High School Textbook Catalog

Total Page:16

File Type:pdf, Size:1020Kb

High School Textbook Catalog DOWNEY UNIFIED SCHOOL DISTRICT EDUCATIONAL SERVICES High School Textbook Catalog Revised 2013 - 2014 Note: California Assembly Bill X4 2 (Chapter 2, Statutes of 2009-10 Fourth Extraordinary Session) signed on July 28, 2009, suspended the process and procedures for adopting instructional materials. Framework revisions, incorporated with the National Common Core Standards, will be available in the 2013-14 school year. School districts have been advised that the California State Board of Education is scheduled to review textbooks for adoption, aligned to the new frameworks, in 2016-17 (math) and 2018-19 (English~language arts). Currently, in Downey Unified School District, all textbook adoptions have been suspended, pending decision from the California Department of Education. DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS BUSINESS INFORMATION SYSTEMS Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption Personal Finance INTRODUCTION TO BUSINESS: OUR BUSINESS AND THE ECONOMIC Brown; Clow Glencoe 2005-06 TBD WORLD Entrepreneurship/Marketing Thomson MARKETING Burrows 2005-06 TBD Learning Business Management INTRODUCTION TO BUSINESS: OUR Brown; Clow Glencoe 2005-06 TBD BUSINESS AND THE ECONOMIC Keyboarding 1 CENTURY 21 COMPUTER Thomson Hoggatt; Shank 2005-06 TBD APPLICATIONS AND KEYBOARDING Learning Keyboarding 2 CENTURY 21 COMPUTER Thomson Hoggatt; Shank 2005-06 TBD APPLICATIONS AND KEYBOARDING Learning Accounting I CENTURY 21 ACCOUNTING: Thomson MULTICOLUMN JOURNAL Gilbertson; Lehman; Ross 2005-06 TBD Learning Accounting II/Automated CENTURY 21 ACCOUNTING: Thomson Gilbertson; Lehman; Ross 2005-06 TBD MULTICOLUMN JOURNAL Learning Business Communications Thomson BUSINESS COMMUNICATIONS Means 2005-06 TBD Learning (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) Page 1 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS BUSINESS INFORMATION SYSTEMS - continued Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption Computer Applications 1 COMPUTER LITERACY BASICS: A Thomson CEP Inc. 2005-06 TBD COMPREHENSIVE GUIDE TO IC3 Learning DDC LEARNING MICROSOFT OFFICE XP Fulton; et. al. 2005-06 TBD Publishing Computer Applications 2 Thomson MS OFFICE ADVANCED Shelly; Cashman; Vermaat 2005-06 TBD Learning Thomson INTEGRATING MICROSOFT OFFICE XP Beskeen; Duffy; Reding 2005-06 TBD Learning Computer Graphics & Animation Macromedia STUDIO MX 2004 STEP BY STEP Aho 2005-06 TBD Education Word Processing INTRODUCTORY MICROSOFT OFFICE Thomson Pasewark; Pasewark 2005-06 TBD 2003 Learning Computer Science Thomson PROGRAMMING BASICS Knowlton; et. al. 2005-06 TBD Learning Web Design and Development Macromedia STUDIO MX 2004 STEP BY STEP Aho 2005-06 TBD Education LEARNING MICROSOFT FRONT PAGE Weaver; Rainville; Murphy DDC Publishing 2005-06 TBD 2000 Computer Maintenance and Repair UPGRADING AND REPAIRING PC'S Mueller Que 2005-06 TBD Thomson A+ GUIDE TO HARDWARE Andrews 2005-06 TBD Learning Thomson A+ GUIDE TO SOFTWARE Andrews 2005-06 TBD Learning (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) Page 2 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS BUSINESS INFORMATION SYSTEMS - continued Year of Next Course / TEXTBOOK TITLE Author Publisher Implementation Adoption Desktop/Digital Publishing LEARNING MICROSOFT PUBLISHER Wempen DDC Publishing 2005-06 TBD LEARNING ADOBE PHOTOSHOP Bucki DDC Publishing 2005-06 TBD Advanced Computer Placement Computer Science (P) Thomson FUNDAMENTALS OF JAVA Lambert; Osborne 2005-06 TBD Learning (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) Page 3 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS DRIVER