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• According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him. The objective correlative's purpose is to express the character's emotions by showing rather than describing feelings as discussed earlier by Plato and referred to by Peter Barry in his book Beginning Theory: An.
• Hamlet is so complete a character that, like an old friend or relative, our relationship to him changes each time we visit him, and he never ceases to surprise us. Therein lies the secret to the enduring love affair audiences have with him. They never tire of the intrigue. The paradox of Hamlet's nature draws people to the character.

Super Objective Acting

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Passage analysis of Hamlet 5.2, by K.E. In the speech that begins ‘It is here Hamlet’ (5.2 314) Laertes’ objective is to kill the King, Claudius. His obstacle is that he thinks Hamlet will not believe him (ie. Laertes thinks that Hamlet will not believe Laertes’ statement that Hamlet is dy ing).

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Grades	9 – 12
Lesson Plan Type	Unit
Estimated Time	Eight 50-minute sessions
Lesson Author	Charleston, South Carolina
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STUDENT OBJECTIVES

Students will

• identify the literary elements of plot, theme, and character in a work.
  
• use indirect characterization and psychoanalytic criticism to analyze a character in a work and explain how the character contributes to plot and theme.
  
• structure an analytical essay based on their analysis.

Session One: Read Aloud and Identifying Plot and Theme

1. Begin the session by telling students that they will be listening to a familiar children's book, The Cat in the Hat. Elicit their memories and responses to the story.
   
2. Pass out copies of the book for students to refer to as you read.
   
3. Distribute the handout Plot Graphic Organizer to the students and ask students to listen closely to the story because after the story is read they will identify the elements of the story's plot. Alternately, students can complete the Plot Diagram tool.
   
4. Read The Cat in the Hat aloud. Be sure that students can see the illustrations as you share the story.
   
5. After reading the story, divide the class into small groups (each with a copy of the book to refer to as they work).
   
6. Ask groups to think about the elements of the story: setting, plot, character, and conflict.
   
7. Gather students as a class and invite discussion of the groups' findings.
   
8. After the students have discussed the story, ask them to complete the Plot Graphic Organizer or the Plot Diagram tool.
   
9. While the students are working, you can use The Plot of The Cat in the Hat handout as a reference.
   
10. When the students have completed their work, ask them to share their information in small groups. Monitor the conversations as an informal assessment to make sure that the students are on track.
    
11. Using photocopies, an overhead or an LCD projector, review with students the definition for theme and the five steps using The Literary Element of Theme handout.
    
12. After the students have worked with the concept of theme, ask them to identify the theme of The Cat in the Hat.
    
13. Ask students to share their responses in pairs or small groups. Monitor the conversations as an informal assessment to make sure that the students have an understanding of theme.

Session Two: Identifying the Id, Ego and Superego in a Literary Character

1. Invite students to share their definitions of plot and theme and how the elements relate to The Cat in the Hat.
   
2. When the discussions and sharing conclude, distribute the An Introduction to Psychoanalytic Criticism of Literature handout.
   
3. Ask the students to read the document. Provide time for them to ask any necessary questions about the content of the handout. Invite the students to mark-up the handout.
   
4. If desired, explain that the id and superego are like a devil and an angel, whispering into someone's ears telling the person what to do. The devil figure, representing the id, argues, 'Think only about yourself!' and encourages the character to base decisions on the degree of self-satisfaction they will provide. On the opposite shoulder is an angel figure, representing the superego. This figure argues, 'Think about society!' and encourages the character to base decisions on how well they satisfy society. In the center is the character, representing the ego, which must strike a balance between the id and superego.
   
5. Identify the presence of the id, ego, and superego in literary characters previously studied by the class. Some texts that can be used as examples are Hamlet, Things Fall Apart by Chinua Achebe, The Scarlet Letter, Dr. Jekyll and Mr. Hyde, The Lord of the Flies, Wuthering Heights, or A Doll's House by Henrik Ibsen.
   
