The two texts, « the Taming of the Shrew » and « the Ballad of the Sad café » show or describe women in a completely opposite way. In the first text the woman owes « true obedience » to the man, whom she should always « serve, love and obey », because in the first text, the husband owns his wife, she is like an object. The first text tells us how women should be and how they should act whereas in the second text a woman is in a position of power over her husband and she has quite « a temper ». It is the extreme evolution of women from obedience to leading.
« Kneel for peace » in text 1 insinuates that disobedient women are man’s enemy because you only make peace with somebody you had an issue with. It also tells us that after kneeling, the woman would become the man’s prisoner or slave. This also shows that women should not even try to complain about being kept home : « too little payment so great a debt », this text keeps saying that women owe men.
« Head » tells us that a man is a woman’s brain and it emphasizes on the fact that society thought women could not live without men, as someone cannot live without their head. We can also understand by this word that men are the head of the group and that they were always leading, whereas women were just made to follow and obey orders.
The words « Duty, oweth » mean that as we said before, woman were in debt because they got to stay home “secure and safe” when men had to work hard to bring money and food. But we can see that it is contradictory because they made women stay home, women did not ask for it, on the contrary. You can’t blame someone for doing nothing and tell them they are good for nothing in the same time. Again, it was just an excuse to treat women like slaves.
In the second text, Miss Amelia seems to have taken the lead of the couple. Men of that time thought that she was behaving « inappropriately ». Her marriage day was supposed to be the happiest day of her life but she is described as having a « temper » and ignores him almost the whole time. The town was happy that Miss Amelia would get married, they thought that being loved and getting married would change her but it is not the case.
The way that everybody in town is disappointed by Miss Amelia’s indifference shows that they all want her to be domesticated: the text says to be « tamed down ». It is not only Marvin who wants his wife to be submitted to him, but all men – and maybe women, too - in town, and that just shows that this was an issue that affected not only one couple, not only one town, but probably an entire nation. The reason is that Amelia must be made “calculable”, that is to say predictable, controllable, which does not seem to be the case with independent women…
The order of the words « bride and groom » shows that she is the one who controls their couple and that he has to follow her. She reversed the roles.
At the wedding, when the bride walks two paces ahead of the groom and she makes him understand that he will be the one who obeys, we can suppose that she is giving him a choice, whether he wants to spend the rest of their life following and be the one who is submitted or not. We can also notice that the wedding ring is made of silver which is the usual symbol of feminine passivity. This shows that Amelia will be dominating in this text even if Marvin had other plans, as his gift suggests, let alone that a ring symbolizes the total devotion of the one wearing it.
Something that is also important and needs to be noticed is the way that there was also an extreme evolution of the education that was given to women. In the first text, upper-class women did not know anything that could enable them to fly with own wings outside the control of their husbands, and just stayed home reading poetry or playing some music and chatting with other bored women, waiting for their husbands whereas in text two, Miss Amelia is « reading the newspapers, the farmer’s almanac or writing a few words on her notepad ». These are things that professionally active men used to read, not women. This emphasizes even more the fact that Miss Amelia reversed the roles and is the one in charge.
As a conclusion I would like to say that it is important to notice the evolution of the woman’s role in society compared to men’s. As we can see in text two the equality of the two genders is still not perfect because even if in the second text the woman is the one dominating the couple, equality between the two genders still isn’t perfect. The two texts created pity for two different characters, showing that not only men can be in control in marriage.
Charlotte, with Ruben and Elodie.
In class we studied two different texts. One called “The Taming of the Shrew” by William Shakespeare in 1593 and the other one called “The Ballad of the Sad Café” by Carson Mc Cullers in 1953. Our group had to study the theme of the material and financial protection of an inactive wife and compare the texts.
In “The Taming of the Shrew”, the wife is considered as a slave and the husband is considered as a prince by her. He has absolute power on her because he is the head of the relationship and even though the story happened during the Renaissance the people in the story are acting as if they were in medieval times with a lord protecting his servants.
In “the Ballad of the sad Café” the husband is the one whom is being dominated by his wife as opposed to text one.
In text one the wife is the one whom is being dominated because she lives for her husband and he keeps her alive, he is her “keeper”, he not only looks after her but also he is like a jailer in her life, the one that keeps her locked up. The wife is locked in her marriage, she depends on her husband she may live like a princess but he is like her jailor so she is like a prisoner.