EDUCATION Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption Driver Education DRIVE RIGHT (PT) Johnson, Crabb, Opfer, Thiel Prentice Hall 2007-08 TBD (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) Page 4 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS ENGLISH Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption English 9 (P) LITERATURE AND LANGUAGE Holt, Rinehart & Beers & Odell 2003-04 Pending ARTS: Third Course (PT) Winston Holt, Rinehart & HOLT HANDBOOK: Third Course (S) Warriner 2003-04 Pending Winston INTERACTIVE READING: Third Holt, Rinehart & 2003-04 Pending Course (S) Winston OF MICE AND MEN (C) Steinbeck 2003-04 Pending ROMEO AND JULIET (C) Shakespeare (HRW TEXT) 2003-04 Pending CHILDREN OF THE RIVER (E) Crew 2003-04 Pending CHOCOLATE WAR, THE (E) Cornier Pantheon - Dell 2003-04 Pending CHRISTMAS CAROL, A (E) Dickens HRW LIB 2003-04 Pending HIROSHIMA (E) Hersey 2003-04 Pending HOBBIT, THE (E) Folkien 2003-04 Pending HOUSE ON MANGO STREET, THE Cisneros 2003-04 Pending (E) Holt, Rinehart & LITERATURE I (E) Kitzhaber 2003-04 Pending Winston LORD OF THE FLIES Golding HRW LIB 2003-04 Pending National MYTHOLOGY AND YOU (E) Rosenberg 2003-04 Pending Textbook Co. OLD MAN AND THE SEA, THE (E) Hemmingway 2003-04 Pending PIGMAN, THE (E) Zindel Dell 2003-04 Pending REFLECTIONS ON A GIFT OF Dunning, et. al. Scott Foresman 2003-04 Pending WATERMELON PICKLE (E) Z FOR ZACHARIAH (E) O'Brien 2003-04 Pending (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) (C)= Core Literature Selection (two required selections per year) (E) = Extended Literature Selection (R/R) = Resource/Reference Book (a classroom set per teacher may be purchased) Page 5 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS ENGLISH - continued Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption Honors English 9 (P) LITERATURE AND LANGUAGE ARTS: Holt, Rinehart & Beers & Odell 2003-04 Pending Third Course (PT) Winston Holt, Rinehart & HOLT HANDBOOK: Third Course (S) Warriner 2003-04 Pending Winston INTERACTIVE READING: Third Course Holt, Rinehart & 2003-04 Pending (S) Winston GREAT EXPECTATIONS (C) Dickens HRW LIB 2003-04 Pending ROMEO AND JULIET (C) Shakespeare (HRW TEXT) 2003-04 Pending TALE OF TWO CITIES, A (C) Dickens 2003-04 Pending Scholastic Book BEOWULF (E) Serraillier 2003-04 Pending Service Holt, Rinehart & LITERATURE I (E) Kitzhaber 2003-04 Pending Winston National MYTHOLOGY AND YOU (E) Rosenberg 2003-04 Pending Textbook Co. ODYSSEY, THE (E) Homer (HRW TEXT) 2003-04 Pending ONCE AND FUTURE KING, THE (E) T. H. White Berkeley Pub. 2003-04 Pending REFLECTIONS OF A GIFT OF Holt, Rinehart & Kitzhaber 2003-04 Pending WATERMELON PICKLE (E) Winston (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) (C)= Core Literature Selection (two required selections per year) (E) = Extended Literature Selection (R/R) = Resource/Reference Book (a classroom set per teacher may be purchased) Page 6 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS ENGLISH - continued Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption English 10 (P) LITERATURE AND LANGUAGE ARTS: Holt, Rinehart & Beers & Odell 2003-04 Pending Fourth Course (PT) Winston Holt, Rinehart & HOLT HANDBOOK: Fourth Course (S) Warriner 2003-04 Pending Winston INTERACTIVE READING: Fourth Holt, Rinehart & 2003-04 Pending Course (S) Winston MUCH ADO ABOUT NOTHING (C) Shakespeare 2003-04 Pending Pop. Lib. TO KILL A MOCKINGBIRD (C) Lee 2003-04 Pending (Code M2000) ALL QUIET ON THE WESTERN FRONT Remarque 2003-04 Pending (E) New American ANIMAL FARM (E) Orwell 2003-04 Pending Library ANTIGONE (E) Sophocles (HRW TEXT) 2003-04 Pending BEAN TREES, THE (E) Kingsolver 2003-04 Pending I KNOW WHY THE CAGED BIRD Angelou 2003-04 Pending