The Skin of Our Teeth Synthesis

I found the experience of reading others’ blog posts about The Skin of Our Teeth to be a fulfilling experience. From this, I gained many perspectives about the play that I would not have gained on my own. Grace’s post about act one was intriguing, because she summed up the entire act with a single quote from the play: “In the midst of life we are in the midst of death.” Beth’s post added a whole new dimension to the play by comparing it to a modern children’s movie, The Croods. Together, these posts allow be to see the play in a whole new light. I am now able to see act one in a single sentence, and I can also now see how the play influenced modern movies. I never would have considered either of these things on my own, so I enjoyed reading both of these posts.

Source: The Skin of Our Teeth Synthesis


The Skin of Our Teeth (1/3)

In The Skin of Our Teeth (1/3) I noticed this passage: “Mr. Antrobus is a veteran of foreign wars, and bears a number of scars, front and back.”

What follows this passage is a vivid description of Mr. Antrobus. I found this to be very interesting as it adds a lot of dimension to this character who is just being introduced at the beginning of the play. I am interested to see how this plays out because it will be neat to see how these various aspects to Mr. Antrobus play into his personality.

Source: The Skin of Our Teeth (1/3)


Rhinoceros in Love (Part 1/3)

In Rhinoceros in Love (Part 1/3) I noticed this passage: “Malu: That’s right! People have standards for testing eyes and ears, and if they fail them, they think that they’re disabled, which influences their work, whether they go to university, even their attitude about life. There are many colourful terms to describe disabilities of the eyes and ears: blind, deaf, colour blind, but there’s no such term for a disabled nose. A stuffed nose only describes the symptom of a cold, which can be easily cured with some Sudafed. A competent, outstanding nose has never received any attention.”

I think that this passage is significant because it is a snapshot of our culture. I don’t know if it will be significant for the rest of the play, but I found this description to be interesting so early.

Source: Rhinoceros in Love (Part 1/3)


Participation Portfolio 2


I think that since our last participation portfolio, I have been more mindful of some of my weaknesses. Here are some of the improvements I’ve made as well as some shortcomings that I still face.


This category is one that I need to continue to work on improving. However, I have written a few posts in which I could have increased the depth had I devoted more time to them.

First, in my post about the York Creation/Fall, I wrote about a passage that depicted Lucifer in such a way that I had never thought of before. I could have gone deeper in this topic by researching different views of this being and wrote about my findings.

Additionally, in my post about the York Crucifixion, I chose a passage that I felt exhibited comic relief in the play. To add depth to this post, I could have researched a scholarly article about the play, and looked to see if others had shared my opinion on this topic.


I feel that I have made small strides add to the riskiness of my posts in this portfolio. When I could, I tried to break the mold for posts that I tend to get stuck in.

The first example of this is in my post about Act I of Goodnight Desdemona (Good Morning Juliet).In this post, I chose to quote a stage direction for my passage and what I thought it brought to the play. I had the idea immediately after reading the direction, but was skeptical about using it as my passage. Then, I remembered that plays are written to be seen rather than read, so I figured I would exit my comfort zone and go for it. I consider this to be risky because I never would have even thought about quoting a stage direction for any type of writing before this post because it was out of my comfort zone.

Another example of a risk I took can be found in my brief brainstorm about Catholic Social Teaching. Before this class, I was unaware of the role that Catholic Social Teaching has in literature. It has been interesting to see and make these connections, which takes me out of my comfort zone because I have never before connected literature with religion.


I think that my intertextuality skills have improved as well. I am finding it easier than ever to make connections between different works of literature. However, sometimes I fail to put all of these connections in my posts with enough description, which is something I need to work on in my future posts.

In my response to a brief context on The Rivals, I compared the play to “The Marriage Proposal” and The Importance of Being Earnest. While I could have gone deeper into this comparison given the information in the context, the post definitely has the potential for intertextuality.

I demonstrante basic intertextuality in my post about Act II of Goodnight Desdemona (Good Morning Juliet).In this post, I connect my experience of reading this play to my experience of reading Othello. While this is a fairly obvious connection, it shows that I can make deeper connections. I just need to make more of a conscious effort to do so.


