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THE CRUCIBLE (3)

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by

Karen Griffiths

on 11 January 2014

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Transcript of THE CRUCIBLE (3)

1.In history he cut a villainous path, and there is very little good to be said for him.
MILLER tells us this in his opening
EXPOSITION

He is speaking of
REVEREND PARRIS

The word
VILLAINY
establishes character and audience expectation. Miller is a
VOICE OF AUTHORITY
in the play. We are inclined to believe him.

His reference to
HISTORY
reminds us of the factual base of his play.
2.My Betty not goin’die…
TITUBA
utters these words having forced her way into the bedroom.

She is speaking of
BETTY PARRIS
who is laying inert on her bed.

Her language demonstrates firstly her
SINCERITY IN AFFECTION
for Betty (use of the
possessive personal pronoun MY)
The use of
ELISION
is key to establishing Betty's dialect
She is not allowed to finish her question - demonstrating her
SUBORDINATE
position in the home, this is due not only to her difference in terms of
ethnicity and social status
but Rev. Parris's anger hints at something more...
3.He bid me come and tell you, reverend sir, that he cannot discover no medicine for it in his books.
SUSANNA WALCOTT TO REVEREND PARRIS ABOUT DOCTOR GRIGGS!
Child used as a messenger. Reminds us of
the exposition's notes on the role of children
in the community. It also hints at a reluctance to come himself...
This term of address hints at the relationship and seniority of Parris.
The use of this colloquialism reminds us of the lack of common education at the time.
Authority was attributed to learning
but, as Miller hints throughout the play, a book and what it says can be a very dangerous thing... which books do I mean?
HOW DID YOU GET ON WITH EACH QUOTE?
4.I pray you feel the weight of truth upon you, for now my ministry’s at stake…
REVEREND PARRIS to ABIGAIL.

His religious referencing is appropriate given his position in the society but the idea of
FEELING THE WEIGHT OF TRUTH
is suggestive of two things:
1. That the truth is
HEAVY and BURDENSOME
2. That the truth has not yet been offered.
The use of the
POSSESSIVE PERSONAL PRONOUN
again reminds us of the Reverend's priorities.
5.I will not black my face for any of them!
ABIGAIL to REVEREND PARRIS
The highly racist comment refers to the
position of slaves
(already seen with TITUBA)
in the community.

It also demonstrates the outspoken pride of Abigail who is
FORTHRIGHT and FIERY.

Is Miller hinting at her potentially
DANGEROUS
disposition?
6.…the devil’s touch is heavier than sick. It’s death, y’know, it’s a death drivin’ into them, forked and hoofed.
...the devil's touch
- take a look at the movie I've sent you about how witches were examined for physical evidence of 'the devil's touch' - eeeew!!!

Of course, we also see how the community are quick to jump to
supernatural
explanations!
forked and hoofed
- a reminder of how the community is essentially a farming one used to hardship and death. Ann Putnam's attitude seems cold and harsh yet when we consider her previous experience...
More evidence of
elision
, again perhaps demonstrating this character's social position as well as the general
dialect
of the area.
7.But we’ll speak of that when we come to it.
A relationship is established between Miller and the audience!
THE NEXT TASK
For the next section of Act one you are going to become character specialists.
You need to come and collect the question sheet appropriate to your number.
Each group should have AT LEAST one of each number 1-5
1. Reverend Parris
2. Abigail
3. Thomas Putnam
4. Ann Putnam
5. Mercy Lewis
The Task
1. Read the extract in your groups.
We are starting from:
"PUTNAM [at the moment he is intent..."
-p 23 and reading up to:
[Enter Mary Warren] p25
2
. Answer the specialist questions on your character
3. Be ready to discuss these answers with the rest of your group.
4. The final question asks you to prepare the opening paragraph of a possible exam question - remember the structure of the opening paragraph?
INTRODUCTION
CONTEXTUALISE THE EXTRACT:
show the examiner that you know:
• Where this extract falls in the play as a whole
• What has led to this and why it is particularly dramatically significant in terms of your steer.
• Why this steer is important to the play as a whole?


SECTION 1
DRAMATIC EFFECT OF THE CONTEXT AND SETTING OF THE EXTRACT:
• How is the setting and situation of the extract particularly dramatic?
• How is the steer and attitudes towards it particularly impacted by this setting?


SECTION 2
IDENTIFY 4 - 5 KEY POINTS ABOUT THE DRAMATIC EFFECT OF THE STEER. THESE ARE YOUR TOPIC SENTENCES.

IN EACH PARAGRAPH AIM TO DESCRIBE HOW MILLER CREATES DRAMATIC EFFECT IN HIS PRESENTATION OF THE STEER IN TERMS OF LITERARY, LINGUISTIC AND RHETORICAL DEVICES (INCLUDING DISCOURSE FEATURES):

o DISCOURSE FEATURES:
Think about not only what the characters say, but the way that they say it (features of discourse). This is the point where you can consider theories and relevant concepts. Make sure you comment on whether this is typical or contrasting to other points of the play.
o LINGUISTIC DEVICES:
What is there to note about the syntax and lexis of the characters. What is dramatic about it? How does this add to the drama of the play?
o LITERARY DEVICES:
consider the use of symbolism and imagery in the extract. What dramatic effect do these have upon Miller’s presentation of character/theme/ idea?
o RHETORICAL DEVICES:
What rhetorical devices does Miller employ? Who is being persuaded and how?


CONCLUSION
Consider what we have experienced as an audience (NOT a reader) emotionally, where do our sympathies lay? What do you think Miller wants an audience to feel at this point of the play? How is this preparation for later in the play? Try and link these comments back to your steer whenever possible.


AIMS AND OBJECTIVES OF THE LESSON
To consider how Miller employs literary, linguistic, rhetorical and dramatic devices in his presentation of character.

To use this understanding to craft an essay plan.

To feel confident that we can write the opening paragraph to an essay question on one of the characters from Act one.
AIMS AND OBJECTIVES OF THE LESSON
To consider how Miller employs literary, linguistic, rhetorical and dramatic devices in his presentation of character.

To use this understanding to craft an essay plan.

To feel confident that we can write the opening paragraph to an essay question on one of the characters from Act one.
So, how did we do?
To consider how Miller employs literary, linguistic, rhetorical and dramatic devices in his presentation of character.
Can you now identify key features of speech for at least one character?
To use this understanding to craft an essay plan.
Do you feel able to craft an essay plan?

To feel confident that we can write the opening paragraph to an essay question on one of the characters from Act one.
Can you now write the opening paragraph?
FOR THURSDAY
1. You must have your notes, your essay plan and your opening paragraph ready to submit.

This can be:
1. On paper
2. On power point
3. On a prezi
THE REALITY
In reality, we are unlikely to be fortunate enough to have a question that tackles just one character - we are more likely to have a question on a relationship or theme.


Can you think of any potential themes of relationships to come out of this extract?
Full transcript