SINGS (E) INCIDENT AT VICHY (E) Miller 2003-04 Pending JULIUS CAESAR (E) Shakespeare (HRW TEXT) 2003-04 Pending MIDSUMMER NIGHT'S DREAM, A (E) Shakespeare HRW LIB 2003-04 Pending PEARL, THE (E) Steinbeck 2003-04 Pending SEPARATE PEACE, A (E) Knowles Dell 2003-04 Pending SLAUGHTERHOUSE FIVE (E) Vonnegut Bantam 2003-04 Pending (PT) = Primary Textbook (S)= Supplemental Textbook (a classroom set per teacher may be purchased) (C)= Core Literature Selection (two required selections per year) (E) = Extended Literature Selection (R/R) = Resource/Reference Book (a classroom set per teacher may be purchased) Page 7 DOWNEY UNIFIED SCHOOL DISTRICT Educational Services HIGH SCHOOL TEXTBOOKS ENGLISH - continued Next Course / TEXTBOOK TITLE Author Publisher Year of Implementation Adoption Honors English 10 (P) THE LANGUAGE OF LITERATURE: c BRITISH LITERATURE (PT) Applebee, et. al. M Dougal Littell 2005-06 Pending LANGUAGE NETWORK: GRAMMAR, c WRITING, COMMUNICATION (S) M Dougal Littell 2005-06 Pending JANE EYRE (C) Bronte HRW LIT 2003-04 Pending MACBETH (C) Shakespeare (HRW TEXT) 2003-04 Pending BRAVE NEW WORLD(E) Huxley 2003-04 Pending EMMA (E) Austen 2003-04 Pending FRANKENSTEIN (E) Shelley Dell 2003-04 Pending LORD OF THE FLIES (E) Golding HWR LIB 2003-04 Pending MAYOR OF CASTERBRIDGE (E) Hardy 2003-04 Pending MERCHANT OF VENICE, THE (E) Shakespeare Noble & Noble 2003-04 Pending MURDER IN THE CATHEDRAL (E) Eliot 2003-04 Pending PICTURE OF DORIAN GRAY (E) Wilde 2003-04 Pending PRIDE AND PREJUDICE (E) Austen HWR LIB 2003-04 Pending RETURN OF THE NATIVE, THE (E) Hardy HWR LIB 2003-04 Pending SECRET SHARER, THE (E) Conrad 2003-04 Pending SILAS MARNER (E) Eliot 2003-04 Pending TESS OF THE D'UBERVILLES (E) Hardy Bantam
Recommended publications
  • To View/Download the AP List of Free Response Titles
    Titles from Open Response Questions* Updated from an original list by Norma J. Wilkerson. Works referred to on the AP Literature exams since 1971 (specific years in parentheses) Please note that only authors were recommended in early years, not specific titles.. A Absalom, Absalom by William Faulkner (76, 00, 10, 12) Adam Bede by George Eliot (06) The Adventures of Augie March by Saul Bellow (13) The Adventures of Huckleberry Finn by Mark Twain (80, 82, 85, 91, 92, 94, 95, 96, 99, 05, 06, 07, 08, 11, 13) The Aeneid by Virgil (06) Agnes of God by John Pielmeier (00) The Age of Innocence by Edith Wharton (97, 02, 03, 08, 12, 14) Alias Grace by Margaret Atwood (00, 04, 08) All the King’s Men by Robert Penn Warren (00, 02, 04, 07, 08, 09, 11) All My Sons by Arthur Miller (85, 90) All the Pretty Horses by Cormac McCarthy (95, 96, 06, 07, 08, 10, 11, 13) America is in the Heart by Carlos Bulosan (95) An American Tragedy by Theodore Dreiser (81, 82, 95, 03) American Pastoral by Philip Roth (09) The American by Henry James (05, 07, 10) Angels in America by Tony Kushner (09) Angle of Repose by Wallace Stegner (10) Anna Karenina by Leo Tolstoy (80, 91, 99, 03, 04, 06, 08, 09, 16) Another Country by James Baldwin (95, 10, 12) Antigone by Sophocles (79, 80, 90, 94, 99, 03, 05, 09, 11, 14) Anthony and Cleopatra by William Shakespeare (80, 91) Apprenticeship of Duddy Kravitz by Mordecai Richler (94) Armies of the Night by Norman Mailer (76) As I Lay Dying by William Faulkner (78, 89, 90, 94, 01, 04, 06, 07, 09) As You Like It by William Shakespeare (92 05, 06, 10, 16) Atonement by Ian McEwan (07, 11, 13, 16) Autobiography of an Ex-Colored Man by James Weldon Johnson (02, 05) The Awakening by Kate Chopin (87, 88, 91, 92, 95, 97, 99, 02, 04, 07, 09, 11, 14) B “The Bear” by William Faulkner (94, 06) Beloved by Toni Morrison (90, 99, 01, 03, 05, 07, 09, 10, 11, 14, 15, 16) A Bend in the River by V.