6. Using their new knowledge of psychoanalytic criticism, ask students to identify what each of the main characters in The Cat in the Hat represents in terms of the id, ego, and superego.
   
7. Distribute the The Cat in the Hat psychoanalysis chart.
   
8. Explain that this chart will provide preparation for an online activity for the following session.
   
9. Orally lead students through a discussion that helps them use the id, ego, and superego to determine each character's psychological personality.

Session Three: Visual Interpretation

1. Using the The Cat in the Hat psychoanalysis chart as a springboard, open discussion about the characters and the id, ego, and superego.
   
2. When discussion is complete, provide the students with the needed instructions for using the Venn Diagram student interactive or the Venn Diagram Graphic Organizer.
   
3. Label one circle of the Venn Diagram for each of the areas of personality (id, ego, and superego).
   
4. Remind students to use the The Cat in the Hat psychoanalysis chart for textual reference as they add notes to the student interactive. From there, the students will drag their notes to the appropriate place on the Venn diagram.
   
5. When the diagram is complete, remind students to print out the diagram.
   
6. Using the printed diagram, draw some conclusions about the characters from the story. Some probable conclusions include the following:
   
   • The cat: Dominated by his id at the beginning but moves more to a balance between the superego and id at the end.
     
   • Fish: Dominated by his superego throughout the story.
     
   • Sally and the narrator: Fluctuate between the id and superego until the end when they allow the superego to take over.
     
   • Mother: Represents the superego through the moral and ethical restraints placed on us by caregivers.
     
7. Ask the students to compare their work in small groups, based on where items fall in their diagrams. For example, the Fish and the Mother are both found only in the superego area of the Venn Diagram. Are there similarities between these two characters? Differences?
   
8. Use the end of this session to answer any questions.

Session Four: Gather Support

1. Distribute the Defining Characterization handout.
   
2. Review definitions and Examples of Indirect Characterization, and answer any questions.
   
3. Encourage students to return to the book for a second look and consider both the text and the accompanying illustrations for evidence as they work.
   
4. Distribute the indirect characterization worksheets with the subtitle 'The Cat.'
   
5. As a class, identify and record the information needed to complete the handout. Sample responses to this part are included.
   
6. Ask students to repeat this activity for The Fish and the Narrator, using the remaining worksheets.
   
7. Conclude this session by answering any questions or concerns from the students. Or, ask them to examine characterization in some of the other texts read in class.

Session Five: Refine the Analysis

1. Share and discuss the Refining Your Analysis handout. The first part of the handout requires the student to complete the three questions below for the Cat, Fish, and Narrator. These questions help the student understand the character in relation to the overall meaning of the story.
   
   • How do specific examples of characterization establish the psychological personality of the character?
     
   • How does the character's personality contribute to the main conflict and climax of the story's plot?
     
   • How does the character's personality contribute to the theme?
     
2. Explain how a character from The Cat in the Hat contributes to the plot and theme of the story.
   
3. Allow students time to work on the first part of the Refining Your Analysis handout. If desired, the students could work in pairs.
   
4. Once students have worked through the first part of the handout, introduce the The Cat in the Hat Projects (essay topics) to the students.
   
5. Explain the 'ASE' method for structuring an essay:
   
   • Argument: A statement of the main point or argument.
     
   • Support: Evidence that supports the main argument.
     
   • Explanation: An explanation of the support and how it supports the argument.
     
6. Once students understand the 'ASE' method, ask them to use their notes on the book to structure an argument about the role that one of the characters plays in the story.
   
7. Allow time at the end of the session for students to share any of their thoughts or insight into the process or the story.

Session Six to Eight: Analytical Essay Projects

1. Allow ample work time for the students, during and outside of class.
   
2. If desired, ask students to use the Revision Questions for Analytical Essays to review and strengthen their work before submitting their final drafts.

Each Character's Super Objective In Hamlet 2

EXTENSIONS

• As a class, view the movie The Cat in the Hat. Analyze the movie and look for any similarities and differences between the representation of the id, ego, and superego in the characters of the movie and book. Refer to the Get The ReelScoop lesson plan for ideas on comparing the two.
  
