Read through the questions listed below and respond to five questions as you read Part I: Female Down. Each answer should be posted separately. Remember to copy and paste the question you are answering in your response. In addition to answering five questions, you should also respond to five answers from your classmates, offering your own insight on their point of view. Think of this as a written Socratic Seminar. When you respond to a comment, remember to address your classmate by name and copy and paste their comment before your response.
Deadline: Friday, Oct. 1, 11:59 p.m.
Part I: Female Down
Class Discussion Questions
1. Columbine begins with an assembly at the High School on the Friday before the attack. Considering there are several perspectives that he could have taken (beginning with the attacks or starting with events that triggered the attacks) how does this opening work for you - does it draw you into the atmosphere of the school well?
2. The dedication is to the thirteen people killed and to Patrick Ireland. Did you notice this? Did you find yourself checking (as I did) to see if you were reading about someone who died in the attacks as you went through the book? How did this affect your reading?
3. There are two epigraphs in the book - one from Hemingway and one from Dostoyevsky. What do you think Cullen is trying to say by including these?
4. Did the Author's Note on the sources give you information that was useful in your reading of the book? For example - did it help to know that no dialogue was made up in the book? Do you feel that notes of this sort give you more confidence in reading a non-fiction work?
5. What strikes you about Frank DeAngelis' (Mr. D) relationship with the kids at Columbine? Do you believe that there would have been a different outcome if he hadn't been principal?
6. Cullen writes about Eric and Dylan's preparations for the prom, their work at the pizza shop and their nicknames 'Reb' and 'VoDKa.' Did it strike you how normal they seemed? Did they seem like typical teens to you? Does this make them more frightening and/or make their actions harder to understand?
7. Beginning with a section on page 10 ('Rebel Hill slopes gradually....') and at the beginning of the chapter 'Springtime' Cullen develops vivid descriptions of the school setting and the student body. Did you feel that this gave you an adequate picture of the school environment? Does it seem similar to secondary schools that you have known? If yes, does this make the book more difficult for you to read?
8. How does Cullen's portrayal of Eric and Dylan compare to Truman Capote's portrayal of Dick and Perry from In Cold Blood?
9. In 'Two Columbines' Cullen begins to introduce his audience to people who were attacked and their families (Dave Sanders, Linda Sanders, Patrick Ireland and Cassie Bernall). How was it to be introduced to these people? Several people mentioned having to put the book down while reading. Was this one of those points for you?
10. What rhetorical strategies did you find most effective in Part I?
11. After reaching the conlusion of Part I, how would you characterize Cullen's tone and purpose?
12. In 'Judgment' and 'Female Down' we are given a rundown of the events on April 20th, the day of the attack on Columbine High School. Were there any things that stood out particularly about they events as they unfold? Do you think that if Deputy Gardiner had been in the lunch room that things would have turned out differently? Were you surprised at the demeanor of Eric and Dylan? What was your opinion of the reactions of the adults in charge in the school - would you have done anything differently?
13. What was your reaction to the problems created with cellphones overwhelming the operators? Do you think this would be worse now? How do you think this affected the reporting? Did the '24 hour news cycle' come into play here - that is, were the news agencies running with any information they could get - including cellphone calls from inside the school? Should the news shows have carried live telephone calls from the students? Why or why not? Do you think that this sort of coverage should depend on the news item being covered (i.e., if it does not put people in danger, should these sources be used)?
14. By the time the networks went live (at noon) there were hundreds of uniformed responders present. Given the size of the force, what do you think of the response? What do you feel they could have done differently?
15. Cullen begins writing about the parents responses in '1 Bleeding to Death.' Are there any particular responses that stood out to you?
16. What was your opinion of Sheriff John Stone at the beginning of the book? Did your opinion change as you read on?
17. Cullen writes about the reactions of Robyn Anderson and Nate Dykeman after the attack started. What did you think of their reactions? Should they have given the police information? Or were they just as scared and shocked as everyone else?
18. What did you think of the reaction of the Klebolds? Were you surprised that Tom suspected his son right away? Does it seem particularly odd that he reacted this way, given the response of the Harrises
19. In 'First Assumption' introduces the audience to Dwayne Fuselier. What do you think of his response to the attack as opposed to the other law enforcement officers? Were you impressed by his competence initially? Do you think that (because we have been introduced to others such as Sheriff Stone) we are more inclined to view him favorably in contrast? Did Cullen do this purposefully?