    [Show full text]
  • A Doll's House Has Been a Trailblazer for Women's Liberation and Feminist Causes Around the World
    A Doll’s House Resource Guide – BMCC Speech, Communications and Theatre Arts Department A Doll’s House Resource Guide Spring 2014 Speech, Communications and Theatre Arts Department Theatre Program Borough of Manhattan Community College Dates Wed., April 23rd at 2PM & 7PM Thurs., April 24th at 7 PM Fri., April 25th at 2PM & 7PM Sat., April 26th at 7PM Location BMCC, Main Campus 199 Chambers Street Theatre II Admission is Free Table of Contents Page 2 Henrik Ibsen (1828-1906) Norwegian Playwright Page 3 Ibsen around the World Page 4 Director’s Notes on the 1950s Play Adaption Page 5 Advertising from the 1950s Page 6 Ibsen and His Actresses Page 7 Questions for the Audience, Sources, and Further Reading A Doll’s House Resource Guide – BMCC Speech, Communications and Theatre Arts Department Henrik Ibsen (1828-1906) Norwegian Playwright Why Ibsen? Henrik Ibsen, with the exception of Shakespeare, is the most frequently produced playwright in the world. He is also universally known as "The Father of Modern Drama" and "The Father of Realistic Drama." For over a century and a half, Ibsen's plays have been renowned for displaying a fierce revolt by the individual against an oppressive middle-class society. Specifically, A Doll's House has been a trailblazer for women's liberation and feminist causes around the world. Portrait of Henrik Ibsen. Photograph by Gustav Borgen . Ibsen Timeline 1828 Born in Skien, a small town in Norway. 1843 At 15 he moves to another small town, Grimstad, and works as an apprentice in a pharmacy. 1851 He moves to Bergen and takes on the position of Artistic Director and Dramatist at the Bergen Theatre.
    [Show full text]
  • University of Warwick Institutional Repository: a Thesis Submitted for the Degree of Phd at The
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36168 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Critical and Popular Reaction to Ibsen in England: 1872-1906 by Tracy Cecile Davis Thesis supervisors: Dr. Richard Beacham Prof. Michael R. Booth Submitted for the degree of Doctor of Philosophy, University of Warwick, Department of Theatre Studies. August, 1984. ABSTRACT This study of Ibsen in England is divided into three sections. The first section chronicles Ibsen-related events between 1872, when his work was first introduced to a Briton, and 1888, when growing interest in the 'higher drama' culminated in a truly popular edition of three of Ibsen's plays. During these early years, knowledge about and appreciation of Ibsen's work was limited to a fairly small number of intellectuals and critics. A matinee performance in 1880 attracted praise, but successive productions were bowdlerized adaptations. Until 1889, when the British professional premiere of A Doll's House set all of London talking, the lack of interest among actors and producers placed the responsibility for eliciting interest in Ibsen on translators, lecturers, and essayists. The controversy initiated by A Doll's House was intensified in 1891, the so-called Ibsen Year, when six productions, numerous new translations, debates, lectures, published and acted parodies, and countless articles considered the value and desirability of Ibsen's startling modern plays.