Her husband is the one who works really hard every day by sea and by land, day in and day out, from sun up to sun down, in the cold and in the rain while she is warm, secure and safe at home. Clearly, one understands that the “sacrifice” of the husband is bit exaggerated, as if the idea was to tell women that it’s much too difficult to be a man, and they had better stay home.
She is nothing without him because he is the one who works to bring the money home; it is also made evident when Katherina says he is “thy life”: no woman can survive without a husband.
In text 2, the wife is the one who dominates because she is the one that takes care of business, she reads the newspapers, and she takes care of the inventory of the stock. She does some things as if she was a man like drinking coffee and smoking with her father's pipe. In fact she is the man of the house and she takes care of business, something that Marvin did not see coming. Indeed, Marvin Macy saves up some money to get married to Miss Amelia. His intentions are clear: he will be the bread-winner. He also brings some “swamp flowers” as well as some meat. Symbolically, the meat says that he will be her “keeper” and the swamp flowers suggest her complete passivity. That is also the reason why, after Miss Amelia married Marvin Macy, the people from the city wanted and expected her “to put a bit of ‘bride-fat’ on her” as if her destiny was now to either have babies or gain weight from doing nothing, like the wives described in text one, who stay home and remain inactive.
During the wedding, Miss Amelia is looking for the pocket of her overall because she is impatient and bored. She is feeling so because she does not care about her marriage, only about her business. By no means does she need Marvin’s wages to make ends meet. She is an active member of society, as one can see when she begins to talk about some business with a farmer or when she reads all those newspapers and almanacs at the end. At that time activities such as reading the newspapers, finishing the inventory of the stock were activities that were reserved to men. Her reading and writing also suggest she is the thinking “head”.
Text 1 and text 2 are really similar because in both texts someone in the relationship dominates in terms of financial and material resources but they are really different in the sense the roles have been reversed between the wife and the husband.
Marie, with Killian and Sarah.
In both texts, feminine beauty, frailty and love are differently developed.
In what way do they oppose?
In “The Taming of the Shrew” by William Shakespeare, the woman, who used to be considered as crazy because she was hard-tempered, didn't fit in what any man at that period could expect from a woman, talks about her husband with “fair love and true obedience”, that is to say with total admiration and devotion. We can say that she has been brainwashed by her violent husband. This brainwashing made her personality change.
This shows that she considers that she owes to her husband to be loving and beautiful in exchange for all he does for her. She's nothing without him, he gives her material and financial protection, intellectual guidance (“head”) and she lives through him, and only through him (“life”). In return, she has to be seen by him as beautiful and loving. In this text, love isn't a feeling anymore, it is a way of payment, which explains a lot about arranged marriage. On top of things, she is persuaded that being good looking is "a too little payment for so great debt". This is very important because it shows the permanent state of guilt women were maintained in by being constantly blamed for failing to justly satisfy their “loving lords”, the same guilt women were made to feel by Katherina when she accused them of being totally idle “at home” while their husbands suffered in the rain.
On the contrary, in “The Ballad of the Sad Café”, the woman lacks what used to be considered as feminine beauty or frailty in every way. Marvin “trains to give his chair to a lady”, thereby taking her weak constitution for granted and echoing the husband’s sense of “sacrifice” alluded to in text 1. Obviously, Amelia could not care less for Marvin’s chair, as her “great steps” and eager appetite suggest. She is by no means a weak and fragile woman. Concerning beauty or “fair looks”, it does not seem to be much of a concern to her, as "her mother's bridal gown was twelve inches too short ". That means her bridal dress is too small but she doesn't even care or bother to buy a more fitting one.
The truth to the matter is that this woman is herself when she behaves like a man. This is shown by such a phrase as “she had a smoke with her father's pipe" thanks to which she comes back to her true self and feels comfortable, whereas in her mother’s dress, she quickly feels “bored, impatient and exasperated”.
So, if it is clear that Amelia is a strong-minded, independent woman who can take care of herself without a husband, it is necessary to ask why the author feels the need to present her like a man. Is it impossible for a female character to be self-reliant and autonomous without acting and looking like a man?
The author Carson McCullers, a woman herself, seems very backward. We find it disturbing that to be represented as independent, a woman, in 1953, had to be masculine in any way whatsoever. In this text, the reader ends up considering Miss Amelia as a man. We can compare the two texts and say that in both, the masculine figure dominates the other one, even when this masculine figure is embodied by a woman. To a degree, it signifies nothing has changed in four centuries!
