First some comments about mapping and maps:
As Hansel and Gretel attempted to do with breadcrumbs (if you do not know that fairy tale, click HERE for a side-by-side, paralllel mapping of two versions of the tale, the 1812 and the 1857 versions), dropping the breadcrumbs so as to be able to find their way back, so can you map to keep track of your decisions as you navigate the poem and your ideas about it.
In the 1812 and 1857 versions of the fairy tale, differences are obvious; it is easy to understand how changes are (also) linked (or tethered) to particular circumstances that are themselves linked (or tethered) to particular locations in time. The differences are obvious. But these differences in text are not all of the differences linked to the versions of the tale. The system of each version includes information of the kind also associated with a (version of) poem, for instance, whose text is unchanged over a period of time. Each respondent is linked to sets of circumstances that are linked to periods of time (that may be on different scales; not just one definitive moment. Your maps will also be documents of some of the history of the circumstances of the moments in which the circumstances and maps occur.
(It is likely that) You will be able to know (more about) where thinking went, and you will be probably be more able to offer explanations for those decisions. You can, of course, make choices that help quide thinking intoi particular shapes, particular structures.
At some point during the mapping, structure of the idea emerges. (Some of) the shape of the idea will be revealed. As the idea unfolds, a shape of the unfolding also emerges. Some aspects of the shape may become more important to your sense of the map unfolding than other aspects. You may choose to focus further on a particular aspect of the emerging shape of the thinking. A theme may become more refined, more complex with even more facets.
Similarly, the poem itself maps idea(s). Important landmarks (or charged images, phrases, etc.) may be marked to emphasize them, a rhyme scheme as a system of both visual and sonic tethers, indentation, italics, parentheses, or other departures from the dominant typography and punctuation of the poem; the attention that is drawn to the line endings —ways to emphasize features on the map.
For the next two weeks, work on these maps. Do understand that in a blog atmosphere, you can return to your map again and again (after the two weeks). You may add to the map, subtract from the map, update the maps, submit multiple maps, alternative maps, etc. Someone might think to compile a supermap of class Red Wheelbarrow maps and Lightning is a Yellow fork maps, 2D and/or 3D composite maps (multi-faced objects such as platonic and archimedean solid. Do think of crystals also, and gem-cut —faceted— diamonds. So for thew Monday after the study break, post the mapping to date, butit won't be a definitive map as few maps can be since what is represented by the map undergoes change, is not in a final or ultimate form. The map is linked to circumstances that shaped its existrence, one of which is some moment. The map was made during some location in time, a location that is not universal, as the simultaneous experience of time does not mean the simultaneous experience of the same time. So specifying a when also requires the linking to a place that experienced that when at the indicated moment.
Do not approach this as if you making something finished, as if you are making something where the expectation is that you submit the polished version; you are submitting a progress report of your navigation of the mapping of either The Red Wheelbarrow or The Lightning is a yellow fork. There is some impermanence allowed in an evolution of thinking; changes over time and circumstance are expected. In your blogs, you may update thinking at any time, and not (necessarily) by editing a post, but by making other posts, allowing the journey documented (including the journey's complexity, its multi-faced nature) to be more accurate. Perhaps also allowing the map to be more interesting or beautiful as often the multiple branches contributing to the form and shape of a tree (such as an apple tree) also contribute to its aesthetics.
(— —I haven't been able to maintain three blogs I began in July (because of an incredibly persistent neurological attack, but I include links to them so that you may see some literal mapping that occurs within the blogs which themselves are maps:
Tine Times, Tine Times Cyber Workshop, and Tine Times 2. I'll be updating these blogs asap and will be starting a neurological winter blog soon— —)
The map can also help someone (including the maker of the map) attempt to locate something specific, inclkuding an outcome that emphasizes aesthetic qualities. Perhaps your maps can be considered beautiful according to some criteria. Perhap your maps will attempt to weight the aesthetic value against some other possible values such as intellectual (according to some criteria) value. How might such a comparison be made evident?
To get to the HABA promised in the title of this post, please click on "Continue reading" that follows this sentence.
THE HABA
The time sensitivity of context can be an important consideration in the mapping of a poem; when and the prevailing circumstances of that when can shape meaning, or the topography of ideas.
Associating the redness of the red wheelbarrow with lead-based paint, could shape (some of) the so much of the poem's first line. The glaze becomes a toxic glow particularly for children who otherwise might enjoy interaction with the wheeelbarrow that looks, glazed with rain water particularly tempting.
[**Here it would be easy to extend your discussion to other uses of red, literary reds, religious reds, and cultural associations with red, for instance, explaining how these usages are part of the so much.]
It turns out that lead-based paint that has led to the recall of hundreds of thousands of hazardous children's toys manufactured in China has also led to increased interest in higher-priced, lead-paint-free toys manufactured in Europe (as you can read in this article), particularly in Germany where this Haba push toy wagon offers an alternative to (toy) wheelbarrows known to be made in China such as this one NOT ASSOCIATED, as far as I know, with an active recall at this time.
Some might conclude that much more than a grade in Eng 240 depends on (the red paint used on) a red wheel barrow.
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