    [Show full text]
  • Hedda Gabler, Nationaltheatret – 2018 HEDDA GABLER
    Side 1 Skolemateriell Hedda Gabler, Nationaltheatret – 2018 HEDDA GABLER Av Henrik Ibsen Utarbeidet av teaterpedagog Gunhild Aarebrot Kilde for Nationaltheatret Gunhild Aarebrot Utarbeidet av teaterpedagog Pedagogisk studiemateriell for 10. trinn og Videregående skole Side 2 Skolemateriell Hedda Gabler, Nationaltheatret – 2018 MEDVIRKENDE: KJERSTI HERMANN TROND BOTN SANDAL SABADO ESPEN SEIM Hedda Gabler Jørgen Tesman Assessor Brack MARIKA HANNA MARIA VEA BENJAMIN ENSTAD GRØNNEBERG HELSTAD Tante Julle Thea Elvested Eilert Løvborg KUNSTNERISK LAG: Regissør Sofia Jupither Scenografi Erlend Birkeland Kostymedesign Ellen Ystehede Lysdesigner Phillip Isaksen Maskør Wibke Schuler Dramaturg Mari Vatne Kjeldstadli Side 3 Skolemateriell Hedda Gabler, Nationaltheatret – 2018 Studiemateriell, Hedda Gabler Dette studiematerialet er utviklet for elever på ungdomsskole 10. trinn og videregående skole, og det møter kompetansemål fra Læreplanen for norsk, KRLE, drama, psykologi og samfunnsfag. Studiematerialet er til for å inspirere lærere og elever til å dypdykke ned i Henrik Ibsens verk og for å stimulere til refleksjon rundt stykkets tema, innhold og om teaterkunsten. Studiematerialet forbereder også elevene på teateropplevelsen, slik at de kan få enda mer ut av forestillingen og møtet med teatret. Oppgavene er inndelt i for- og etterarbeid, og det er fritt frem å plukke ut hvilke oppgaver som passer for deres respektive undervisningsopplegg, eller om dere ønsker å benytte dere av studiematerialet i sin helhet. De fleste oppgaver kan besvares både skriftlig eller som muntlige refleksjonsoppgaver. Dramaøvelsene kan utføres i vanlige klasserom, og du trenger ikke være dramalærer for å gjennomføre dem. HUSK: Teater er scenekunst og står fritt til å tolkes på mange ulike måter. Det finnes mange lag i en teaterforestilling. Teater gir ulike assosiasjoner og snakker til oss på ulikt vis, og derfor har heller ikke refleksjonsoppgavene og tolkningsoppgavene i studiematerialet noen fasit.
    [Show full text]
  • Mark Scheme: Component 1 Drama and Theatre
    A-LEVEL Drama and Theatre 7262/W – Component 1: Drama and Theatre Mark scheme 7262 June 2018 Version/Stage: 1.0 Final Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from aqa.org.uk Copyright © 2018 AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre.
    [Show full text]
  • A Level Drama and Theatre Studies
    A LEVEL DRAMA AND THEATRE STUDIES A LEVEL DRAMA AND THEATRE STUDIES SUMMARY OF ASSESSMENT Component 1: Theatre Workshop Non-exam assessment: Internally assessed, externally moderated - 20% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of a piece of theatre based on a reinterpretation of an extract from a text chosen from a list supplied by WJEC. The piece must be developed using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company. Learners must produce: • a realisation of the performance or design • a creative log Component 2: Text in Action Non-exam assessment: externally assessed by a visiting examiner - 40% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of two pieces of theatre based on a stimulus supplied by WJEC: 1. a devised piece using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company (a different practitioner or company to that chosen for Component 1) 2. an extract from a text in a different style chosen by the learner. Learners must realise their performance live for the visiting examiner. Learners choosing design must also give a 5-10 minute presentation of their design to the examiner. Learners produce a process and evaluation report within one week of completion of the practical work. Component 3: Text in Performance Written examination: 2 hours 30 minutes 40% of qualification Sections A and B Open book: Clean copies (no annotation) of the two complete texts chosen must be taken into the examination.
    [Show full text]
  • Hedda Gabler by Henrik Ibsen
    Hedda Gabler by Henrik Ibsen Shadow David Zimmerman, University of California, Santa Cruz In Brief An exploration of domestic setting as both realistic and symbolic Purpose Hedda Gabler, one of the great tragic heroines of modern drama, found herself trapped inside a marriage and a dream house that she supposedly wanted. Ibsen used newly-innovated production techniques to deliver information about its titular character quickly and effectively. This exercise will help clarify the central conflict that Hedda Gabler experiences based on the information found in Ibsen’s realistic setting. Time Length 45 minutes. Advanced Preparation While students do not need to have read they play ahead of time, they should have the opening stage directions in front of them and come to class with a mental image of their “dream home.” An alternative exercise would ask them to create a collage of their dream home on paper, using images from the internet or magazines, but this is not necessary. Instructors wishing to do Exercise One (optional) should create two stacks; one of words, and the other of corresponding images of valuable material items associated with wealth and luxury, e.g. mansion, money, tuxedo, jewelry, yacht, golfing/tennis equipment or other item. These images can come from magazine advertisements or clip art/ Google Image search. Materials / Technology Paper for students to draw on Class Size This exercise can be done with almost any group, as the exercise itself is mostly individual, with some group reflection in conclusion. Nuts and Bolts Exercise One (optional) Studies, like those done by Lightspeed Research, show that images carry the same amount of meaning faster than text, thus the importance of a well-designed set.