This is probably because the two texts have been written at a time where people used to think that way.
However, Shakespeare denounces this situation because he uses irony, so the first text is more modern than the second one. Maybe Carson McCullers sees Amelia as a sort of twentieth-century version of a shrew, without the taming. Or maybe 1953 is just too early for feminists to understand that a woman needn’t act masculine to be modern.
Khalil, with Manon, Océane and Shirel
FarewellQuiz1718 due Friday November 17th
Study the form of the poem and bring to light the importance of rhyme and rhythm.
Edgar Allan Poe’s poem ‘Annabel Lee’ uses rhythm and rhymes to express the importance of the events, the characters and, most importantly, their love. Indeed, repetitions, alliterations and many other literary devices are used to highlight ideas.
One of the most noticeable elements in this poem is the repetition of ‘kingdom by the sea’. It is repeated five times: once in the first and second stanza on the second line (lines 2 and 8), twice in the third stanza (l. 14 and 20) and once in the fourth stanza (l. 24). We can see that from the third stanza, when the author begins to talk about Annabel Lee’s death, the rhythm with ‘kingdom by the sea’ begins to change, it is repeated a bit sooner than it should be if the rhythm were constant: her death disrupts everything.
In this poem, we feel that the sea and the tide can be compared to love. Indeed, both notions are infinite but unstable. This metaphor could explain the alternation of long and short verses in the first two stanzas, reminding us of the rhythm of the tide. However, the lovers are said to live in a ‘kingdom’: they are above the sea and therefore above any ordinary love – they are king and queen of love; their love is perfect. Their feelings are completely stable, at least until Annabel Lee’s death (as aforementioned) in the third stanza, at the same time as this tide rhythm ends. Indeed, the tide is something unstable but eternal. It creates a kind of life or lifestyle, a tranquility of sorts. The unexpected death of Annabel Lee breaks all of this and changes everything.
In Poe’s poem, we can also observe about how the terrestrial and the cosmic are represented. Here the terrestrial is symbolized by Annabel Lee and her lover and the sea, while the cosmic is symbolized by the angels. According to pre-Cartesian science, whatever happens in the higher spheres of the universe that is not appropriate, that doesn’t abide with the rules will eventually affect life on earth, in other words, cosmic disorder will cause terrestrial disorder. ( the opposite is also true. In Macbeth for example, the assassination of the lawful king – in other words not only a regicide but also a deicide - causes the Heavens to be “troubled with man’s act”, horses “eat each other” and “stones are known to move and trees to speak”, Act II, scene 4 & Act III, scene 4)
The winds can be seen as the first link: they have been sent down to earth by the angels. However the major link between the terrestrial and the cosmic is Annabel Lee: in her first years on earth, she falls in love with a human and their love is above all else, causing jealousy among the angels. Moreover, we can assume that after her death she becomes an angel and goes up to heaven. Her death changes everything, which proves its importance on earth and in heaven. These disturbances affect the structure of the poem, just as they affect the movement of the sea. The angels’ misconduct and Annabel Lee’s death are unnatural events happening in the higher spheres that cause the sea to lose its pace. It follows that Annabel Lee is much more than a simple human being.
We think that the poem is structured in a way that divides it into two patterns: the first containing stanzas one, two, and four when the author is talking about Annabel Lee when she is alive, and the second pattern with stanzas three, five and six, when Annabel Lee is dead. Indeed the ‘long short long short’ rhythm can only be observed in this first pattern, disrupted by the character’s death.
However, the poem’s structure could also be construed in a different way: the disruption in the poem only affecting the third stanza, when Annabel Lee dies; the initial pattern resuming from line 21.
Strikingly, the most frequent rhyme in this poem is that of the sound –ea. Indeed, it reoccurs in the words ‘me’, ‘Annabel Lee’, ‘we’ and ‘sea’. Here these words are merged into one: they are one, same entity. It is just the three of them in this ‘kingdom’.
Furthermore, we can observe a certain musicality through this poem, for example in the girl’s name, which is much more romantic and delicate than Poe’s wife’s real name, Virginia Clem, explaining the author’s choice. In lines 7, 9, 32 and 39, the repetitions of the words ‘child’, ‘love’, ‘soul’ and ‘darling’ introduces alliterations and assonances, reinforcing the musicality. These words make the lovers appear as one: their love unites them, both children sharing the same soul.