20. What is the 'First Assumption'? Is it that there was a terrorist attack? That there were hostages? Or that it was a large conspiracy? Or does this refer to the assumptions of the news media? In retrospect do these assumptions make sense (i.e., can you understand why there was this confusion)?
21. What is your opinion of the news media's questions such as 'were they outcasts' - and they use of the word 'they' to indicate some sort of groupthink? Why do you think that the notion of the 'Trenchcoat Mafia' was seized on so readily? Why do you think these early notions were not corrected as it became clear they were wrong? Do you think that mistakes of this sort lead to the 'school shooter profile'? To what degree does looking for easy explanations for complex problems come into play to explain these sorts of notions?
22. In 'The Boy In The Window' we are told the story of Patrick Ireland's survival. What struck you most about the events involved in his rescue? Were you surprised at the level of detail we were presented about this event?
23. Miscommunication seems to have begun as soon as the first press conference was held - that there were three shooters, that 25 people were dead and errors about the motives. What was the impact of these erroneous assumptions? Do you feel that they should not have had the press conference - or if it was held, what should have been done to improve on it?
24. As opposed to Robyn and Nate, Chris Morris called police right away. Given what happened to him, do you think he did the right thing? Do you think he accidentally made himself the center of the investigation, as Eric and Dylan were dead?
25. Sue Klebold said that she felt as if they had been hit by a hurricane - and a lawyer told her that people were going to hate her. How do you feel towards her at this point in the book? Do you empathize with her - or do you have conflicted feelings?
26. In 'Last Bus' and 'Vacuuming' Cullen shares the anguish of Brian Rorhbough, Misty Bernall and Linda Sanders. What are your thoughts concerning their reactions to the deaths of their loved ones? Did any particular reactions surprise you - or resonate with you? Were you able to put yourself in their place?
27. Other than the comparisons of the killers, what similarities do you notice between Columbine and In Cold Blood?
28. Why does Cullen title his chapters? What role do these titles play in the message Cullen is trying to convey?
29. Cullen is telling a story for which we already know the outcome. How does he make the story compelling?
Tuesday, September 28, 2010
Dave Cullen's Columbine
After today's in-class analysis, we read Debra Dickerson's "Who Shot Johnny?" in the Norton Reader, p. 383. TAP the essay and answer questions 1 - 3 on page 386.
Begin reading Dave Cullen's Columbine. Transactional Journal project is due Friday, October 15th at the beginning of class. No exceptions.
Remember to meet all deadlines for posting comments on each section of the book!
• Part I: Female Down: Chp. 1 – 19 (p. 3 – 98) Friday, Oct. 1, 11:59 p.m.
• Part II: After & Before: Chp. 20 – 30 (p. 101 – 170) Tuesday, Oct. 5, 11:59 p.m.
• Part III: The Downward Spiral: Chp. 31 – 40 (p. 173 – 236) Friday, Oct. 8, 11:59 p.m.
• Part IV: Take Back The School: Chp. 41 – 47 (p. 239 – 302) Monday, Oct. 11, 11:59 p.m.
• Part V: Judgment Day: Chp. 48 – Afterword: Forgiveness (p. 305 – 370) Wednesday, Oct. 13, 11:59 p.m.
Begin reading Dave Cullen's Columbine. Transactional Journal project is due Friday, October 15th at the beginning of class. No exceptions.
Remember to meet all deadlines for posting comments on each section of the book!
• Part I: Female Down: Chp. 1 – 19 (p. 3 – 98) Friday, Oct. 1, 11:59 p.m.
• Part II: After & Before: Chp. 20 – 30 (p. 101 – 170) Tuesday, Oct. 5, 11:59 p.m.
• Part III: The Downward Spiral: Chp. 31 – 40 (p. 173 – 236) Friday, Oct. 8, 11:59 p.m.
• Part IV: Take Back The School: Chp. 41 – 47 (p. 239 – 302) Monday, Oct. 11, 11:59 p.m.
• Part V: Judgment Day: Chp. 48 – Afterword: Forgiveness (p. 305 – 370) Wednesday, Oct. 13, 11:59 p.m.
Monday, September 27, 2010
Essay Prompts
Today we discussed the rhetorical strategies of ethnocentrism and xenophobia.
