Analyze, Compare & Contrast, Synthesize

Backward Design Start with the end in mind. We want students to be able to compare and contrast two sources. First we need to teach them how to analyze one source. Then we can analyze the second source. Then they can compare the two.

In the TEXT Context: Time, Place, Occasion Rhetorical Devices How does the author create meaning? What strategies and devices are evident? Rhetorical Modes Appeals: Ethos Logos Pathos Thesis Claim Assertion Bias Speaker / Writer Reader/Audience Subject/Topic Tone Aristotelian or Rhetorical Triangle Eva Arce James Bowie High School

The Death of Socrates Jacques-Louis David Oil on canvas Paris, 1787 The Metropolitan Museum of Art, New York

 Speaker: Jacques Louis David The official portrait painter for Napoleon  Subject: Socrates’ Death  Audience: Exposition au Salon du Louvre, 1787 Paris, France

ALLUSION to the Narrative Recognize the historical references From “Crito and the Death of Socrates” In Phaedo (The Dialogues) by Plato Socrates, 70 year old teacher, was charged with teaching false religion (monotheism in a polytheistic society) and of corrupting the youth (urging students to think for themselves) Rather than defend his life and teachings, Socrates insists on honoring Athenian law. Socrates was sentenced to death (by drinking hemlock)

Allusion to the Narrative During his last hours, Socrates spoke to his disciples. Crito pleads with his teacher to leave Athens. Through rhetorical questions, Socrates guides his disciple to understand that he has accepted his fate because it is his obligation to the laws of Athens. (The city state had given him many privileges.) Socrates shares his belief of the immortality of the soul and of an afterlife. Plato, although not present at Socrates’ death, wrote the dialogue as narrated by Phaedo. (Hence the title of the dialogues, Phaedo)

APPEALS through Characterization Plato: During Socrates’ death, Plato was a young man and not present. However, David depicts him here as a thoughtful, solemn old man seated at the foot of the bed. Like Socrates, he believed in the immortality of the soul. (ETHOS) Apollodorus: He had been sent away by Socrates because of his overwrought behavior. David depicts him leaning against the wall, overcome with grief. (PATHOS) Other disciples express sadness and pity. (PATHOS) Crito: He has argued his position and given Socrates evidence to leave Athens. Now, he sits by Socrates’ side, listening attentively, affectionately, respectfully to Socrates’ counter-argument. (LOGOS) (De Nanteuil 24)

Symbolism through Color TONE in shades of red: expressing great passion/grief; notice the crescendo Crito’s robe, men climbing the stairs, to the focal point which is the tunic worn by the jailer holding the hemlock(death) TONE in Blue-tinged white and gray: expressing serenity; togas worn by Socrates and Plato to represent their serenity because of their belief I an immortal afterlife for the souls of men. Focal Point: Death (red tunic of the jailer) (De Nanteuil 24)

Parallel Context For the subject 399 B.C. Athens, Greece (during the political reign of a city state democracy) For the painter 1787 Paris, France (during the political turmoil of the French Revolution – declaration of democracy)

Claim and Assertion Claim: (minor point) Because of his belief in an immortal afterlife, man can face his death with dignity and serenity. Assertion: (Main Idea!) A person who enjoys the benefits of his society should be willing to die to uphold its laws. Or A citizen has the obligation to obey the rules of his society.

By Roger Van Der Weyden Located in El Prado, Madrid

Comparison/Contrast Speaker Audience Subject Context Motivation Purpose Assertion Claims Appeals Tone Style (Devices) Speaker Audience Subject Context Motivation Purpose Assertion Claims Appeals Tone Style (Devices) Eva Arce James Bowie High School Similarities?

Assertion for Comparison Contrast Both Socrates and Jesus represent individual sacrifice for the greater good of their society

Charles Ier, roi d'Angleterre ( ), dit Portrait du roi à la chasse 1635 Antoon (Anthony) van Dyck Musee Louvre Paris, France Le Roi à la Chasse (2006) Kehinde Wiley Blanton Museum of Art The University of Texas Austin, Texas

Claims Charles Ist is a trend setter in 17 th Century England. Although the title claims that he is hunting, he appears to be posing in the countryside. (What’s the prey?) He is in a masculine setting (in the country with his horse and squire) wearing effeminate attire. He was the real King of England, Scotland, and Ireland from 1625 until his execution in Monarch of his kingdom. The model is a trend setter in 21 st Century U.S.A. Although the title claims that he is hunting, he appears to be posing in a floral setting. (What’s he hunting? Flowers as symbols of women?) He is in a feminine setting wearing masculine attire. He is an unknown model who represents a modern young man of color. Common man in a democracy.

Assertion Antoon van Dyck and Kehinde Wiley comment on the values of their societies by depicting one influential man.

Comparison President George W. BushPresident Vladimir Putin

Claims Bush works on the ranch. He is not afraid to do the dirty work. He is physically fit through real work. He is a real Texas cowboy. Putin appears to pose for this “fisherman” picture. He is pristine. He is physically fit (works out in a gym?) His appears to be a Western sportsman (cowboy hat?)

Assertion Although politicians want to appear as the common man, they do not all work like the average citizen.

Synthesis Add at least one more source. President Nicolas Sarkozy and Carla Bruni Assertion: Women give French men their prestige.

Assertion using three sources Photographs of three presidents Even when photographed in their private lives, politicians make public statements that reflect the values of their society.

SIMPLE SYNTHESIS Research Question: What comments do artists make by placing horses in portraits?

Bonaparte Crossing the Saint-Bernard By Jacques-Louis David Musee National du Chateau de Malmaison, Rueil-Malmaison

Portrait of George Washington Circa 1790 By John Trumbull

George Harley Drummond (1783–1855) Circa 1808 By Sir Henry Raeburn (Scottish, Stockbridge 1756–1823 Edinburgh) Metropolitan Museum of Art New York

AFTERWORD on George Harley Drummond Painting Caption beside the painting at the gallery: The sitter, dressed in riding clothes, is George Harley Drummond of Stanmore, Middlesex, and Drumtochty. He married in 1801 and his son George, shown in "The Drummond Children" ( ), was born in The foreshortened view of the grazing bay horse is the most complex part of the composition, though not the most important. It is curious, therefore, that the animal's hindquarters should be so prominently displayed.