From this analysis, we can say that there is as much meaning in the structure of the poem as there is in its words. Indeed, it proves to us the importance of the main character’s name, the symbolism of the tide, their location ‘kingdom by the sea’, and the tension between earth and heaven, the lovers and the angels.
Lily, with Yulius, Emma and Lucie
In the poem “Annabel Lee” written by Edgar Allan Poe in 1849, we picked passages to enhance the perfection and the purity of the lovers’ feelings as well as the ensuing defeat of the jealous angels.
First, we will present the perfect love between the two characters. Then we will talk about the angels’ reaction.
First of all, Annabel Lee is described as a pure lover at the beginning, in verse 3. She is said to be “a maiden”, which means she is a young virgin. This is a proof that their love is extremely pure and ideal. Then, a few lines further down, this idea is reflected in the word ‘child’: adding innocence to her character and making their love even rarer and different from the complex, sometimes less intense, love of the adults.
The perfection of their love is accentuated by the fact that the two kids love everything, not only one another, not just a mutual love, but they love the entire world. It is a powerful idea shown in “we loved” verse 9. The author doesn’t say “we loved each other” but just “we loved”. What’s more, in only one verse, he repeats 3 times the word “love”. Poe wants to create a hypnotic and repeating effect, to make their passion more intense, deep and special.
Verses 5 and 6; there is again the childish, pure and innocent point of view because it looks like they think love is a fairy-tale whereas it will turn in the opposite way. Indeed, her entire existence, day in and day out, is dedicated to love him and to be loved by him. Consequently, she only thinks about love and nothing else, she has no physical needs like eating or sleeping, it’s as if love were the fuel of her life, or better still, as if she were love itself.
These are the reasons why the angels feel inferior and not as perfect and pure as the children’s love, which is purely spiritual and therefore supernatural. They see this love as not acceptable for humans who can’t surpass angels; and that’s why they will kill Annabel Lee later.
The evocation of Seraphs is not the poem’s only allusion to religion. This poem refers to the Bible as we can see verses 10, 11 and 22. “To covet” is what one of the Ten Commandments forbids humans to do, whereas ‘to envy’ is one of the seven capital sins and it has quite the same meaning as “to covet”.
Then (verse 11) the author talks about “seraphims”. It is a type of angel which has the highest rank in the Christian angelic hierarchy. The seraphims are the closest to God. They are the ones who are never supposed to betray him.
However, in this poem they do and by doing so, they are no better than demons. This can be justified in verses 30-33 by the words ‘neither’ and ‘nor’ that makes us deduce that they are defined as working on the same side, the same team and they are becoming criminals. They both fail miserably. The demons and the angels wanted to separate the two lovers, but they didn’t succeed. In reality, the poet did not let the demons separate him from Annabel Lee.
The angels’ failure is obvious not only because their efforts are of no avail but also because they are actually counter-productive, what they achieve is worse than the status quo.
In verse 16, the author says ‘my Annabel Lee’ whereas in verse 33 he says ‘the beautiful Annabel Lee’. By this way, we can notice an evolution: she doesn’t belong to him anymore, neither to the angels. Indeed, the word “the” explains that she now belongs to everyone: she is universal. Instead of destroying her, they make her even more beautiful with the expression “the beautiful Annabel Lee”. The fact that “beautiful” appears now that she is dead means that to a degree, she becomes beautiful at the moment of her death. To add on, the last three times the author mentions Annabel Lee; it could be heard as an echo of the waves, perhaps.
The poet also managed to pass on the idea that the angels failed by using the present tense in the last stanza. The entire poem is written in the preterit except the last stanza, which happens after Annabel Lee dies. In fact, it is a complete reversal. It is a way to suggest that she is still alive, not physically but at least her spirit. Death becomes life. We picked an interesting quote: “for the moon never beams without bringing me dreams”, what we can understand from this is that every night he sees her in his dreams: she is again present as a spirit and not dead; something negative becomes positive.
The author uses the double negations “never” and “without, then “never” and “but” to express something affirmative. This is a device that the author uses because it is a more interesting and effective way to confirm the idea that her death has led to a sort of rebirth. He could have written “the moon always beams with dreams of Annabel Lee” but the theme of the rebirth would have been lost.