As promised:
1. Discuss the role of symbolism in NIGHT and MAUS. Explain how the books use this rhetorical strategy to convey deeper meaning and how this symbolism helped to relay events in the works. Be sure to note the distinction between the literal and figurative symbolism in the memoirs.
2. In his memoir, NIGHT, Wiesel writes about two contrasting pieces of advice he received about how to survive in the camps. One was from a young Pole, a prisoner in charge of one of the prison blocks, and the other was from the head of one of the blocks at Buchenwald who spoke to Wiesel as his father lay dying. Compare the advice and the effect the rhetoric of this advice had on Wiesel.
3. Spiegleman’s MAUS is a memoir conveyed largely through drawings, while Wiesel uses words to convey his experience in NIGHT. Which method is more powerful in sharing the message with the audience?
4. Compare and contrast Elie’s relationship with God to his relationship with his father.
5. Explain the various meanings of “night” in NIGHT.
You're welcome.
p.s. Think about how to incorporate the rhetorical strategies we discussed today in your analysis tomorrow.
As promised:
1. Discuss the role of symbolism in NIGHT and MAUS. Explain how the books use this rhetorical strategy to convey deeper meaning and how this symbolism helped to relay events in the works. Be sure to note the distinction between the literal and figurative symbolism in the memoirs.
2. In his memoir, NIGHT, Wiesel writes about two contrasting pieces of advice he received about how to survive in the camps. One was from a young Pole, a prisoner in charge of one of the prison blocks, and the other was from the head of one of the blocks at Buchenwald who spoke to Wiesel as his father lay dying. Compare the advice and the effect the rhetoric of this advice had on Wiesel.
3. Spiegleman’s MAUS is a memoir conveyed largely through drawings, while Wiesel uses words to convey his experience in NIGHT. Which method is more powerful in sharing the message with the audience?
4. Compare and contrast Elie’s relationship with God to his relationship with his father.
5. Explain the various meanings of “night” in NIGHT.
You're welcome.
p.s. Think about how to incorporate the rhetorical strategies we discussed today in your analysis tomorrow.
Friday, September 17, 2010
Night
Over the break...
Read and analyze Mark Twain's The Lowest Animal.
Read Elie Wiesel's memoir, NIGHT, answer the questions, and take notes on the following:
1. Wiesel's style of writing
2. Wiesel's relationship with his father, Chlomo, in comparison to his relationship with God
3. Wiesel's characterization of night
4. Comparison of relationships: Vladek and Art, Elie and Chlomo
5. Comparison of presentation: NIGHT, MAUS
Additionally, read and analyze "No News From Auschwitz."
Don't forget...
Socratic Seminar Monday when you return!
Dave Cullen's Columbine.
Read and analyze Mark Twain's The Lowest Animal.
Read Elie Wiesel's memoir, NIGHT, answer the questions, and take notes on the following:
1. Wiesel's style of writing
2. Wiesel's relationship with his father, Chlomo, in comparison to his relationship with God
3. Wiesel's characterization of night
4. Comparison of relationships: Vladek and Art, Elie and Chlomo
5. Comparison of presentation: NIGHT, MAUS
Additionally, read and analyze "No News From Auschwitz."
Don't forget...
Socratic Seminar Monday when you return!
Dave Cullen's Columbine.
Thursday, September 16, 2010
Concluding thoughts on MAUS...
Some questions to ponder:
1. Overall, how would you characterize Art's portrayal of the elder Vladek in comparison to the younger Vladek?
2. How much blame should be placed on Art for the poor relationship he has with Vladek?
3. What was your immediate reaction to "Prisoner on the Hell Planet"?
4. Did you notice the allusion to the Third Reich eagle emblem on page 101?What is Spiegelman attempting to convey by its inclusion?
5. Explain the contrast between "Hell Planet" and Maus.
6. Does Art have a right to be angry with Vladek?
7. Explain the deeper meaning behind Art's closing thoughts.
8. What did you think about the conclusion of the book? Why did Spiegelman choose to conclude it in this way?
Tonight:
Friday reading editorial cartoon
Maus General Questions:
1. Answer the following questions about Art’s relationship with his father:
a. Overall, based on the memoir, what do you think Art’s relationship with his father is like? Why is it this way?
b. In general, how does Art portray his father? Do you think this is a fair representation? Why do you think he portrays him in the way he does?
c. To what extent do you think Art accurately represents his father's story? Do you think he has embellished it any way? What might have been added or left out?
d. How does Art portray himself? Why does he include himself in his father's story of the Holocaust?