• Invite the students to research the lives of Sigmund Freud and Dr. Seuss. They can document their findings using the Timeline Tool or the Graphic Map.
  
• The students may also want to learn more about other Freudian terms and see if they can find examples in other pieces of literature.
  

• Have students explore Freud's work using the Conflict, Freud & Culture online exhibit from the Library of Congress.

• Students may be interested in seeing a more 'grown-up' side of Dr. Seuss by perusing his political cartoons.

Each Character's Super Objective In Hamlet Summary

STUDENT ASSESSMENT/REFLECTIONS

• Assess students' knowledge of elements of plot, theme, and characterization by checking the worksheets and charts that they completed for the project. Look in particular for details from the text and illustrations that support students’ understanding.
  
• Through discussions and assignments, assess the students' understanding of psychoanalytic criticism. Observe the way in which students analyze characters in a work, and then explain how the character contributes to the plot and theme.
  
• Use the Venn Diagram student interactive or Venn Diagram reproducible as an assessment of the students' knowledge of the Id, Ego, and Superego.
  
• Use the Revision Questions for Analytical Essays to guide feedback on students’ final essay.
  

DYNAMIC ANALYSIS OF DRAMATICACTION THEA291 Dr. Larsen

Dramaticaction: theenergy contained in a line of dialog and manifested as a desire.

Dramatic activityobjective may be perceivedas a coherent series of strategies.

b. a strategy is best expressed as an active verb.

2. Acharacter's objective is the temporary focal point of all his or her energy.

3. A character's objective should be expressed as an activeverb.

Example: 'I, Oedipus, want to undermine Creon'stestimony.'

4. Acharacter's objective will vary according to:

C. One character in the unit will be the impellingagent (protagonist) because his determination propels the action. Other characters in the unit will be the blocking agents (antagonist)and his or her subordinates, and the subordinates of the impellingagent.

D. Each unit contains the spectacle of reciprocalforcing, as the impelling agent and his subordinates clash with theblocking agent and his subordinates.

E. Each unit progresses through a period of intensification,which reaches its peak in the moment of crisis. The crisis precipitatesa release of tension.

F. A unit shows one of two tendencies in itsdevelopment: it inclines toward being either active or reactive:

1. An active unit contains an active conflictbetween the impelling agent and the blocking agent.

2. A reactive unit contains some sort of sustained emotionalrelease.

THUS, a unit ends when:

1. Anew character enters and alters the context.

2. Theimpelling agent achieves or abandons his objective.

3. Therhythm of intensification, crisis, and release is complete. (2-3 shift theaction).

The DRAMATIC ACTION of a play may besummarized in terms of :

1. The super-objective of each of the principlecharacters. The super-objective is.a statistical summary, or an abstractionfrom the several objectives of the character.

a. A super-objective isbest expressed as an active verb or verb phrase.

b.A super-objective may beexplained (but not explained away) in terms of the character's degree ofconsciousness, his strength, and the sources of his motivation.

2. The root conflict between the heroand the blocking agent. The root conflict is an abstraction summarizedfrom the conflicts in the several units of the play.

3. The dynamic structure of the play, consists of

(1) given circumstances

(2) rising action or intensification of the plotof the play

(3) the climax or the major crisis of the play,and the

(4) denoument. or the release following theplay's climax.

Dynamic Analysis Assignment

1. For the assigned play, you willanalyze assigned units (French scenes, scenes in the act [if there are any], theact) in Act IV in terms of dynamic analysis (nos. 1-6 below). Additionally,you will complete nos. 3 and 7 for the entire play. You may structure thispaper in any way that you think is most clear.

Analyze in terms of:

1. precipitating context – like the title that you did in structural analysis, just another name for the same thing
2. characters’ objectives (full sentence with active verb)
3. protagonist/antagonist and blocking agents/subordinates of both
4. reciprocal forcing
5. intensification/crisis
6. reactive/active why?
7. super-objective of each character for the play in its entirity.