Annabel Lee is the reason of the poem and she is clearly the only thing the speaker can think about. Nevertheless, we don’t have many details about her, no description whatsoever (LINK WITH CLEOPATRA??). That’s why one can see Annabel Lee as a symbol of impossibility and purity, not to say perfection and so the embodiment of a nearly supernatural form of love that made the angels jealous.Interestingly, the poet never really shows any anger for them; verse 21 actually reveals that he pities them for their lack of happiness compared to A Lee and himself which, for one thing, enhances how happy the latter were and secondly, is arguably a little sarcastic. The truth to the matter is that pitying them or making fun of them clearly points to their undisputable defeat
Matahari, with Nina, Fara and Margot.
In this presentation, we are going to show that the love that seems to bring the two heroes together will eventually turn into a destructive passion. First, we are going to talk about Cleopatra’s power, then we are going to talk about the violence of their relationship and finally about their relationship in itself.
Line 1, the adjective “triumphant”, accentuated by the superlative “most”, shows that Cleopatra will always win, that she will always obtain what she wants, the obstacles do not matter. Cleopatra is powerful: if she and Antony were to have a conflict, she would definitely triumph. Such a powerful man as Antony will not accept it very easily, hence the destructive conflicts.
Besides, “lady” is a name for a respected woman. So, to name Cleopatra like that shows that people respect her and perhaps even fear her. Therefore, it already prepares us for the nature of their relationship.
Lines 9 -15, the lexical field of love and violence describes their relationship and the destruction it is going to create. It is an extended metaphor about them which predicts their relationship to come: it is going to be violent love. We can compare it to masochism, because they seem to be in need of this violence, or “amorous” of it. Cleopatra manipulates Antony and she can do anything with him. Again, it is foretelling for the rest of the story.
Line 9 is a metaphor about their love affair: they are like fire versus water. It is kind of like a prediction about their relationship: they cannot be together but they cannot resist each other. They feed an unnatural passion for each other, which will, as we know from the rest of the play, kill them. This proves they are bound by a destructive passion.
Line 3, the expression “she pursed up his heart” is very interesting and we think it should not be separated from line 46-47 “And for his ordinary pays his heart for what his eyes eat only”. In both passages we can find the lexical field of money, business and implicit violence. In any relation, if there is a price to “pay”, it does not sound very promising and very romantic. Moreover, if the “heart” is what you pay with, it’s even worse; it is not what we would expect. In this kind of text, we would expect the lexical field of love but it is not the case here.
“Pursed up his heart” is a metaphor to describe how carelessly and violently she will treat him. Cleopatra will destroy Antony through their love. She considers him as hers and literally puts his heart in her pocket as she would do with any object or with money. This brings us to line 46 “and for his ordinary pays his heart” in which, once again, his heart pays as if it were money. In those lines Shakespeare suggests that when Antony went to Cleopatra’s house, he suffered because all he could do was watch Cleopatra “for what his eyes eat only” and in addition to this, the meal wasn’t all that delicious either!
Lines 33-34 show us the influence of Cleopatra on others. In it, everyone in the city has left to see Cleopatra except for Antony who stays “alone” in the marketplace; as first, he wants to show his superiority by not following the others. But it just does not work, as he ends up totally isolated and away from the important action. A man like him needs public attention so he finally went to see her too, because if he didn’t go he would feel bad, useless and politically unimportant. Cleopatra’s absence causes him to feel empty, as the reference to the “gap in nature” suggests, as we said he needs her, he is submitted to her, but as we also know, desperate need and submission have never been very constructive.
It justifies line 1, as Cleopatra will certainly win, since she can do everything she wants with him.
Antony being alone also proves that it is a bit of a one sided relationship: Antony loves Cleopatra but she does not in return, at least not as much as he does.
Lines 21-23, nstead of cooling their cheeks, the fans make the boys’ cheeks blush and feel hotter. This can be a comparison to fire : when you try to cool down fire, it blows even more and increases in intensity. This is foretelling about Antony and Cleopatra’s relationship, which is a destructive passion. When they try to cool things down it will eventually lead to the exact opposite. This passage reminds us of line 9, where there is also an allusion to fire.
Then line 31the perfume is a metaphor for Cleopatra and her presence. People come to her by smelling her perfume. In this passage the word “sense” has two meanings: it designates the five senses, especially the olfactory sense in this extract (“perfume”) It also designates reason, rational thinking. By giving this word two meanings, Shakespeare emphasizes the fact Cleopatra has a great influence on people, she can manipulate their feelings, senses and emotions. This represents the lovers’ relationship: Cleopatra has got a certain influence on Antony and he won’t be able to resist her. The use of the verb “hit” , which belongs to the lexical field of violence, is also representative of their unreasonable passion, a passion that hits the sense, that disrupts their reason.