2. What is the importance, throughout the text, of Art's reflections on the process of putting together this book?
3. What is the relationship between history and the present in the book? Explain these connections, citing three examples from the book.
4. To what extent are the characters caught in the past? Are all Holocaust survivors and their children prisoners of history?
5. What are some of the features that characterize Spiegelman's graphic style? How do these contribute to his memoir? How do they shape our understanding of his father's story?
6. In general, how is the Holocaust represented in Spiegelman's text? How does the comic book format affect this representation?
7. Having come to the end of Volume One, what is the significance of the volume's subtitle, "My Father Bleeds History"?
1. Overall, how would you characterize Art's portrayal of the elder Vladek in comparison to the younger Vladek?
2. How much blame should be placed on Art for the poor relationship he has with Vladek?
3. What was your immediate reaction to "Prisoner on the Hell Planet"?
4. Did you notice the allusion to the Third Reich eagle emblem on page 101?What is Spiegelman attempting to convey by its inclusion?
5. Explain the contrast between "Hell Planet" and Maus.
6. Does Art have a right to be angry with Vladek?
7. Explain the deeper meaning behind Art's closing thoughts.
8. What did you think about the conclusion of the book? Why did Spiegelman choose to conclude it in this way?
Tonight:
Friday reading editorial cartoon
Maus General Questions:
1. Answer the following questions about Art’s relationship with his father:
a. Overall, based on the memoir, what do you think Art’s relationship with his father is like? Why is it this way?
b. In general, how does Art portray his father? Do you think this is a fair representation? Why do you think he portrays him in the way he does?
c. To what extent do you think Art accurately represents his father's story? Do you think he has embellished it any way? What might have been added or left out?
d. How does Art portray himself? Why does he include himself in his father's story of the Holocaust?
2. What is the importance, throughout the text, of Art's reflections on the process of putting together this book?
3. What is the relationship between history and the present in the book? Explain these connections, citing three examples from the book.
4. To what extent are the characters caught in the past? Are all Holocaust survivors and their children prisoners of history?
5. What are some of the features that characterize Spiegelman's graphic style? How do these contribute to his memoir? How do they shape our understanding of his father's story?
6. In general, how is the Holocaust represented in Spiegelman's text? How does the comic book format affect this representation?
7. Having come to the end of Volume One, what is the significance of the volume's subtitle, "My Father Bleeds History"?
Wednesday, September 15, 2010
Propaganda Analysis, Maus Chp. 5 and Chp. 6
Great discussion on the propaganda from WWII.
Tonight, finish reading Maus and answer Chp. 5 and Chp. 6 questions.
1. What does the drain-pipe incident show us about Art's relationship with his father?
2. Discuss Art's comic strip "Prisoner on the Hell Planet." How does Mala react to the strip? Vladek?
3. Coming as it does after the concluding episode of Chapter Five, what is the significance of Mala and Art's conversation?
4. What is Art worried about with respect to the portrayal of his father in his book?
5. What happened to Anja's diaries? How does Art react?
6. Two questions (and answers) about rhetorical strategies. Remember to ask IN DEPTH ANALYSIS questions: not "What animal does Spiegelman use to symbolize the Poles," but "Why does Spiegelman characterize the Poles as pigs?" This is an AP course...treat it as such!
Some reminders:
1. Editorial cartoon Friday reading this week.
2. Maus I: My Father Bleeds History general questions due Friday.
Tonight, finish reading Maus and answer Chp. 5 and Chp. 6 questions.
1. What does the drain-pipe incident show us about Art's relationship with his father?
2. Discuss Art's comic strip "Prisoner on the Hell Planet." How does Mala react to the strip? Vladek?
3. Coming as it does after the concluding episode of Chapter Five, what is the significance of Mala and Art's conversation?
4. What is Art worried about with respect to the portrayal of his father in his book?
5. What happened to Anja's diaries? How does Art react?
6. Two questions (and answers) about rhetorical strategies. Remember to ask IN DEPTH ANALYSIS questions: not "What animal does Spiegelman use to symbolize the Poles," but "Why does Spiegelman characterize the Poles as pigs?" This is an AP course...treat it as such!
