, The 4-MAT System
Teaching to Learning Styles with Right/Left Mode
This theory of the structure and functions of the
mind suggests that the two different sides of the
brain control two different "modes" of thinking.
It also suggests that each of us prefers one mode
over the other. Most individuals have a
distinct preference for one of these styles of
thinking. Some, however, are more whole-brained
and equally adept at both modes. In general,
schools tend to favor left-brain modes of
thinking, while downplaying the right-brain ones.
Left-brain scholastic subjects focus on logical
thinking, analysis, and accuracy. Right-brained
subjects, on the other hand, focus on aesthetics,
feeling, and creativity.
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An Exciting Possibility Moving from a very
complex system
I as the teacher need to create lesson plans for
each aspect of this complex system to ensure
no child is left behind.
An Exciting Possibility To a very simple system

Simple thinking processes enable me as a teacher
to achieve each aspect of this complex system
to ensure no child is left behind.
An Exciting Possibility To a joyously simple
Knowledge, analysis, synthesis, etc., are
achieved naturally.
The whole student is achieved, where maybe Im a
mathematician, and maybe an actor, or maybe both!
Simple thinking processes enable me as a teacher
to teach well with happiness, and the student to
learn with vigor and joy.
The State of Literature
When did it all start, you ask, this job of
ours, how did it come about, where, when? Well,
I'd say it really got started around about a
thing called the Civil War. Even though our rule
book claims it was founded earlier. The fact is
we didn't get along well until photography came
into its own. Then - motion pictures in the
early Twentieth Century. Radio. Television.
Things began to have mass. "And because they
had mass, they became simpler," said Beatty.
"Once, books appealed to a few people, here,
there, everywhere. They could afford to be
different. The world was roomy. But then the
world got full of eyes and elbows and mouths.
Double, triple, quadruple population. Films and
radios, magazines, books leveled down to a sort
of paste pudding norm, do you follow me?"
Beatty peered at the smoke pattern he
had put out on the air. "Picture it. Nineteenth
century man with his horses, dogs, carts, slow
motion. Then, in the Twentieth Century, speed up
your camera. Books cut shorter. Condensations.
Digests. Tabloids. Everything boils down to the
gag, the snap ending."
The State of Literature
"Classics cut to fifteen-minute radio shows, then
cut again to fill a two-minute book column,
winding up at last as a ten- or twelve-line
dictionary resume. I exaggerate, of course. The
dictionaries were for reference. But many were
those whose sole knowledge of Hamlet (you know
the title certainly, Montag it is probably only
a faint rumor of a title to you, Mrs. Montag)
whose sole knowledge, as I say, of Hamlet was a
one-page digest in a book that claimed now at
last you can read all the classics keep up with
your neighbors. Do you see? Out of the nursery
into the college and back to the nursery there's
your intellectual pattern for the past five
centuries or more."
Fahrenheit 451 Ray Bradbury PUBLISHED IN 1953