In conclusion, this passage foretells the tense relationship between the two lovers and the destruction it is going to create.
Pierre, Elisa, Céleste and Ralu.
PART 1 (I have made a few additions, mainly link-words)
In this presentation, we have to highlight the fact that Cleopatra's beauty and power are exceptional if not supernatural. Our work is divided in two parts, one about Cleopatra’s influence and the other about Cleopatra's beauty.
First, as far as her beauty is concerned, lines 8-9: "the barge she sat in like a burnished throne burned on the water" is a metaphor showing how radiant Cleopatra's boat was and also how everything she was in contact with had to be extremely beautiful. "Burned on the water" is an oxymoron: fire cannot resist water and it also shows how supernatural her boat was. The impossible becomes possible.
Line 10-11, when the speaker says that "the sails [were] so perfumed that the winds were lovesick with them" the reader may perceive two meanings. On the one hand you can say that it is an allegory to show how her incredible scent invaded the air. Or on the other hand you can say that, in fact, the winds represent the gods that came all the way down to see her and were astonished by her beauty. On top of things, it seems Cleopatra directly affects the state of natural elements.
In the same way, lines 25-26 tell us that "her gentlewomen” are like “so many mermaids" and that "a seeming mermaid steers" We can see that even the mermaids, magical creatures, known for their incredible beauty, came to see Cleopatra and admire her and her perfection. That not only means that she is more beautiful than the mermaids, but also that magical creatures take their orders from her.
Line 32-33 the reader is told that "the city cast her people upon her" This is a personification that shows that even the city, an inanimate object, came to see her, which is obviously impossible but that means that she really does have a supernatural influence/aura. She gives life to lifeless things. Incidentally, the verb “cast” is a clear reference to the lexical field of spells and bewitching, an allusion to her influence on Antony. As a matter of fact, through lines 3-4+39-45, one can see that Antony has deeply fallen in love with Cleopatra as if she had cast a spell on him ("she pursed up his heart on the river of Cydnus"). The fact that she says no to Antony' invitation to supper and that he seems to accept it shows how strong her influence is on him, she manages to bend the will of one of Rome’s most powerful leaders, which is quite something for the queen of a supposedly inferior kingdom that was to become a Roman province.
Concerning Cleopatra's beauty, line 5: "there she appeared" reflects that she did not just arrive like a normal being, no she appeared like a goddess, out of nowhere, as if she was an angel with a golden aura around her that made everyone astonished by her arrival.
The unsuccessful attempt of the speaker at describing her beauty "for her own person it beggared all description" line 15 is a hyperbole. Her perfection cannot be put into words because such words don’t exist and any attempt would not be enough = would be of no avail. That reminds us once more that she is or is like a goddess, human words are helpless when it comes to portray her.
Line 1, the expression "a most triumphant lady" summarizes what she reflected on the day she met Antony. It shows her as a victorious lady, someone so powerful that no one can compete against her. And as we said earlier on, that is a reversal of the roles and of the usually accepted balance of powers because, at that time the Roman Empire was the most powerful whereas in the play, it's Cleopatra who plays this role.
To conclude we can say that, even the great Shakespeare could not describe Cleopatra with simple words and that he was forced to use a lot of figures of speech.
Ludmila (with Yoen, Noe & Alina)
TEST ON "ANTONY & CLEOPATRA" OCT 2nd, you will be required to write a synthetic account of both presentations, to be posted very shortly.
Activity n°1 shall be presented on Wednesday by Ludmila / Yoen / Noe / Alina.
All other groups please have your own findings & ideas ready for sharing after their presentation.
Preparations of activity n°2 will resume after the above.
For Friday, make sure you've done the vocabulary exercise and read the overview of the play before starting your work on activity # 1 in class. You may of course take a little head start and jot down a few notes on this activity before the actual group work starts on Friday.
Also, as we did not have the time for it this morning, please have a "fiche individuelle de renseignements" filled out for me Friday, on which you will say your name, address, parents' phone #, which one of your parents is a native speaker if any, your projects for after high school, what you think the OIB section can bring you as a student and as a person, and, last but not least, what you think you can bring to this class (a positive and active attitude, punctuality, etc).
Have a good afternoon and blog happily!
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