Some reminders:
1. Editorial cartoon Friday reading this week.
2. Maus I: My Father Bleeds History general questions due Friday.
Tuesday, September 14, 2010
Logical Fallacies and WWII Propaganda
Some thoughts and further questions on Maus I: My Father Bleeds History, Chapters One and Two...
1. Spiegelman includes the roller skating incident from his childhood to establish the nature of his relationship with his father. It is evident that young Art was taught to be tough and to put little trust into his friendships. How does this incident help explain the nature of Art's relationship with Vladek as adults?
2. Page 12, frame 3: What does the author communicate through images?
3. Why does Vladek think "no one wants anyway to hear such stories"?
4. How does Spiegelman use characterization to make the audience see past the symbolic cat and mouse images?
5. Art includes sly moments in his presentation. For example, he says he wants to make the story "more human." Later on, Vladek jokes that they used to call baby Art "Heil Hitler!" What purpose do these tounge-in-cheek comment serve?
6. How effectively does Spiegelman convey the rising Third Reich power on page 33?
7. Do you think Spiegelman's method of presentation (comic book style, flashbacks) is more effective than a straight written memoir would be?
Today in class: We discussed logical fallacies in rhetoric. "Ms. Wheatley, these are totally illogical!" "Yes, dear student, they are...that's why the word 'fallacies' follow the word logical." (No, snarkiness is not a rhetorical strategy, but it is a fun way to describe tone). Logical fallacies are very common in persuasive argument, political debate, editorial cartoons and propoganda. In groups, we analyzed various WWII propaganda posters for rhetoric, including logical fallacies.
Homework:
Read Chp. 3 and 4, answer questions:
1. How does Art open chapter three? What do we learn?
2. How does Chapter Three conclude? What do these episodes from the present show us about Vladek? About Art? Why does Art include them?
3. What do we learn in the concluding scene with Mala and Art?
4. Two questions (and answers) about rhetorical strategies. Please remember that these should not be "simple answer" questions and answers, but questions that require true analysis and thought. Questions that simply ask for a rhetorical strategy as an answer are NOT acceptable.
Read "The Morals of Politicians." TAP it. Then, imagine that you are running for political office against an American politician (past or present), and create three logical fallacies to convince the public to vote for you.
1. Spiegelman includes the roller skating incident from his childhood to establish the nature of his relationship with his father. It is evident that young Art was taught to be tough and to put little trust into his friendships. How does this incident help explain the nature of Art's relationship with Vladek as adults?
2. Page 12, frame 3: What does the author communicate through images?
3. Why does Vladek think "no one wants anyway to hear such stories"?
4. How does Spiegelman use characterization to make the audience see past the symbolic cat and mouse images?
5. Art includes sly moments in his presentation. For example, he says he wants to make the story "more human." Later on, Vladek jokes that they used to call baby Art "Heil Hitler!" What purpose do these tounge-in-cheek comment serve?
6. How effectively does Spiegelman convey the rising Third Reich power on page 33?
7. Do you think Spiegelman's method of presentation (comic book style, flashbacks) is more effective than a straight written memoir would be?
Today in class: We discussed logical fallacies in rhetoric. "Ms. Wheatley, these are totally illogical!" "Yes, dear student, they are...that's why the word 'fallacies' follow the word logical." (No, snarkiness is not a rhetorical strategy, but it is a fun way to describe tone). Logical fallacies are very common in persuasive argument, political debate, editorial cartoons and propoganda. In groups, we analyzed various WWII propaganda posters for rhetoric, including logical fallacies.
Homework:
Read Chp. 3 and 4, answer questions:
1. How does Art open chapter three? What do we learn?
2. How does Chapter Three conclude? What do these episodes from the present show us about Vladek? About Art? Why does Art include them?
3. What do we learn in the concluding scene with Mala and Art?
4. Two questions (and answers) about rhetorical strategies. Please remember that these should not be "simple answer" questions and answers, but questions that require true analysis and thought. Questions that simply ask for a rhetorical strategy as an answer are NOT acceptable.
Read "The Morals of Politicians." TAP it. Then, imagine that you are running for political office against an American politician (past or present), and create three logical fallacies to convince the public to vote for you.
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