    [Show full text]
  • Adapted by Jon Robin Baitz
    Henrik Ibsen’s Adapted by Jon Robin Baitz “People---don’t do such things” – Judge Brack, page 77 UCOR 1000 Spring Quarter 2014 Andrew Ryder, Director Nicole Song, Dramaturg Tuesday, March 18, 2014 Concept: Tragedy and Realism Hedda Gabler has to some extent defied audiences from its first performance. The play—and its title character—defy us to find something likable about her, something valuable about her, something that justifies her continued existence on this earth when she’s so “bored.” All of the characters surrounding her are shocked at her final act, even the world-weary and cosmopolitan Judge Brack. His practical mind cannot understand why she would give up on the opportunities right in front of her—including his offer of an affair or alliance of some kind. And yet, Hedda and her play defy us in the opposite direction as well. How can we not, Ibsen seems to say, care what happens to this strong, damaged, determined, frightened, powerful, cowering woman/little girl? For she must, I believe, garner our sympathy. There are directors who make her completely unlikable, focusing primarily on the evils of the society which puts her in such an untenable position. I certainly agree that society is responsible for Hedda’s demise, but that is precisely why I feel for her. It’s not about guilt or blame, but about the structures of her world: a tantalizing mix of encouragements and dead ends. Ibsen points the way forward here to Arthur Miller’s 20th-century tragedies of society, where the central character may be destroyed because “he had the wrong dream.” Ibsen’s social commentary is not quite so clear-cut.
    [Show full text]
  • HEDDA GABLER the Present
    THE UNIVERSITY THEATRE THE PLAY presents A constant theme in Ibsen's later work is the influence of the past upon HEDDA GABLER the present. In most of the plays the past lies like a dead weight upon the by central characters, inhibiting and crippling them. Mrs. Alving says in HENRIK IBSEN Ghosts, The longer I live the most convinced I am that The Cast we're all haunted in this world, not only by ( in order of appearance) things we inherit from our parents, but by the Miss Julia Tesman, Tesnum's aunt. .......................... .. .. ..... MARGARET SoLOMON ghosts of innumerable old prejudices and beliefs, Berta, the Tesman's maid.... ........................ .................... ..........CAROLE HoDGSON half-forgotten cruelties and betrayals-we may George Tesman, University Research Fellow in the. not even be aware of them-but they're there History of Civilization _____ ___ __ ___ __ __ ______ ___ __ __ ____ ___ _____ __ ___ ___ ________ __ C, W. STEVENS just the same, and we can't get rid of them. Hedda, his wife ............. ..... .. ... ........ ----- ···-- ------- ·----- --- --- --- --- --- ----- -"IVECA LINDFORS Mrs. Elvsted .. ...- ------ --- --- ------ --- -------- ------ ------ ----- ---- -- ---- ------- --- ---- ------ELECTRA GAlLAS In Hedda Gabler ( 18~)) fbsen set the central character in the milieu of Judge Brack. .................. ............................ ... ......................... HowARD GoTTsCHALK late nineteenth-century bourgeois ~ociety. Hedda's legacy from her father . ' Eilert Lovborg ... ---- ---- ---··---- --- ------- ----- --- --- ·------- ----- ------ --·------ ---- -- --- --- ---JoHN STALKER (symbolized in the d~ ellin.g pistols) is aristocratic tastes and an aristocratic . I The Scene: Tesman's villa in a fashionable residential section of the town. will to power. Hedda hopes to secure the external attributes of the aristo- 1 cratic life by marrying George Tesman and even entertains the thought of ACT I ACT III An autumn morning The next morning gaining power by making him an important public figure.
