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Thursday, September 1

September 1, 2016

Spongebob: Today we watched two episodes of SpongeBob — “Squid’s Day Off” and “Opposite Day” — to focus on the relationship (primarily) between SpongeBob and Squidward, the most important relationship in the show.

We did this partly to focus on SpongeBob’s archetype, the Eternal Child. Here’s what we said:

  1. The Eternal Child: Represents innocence/goodness/simplicity, or the problems that such qualities can cause in a bitter, cynical world.

Derived from Jung’s puer aeturnus archetype, which has its roots in both classical mythology (Eros/Cupid) and the Christ child in Christianity. Jung called it “simply the personification of the infantile side of our character, repressed because it is infantile.” Jung acknowledged the dangers of indulging the childlike side of our nature, but unlike Freud, who thought reverting to childhood was regressive, Jung believed childhood can also be also a source of creativity and moral strength.

The subarchetypes are:

The Divine Child: A character who has no control over their nature. Incapable of changing, and thus usually accepted as he or she is. (SpongeBob, Pops from The Regular Show, Forrest Gump, Buddy the Elf, Dopey)

The Peter Pan: A character who chooses (at some level) to remain childlike – which usually creates conflict. (Peter Pan, Daniel from Mrs. Doubtfire, Andy Dwyer from Parks and Rec)

These characters have some elements of the archetype, though I wouldn’t call them pure examples: Prim from The Hunger Games (early on, anyway), Lenny from Of Mice and Men, Snow White, Tommy from Tommy Boy, Giselle from Enchanted, Spencer from iCarly.

We began talking about our second archetype — The Fool — but we didn’t get very far. No homework for Tuesday

Critical Reading: Today you did a few different things:

  1. You researched US poverty guidelines for 2015, as well as the US median income for 2015
  2. We discussed your homework – interpreting the two passages on the back of your guided notes. Conclusions? Chocolate and soda are apparently not good for you, and also Mary had a Little Lamb is about friendship. Or Jesus. Or addiction. Or disability. Or maybe the lamb a harbinger of death. You decide.
  3. You got a second guided notes sheet (Critical Reading 9.1.16 – GN Day 2) and we began to discuss how, when we’re building a case for interpretation, much of the time we are looking at choices (conscious or unconscious) that were made by someone (or a group) as the text was being produced. We will definitely continue this discussion on Tuesday.


  1. For Tuesday, read the restaurant review and menu for Guy Fieri’s restaurant. For anyone who care/knows about it, this review pre-dates the fake menu. And also, the menu you got in class is the REAL menu. Read it. Critical Reading 9.1.16 – Restaurant Review Handout Critical Reading 9.4.15 – Restaurant Menu Handout
  2. For 9/13, read the Saussure packet. Critical Reading 9.1.16 – Saussure Assignment Sheet This is how you should approach it; annotations are required.

See you next week!

SirenToday we assigned stories for the first (October) issue. You should have received (and accepted) an invite the copy blog — That’s where you’ll be turning in copy and photos.

New folks: I gave you some pointers on the most important AP style stuff from that one-page handout. Look over that handout on parts of a front page and the parts of a story for next week.

In the Style Of: Today we discussed Dickinson. Your Dickinson-inspired pieces are due at the beginning of class on Tuesday, typed and printed. The expectation is three poems of average length (compared to the reading assignment). More is fine. Less is only ok if you compensate for length in an intentional way.

Here’s the board:

Reading: Continued watching Jurassic Park.

Survey: Poetry: Today I gave you two poems with big flaws, and asked you to consider the poems in light of what you’d read in chapters 1 and 3. You guys did a good job once you got warmed up.

We talked about five essential elements of poetry:

  1. Image – anything that can be experienced with the senses.
  2. The line – is to poetry as the sentence is to prose.
  3. Sound
  4. Rhythm – not rhyme, which is optional, and not even regular meter. Sound and rhythm work together.
  5. Density – saying a lot in a small space.

and five poetry “don’t”s:

  1. Abstraction – anything that cannot be experienced with the senses.
  2. Self-pity
  3. Sentimentality
  4. Predictable and/or forced rhythms and rhymes
  5. Cliches

For Tuesday: Come up with 10 abstractions. Turn each one into the best image you can.

For example: sadness.

Don’t do this: coming up with another abstraction (“someone feeling bad”)

Don’t come up with a cliche (“a broken heart)”

Do better! (“a tepid cup of undrunk tea”)

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