I think that my discussion skills have greatly improved. I find myself to be less nervous than previously when we discuss texts in class.

When I discussed Goodnight Desdemona (Good Morning Juliet) with Alyssa, we found ourselves agreeing on a main point that Constance’s stupidity shows throughout the entire play, and my post about Act II was used as support for this point. I explained that my passage was proof that Constance did not think anything through, and we had a good discussion about the play with the support of our blog posts.


I need to work on my timeliness in this class.

In my response to a brief context on The Rivals, I updated a previous idea by comparing the play to two others that we have read in this class. I could have gone deeper in this explanation by listing reasons why I liked both plays, and this is something I will think about in future posts.


I tend to keep up with the blog posts, and I have completed every post assigned in this portfolio.

Although I was not entirely sure of what to write about in response to the context for Greek Theatre, I decided to explain what I had learned from the presentation. While this is basic and does not demonstrate close reading, I wanted to make sure that I completed the assignment.


Overall, I think that this is a good assessment of my growth and drawbacks in these areas. The course learning goal of textually supporting claims is one that I feel I have improved upon as a result of the blog assignments. For my next portfolio, I hope to have better examples of depth and my other weak categories.


Source: Participation Portfolio 2


Oedipus the King (Part 1 of 3)

In Oedipus the King (Part 1 of 3) I noticed this passage:

“OEDIPUS: Everything you speak is all so cryptic—like a riddle.

TEIRESIAS: Well, in solving riddles, are you not the best there is?

OEDIPUS: Mock my excellence, but you will find out I am truly great.” (Sophocles 12).

I chose this passage because it reflects Odeipus’s overall feelings toward Teiresias in a simple way. I like this passage because I am often annoyed by people who, forgive me for using a cliche, but “beat around the bush” when speaking, so I understand Oedipus’s frustration with Tiresias as this point in the story. I am interested to see how this relationship will unfold throughout the rest of the play, because they seem to have different personality types that add volume to the story.

Source: Oedipus the King (Part 1 of 3)


Good Night Desdemona (Good Morning Juliet) Act III

In Good Night Desdemona (Good Morning Juliet) Act III I noticed this passage: “A stranger here, my name is Constan – tine” (MacDonald 50).

I chose this passage because as I read it, I was a little shocked by the fact that Constance is now acting as a man. I think this serves as a plot twist in because Constance is now fully invested in this universe- even more than ever before as she has changed her identity. I am interested to see how this plays out in the ending of the play.

Source: Good Night Desdemona (Good Morning Juliet) Act III


CST Brainstorm

While I never related Catholic Social Teaching principles to world drama, or literature as a whole, for that matter, there are more connections between the two than one may consider. If I think back, almost every work of literature that I have ever read can be related to at least one principle of Catholic Social Teaching in one way or another. I hope that our paper on this topic helps me to recognize these connections even more easily, and maybe even apply them to everyday life. I am glad that this class has taught me to consider these connections because learning about how works of literature are connected to real-world issues always interests me.

Source: CST Brainstorm


Context for Greek Theatre

This presentation was interesting because it laid the groundwork for plays that were written to be produced in the Greek theatre. It was interesting to learn about the way in which the theatre was designed for numerous reasons. I had not considered the amount of thought that went into building the theatre, and that our modern-day theatres are heavily based on these thoughts. Overall, I think that the Greek theatre does not get as much recognition as it deserves since our modern theatres may not exist or be set up as well as they are.

Source: Context for Greek Theatre


Good Night Desdemona (Good Morning Juliet) Act II

In Good Night Desdemona (Good Morning Juliet) Act II I noticed this passage: “Shocked, and at a loss for words to explain her statement, Constance gathers her courage and timidly approaches Iago” (MacDonald 24).

I chose this passage because although it is a stage direction, it is an interesting response to our urge to go back in time to fix things, or even enter the story. When I read Othello, there were many times where I had wished that I was able to enter the world of the characters. I had never considered that it would likely be a nerve wracking experience and that I might not even have the courage to stop the character from committing the act. Although I simply quoted a stage direction, I think that this is an interesting way to sum up one of the issues presented in this act.

Source: Good Night Desdemona (Good Morning Juliet) Act II