    [Show full text]
  • Hedda Gabler
    Hedda’s Silences: Beauty and Despair in Hedda Gabler Toril Moi Modern Drama, Volume 56, Number 4, Winter 2013, pp. 434-456 (Article) Published by University of Toronto Press For additional information about this article http://muse.jhu.edu/journals/mdr/summary/v056/56.4.moi.html Access provided by Duke University Libraries (21 Jan 2014 13:01 GMT) Hedda’s Silences: Beauty and Despair in Hedda Gabler toril moi READING PHILOSOPHICALLY To read literature with philosophy can be an extraordinarily enriching ex- perience. A critic who understands philosophy and also has a sense of his- tory can explain what a literary work owes to the aesthetic and intellectual concerns of its day, and help us to grasp its preoccupations from a different angle. Sometimes she can illuminate otherwise obscure aspects of the text. Literary critics nevertheless often view philosophical readings with suspicion because they have seen too many reductive and condescending attempts to impose pre-existing philosophical paradigms on unsuspecting texts, too many “readings” which in fact treat literature as a quarry in which to dig for illustrations of a pet philosophy. They are right to react against such approaches. There can be no point in turning literature into a detour on the way to philosophy. To avoid treating literature as philosophy’s hand- maiden, philosophical readings – by which I understand literary criticism that takes an interest in philosophy, whether understood as a set of ques- tions or as a set of texts – must proceed from a faith in literature’s capacity to produce what Stanley Cavell calls “illumination of philosophical perti- nence that philosophy alone has not surely grasped” (Preface xxv).
    [Show full text]
  • Women in Reality: a Rhetorical Analysis of Three of Henrik Ibsen’S Plays in Order to Determine the Most Prevalent Feminist Themes
    WOMEN IN REALITY: A RHETORICAL ANALYSIS OF THREE OF HENRIK IBSEN’S PLAYS IN ORDER TO DETERMINE THE MOST PREVALENT FEMINIST THEMES A Thesis by Lesa M. Bradford MA, Wichita State University, 2007 BS, Northwestern Oklahoma State University, 1992 Submitted to the department of Communication and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts May 2007 © Copyright 2007 by Lesa M. Bradford All Rights Reserved WOMEN IN REALITY: A RHETORICAL ANALYSIS OF THREE OF HENRIK IBSEN’S PLAYS IN ORDER TO DETERMINE THE MOST PREVALENT FEMINIST THEMES. I have examined the final copy of this Thesis for form and content and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts in Communication, with a major in Theatre and Drama Steve Peters, Committee Chair We have read this Thesis and recommend its acceptance: Betty Monroe, Committee Member Royce Smith, Committee Member iii ACKNOWLEDGEMENTS I would like to thank my family for all the support and love that they have given me throughout this whole process. They have been selfless and I have put them through quite an ordeal trying to accomplish my dreams. I love you all dearly. I would also like to thank my two dearest friends who encouraged and helped motivate me when things got tough and life threw obstacles in my way. I couldn’t get through it all without your support. Lastly, I would like to thank the faculty, staff, and students at WSU who made my time there so cherished and wonderful.
    [Show full text]
  • Hedda Gabler; Revisiting Style and Substance Rhonda Blair
    Spring 2002 143 Hedda Gabler; Revisiting Style and Substance Rhonda Blair This is the 'real' in Ibsen's realism for me, for he was, after all, as much a mystic as a realist. Which is simply to say that while there are mysteries in life which no amount of analyzing will reduce to reason, it is perfectly realistic to admit that.. hiatus as a truth. But the problem is not to make complex what is essentially explainable; it is to make understandable what is complex without distorting and oversimplifying what cannot be explained. —Arthur Miller1 The general narrative framework, the dramatic events, the symbols and metaphors that link Ibsen to Novalis and Goethe are so inescapable that one is inclined to accept... a Teutonic variant of Ibsen the Romantic. —Erroll Durbach2 I first directed Hedda Gabler in 1986. At the time, I was struck by the relationship between social and psychological repression and the thing being repressed in the script. We emphasized a materialist feminist analysis of the play —foregrounding the ways that women were constrained by society—and recontextualized the script by having the actors read brief, pertinent sections from Ibsen's notebooks about the play and then by enacting Hedda's suicide in full view of the audience before starting the play proper. From the beginning we were saying, "This play is not about the suspense of what will happen to the characters—it is about what society's oppressive treatment of women can lead to; see how it happens step-by-step to this particular woman." In terms of performance style, we remained firmly within a conventional realistic mode.
    [Show full text]