ONLINE LEARNING!
Hello, 1A and 3A Seniors!!
I've been thinking about you all, and I'm so looking forward to seeing each of you either tomorrow morning, Monday, April 13, at 8:30 or Tuesday, April 14 at 8:30. We'll of course have a virtual get-together via Google Meet. Hey, at least it's not 7:30 right? And we can all drink coffee!
1A students copy the following joining code into your browser to enter the Google Meet session on Monday at 8:30:
https://meet.google.com/yne-qvsc-sze
3A students copy the following joining code into your browser to enter the Google Meet session on Tuesday at 8:30:
https://meet.google.com/teb-nenx-hzi
What we'll do during our first session is visit and catch up, and I'll tell you what the plans are for the remainder of the year. We will not meet for the whole hour so you can go back to sleep for a bit, but I will also talk about your essays and what has and has not been entered into 3rd quarter. As you know, you will get either a P or an F for your senior classes for 2nd semester and your grades will be adjusted soon to reflect all of your work prior to the quarantine period--even though the numerical average will be for your eyes only. More importantly, I'll talk to you about the much shortened AP exam that you will take on your computer from home, and we will review tips and techniques for you to use in your written response.
Please pass the word to all regarding how to join our session. I want to see your beautiful faces.
I've been thinking about you all, and I'm so looking forward to seeing each of you either tomorrow morning, Monday, April 13, at 8:30 or Tuesday, April 14 at 8:30. We'll of course have a virtual get-together via Google Meet. Hey, at least it's not 7:30 right? And we can all drink coffee!
1A students copy the following joining code into your browser to enter the Google Meet session on Monday at 8:30:
https://meet.google.com/yne-qvsc-sze
3A students copy the following joining code into your browser to enter the Google Meet session on Tuesday at 8:30:
https://meet.google.com/teb-nenx-hzi
What we'll do during our first session is visit and catch up, and I'll tell you what the plans are for the remainder of the year. We will not meet for the whole hour so you can go back to sleep for a bit, but I will also talk about your essays and what has and has not been entered into 3rd quarter. As you know, you will get either a P or an F for your senior classes for 2nd semester and your grades will be adjusted soon to reflect all of your work prior to the quarantine period--even though the numerical average will be for your eyes only. More importantly, I'll talk to you about the much shortened AP exam that you will take on your computer from home, and we will review tips and techniques for you to use in your written response.
Please pass the word to all regarding how to join our session. I want to see your beautiful faces.
Due Tuesday, March 3:
Use the 3 handouts you received last week to help you with this assignment. The following four things are due when you walk into class:
1. an excellent claim for a Hamlet essay that contains a complex observation and an interpretation
2. a horizontal one-row table that is directly underneath your written claim--the table should have 3-6 "boxes"--each box should contain one of the several components present in your claim (these are your "thesis pieces," and the number of thesis pieces you have in your table depends on the number of components in your claim)
3. three meaningful and relevant topic sentences that each support each component of your claim
4. a table underneath each of your three topic sentences which has in each "box"of the table a topic sentence piece that corresponds to one of the components in the topic sentence--the number of boxes in the table for each topic sentence is dependent on the number of components in the corresponding topic sentence
Use the 3 handouts you received last week to help you with this assignment. The following four things are due when you walk into class:
1. an excellent claim for a Hamlet essay that contains a complex observation and an interpretation
2. a horizontal one-row table that is directly underneath your written claim--the table should have 3-6 "boxes"--each box should contain one of the several components present in your claim (these are your "thesis pieces," and the number of thesis pieces you have in your table depends on the number of components in your claim)
3. three meaningful and relevant topic sentences that each support each component of your claim
4. a table underneath each of your three topic sentences which has in each "box"of the table a topic sentence piece that corresponds to one of the components in the topic sentence--the number of boxes in the table for each topic sentence is dependent on the number of components in the corresponding topic sentence
Due Wednesday, February 12:
Bring to class a printed copy of an original essay that responds with thoughtful care to the AP prompt on the handout you received in class. On the handout is both the prompt and a model using Hamlet's first soliloquy to respond to the prompt. (If you have misplaced the handout, the prompt is as follows:
Choose a distinguished novel or play in which some of the most significant events are mental or psychological: for example, awakenings, discoveries, and changes in consciousness. In a well-organized essay, describe how the author manages to give these internal events the sense of excitement, suspense, and climax usually associated with external actions. Do not merely summarize the plot.
Use the model essay to gain understanding of how you are to craft your own essay; you will respond to the prompt by using Hamlet's second soliloquy as your text. The second soliloquy is in Act 2, Scene 2, and I've copied it below:
O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann’d,
Tears in his eyes, distraction in’s aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What’s Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn’d defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i’ the throat,
As deep as to the lungs? who does me this?
Ha!
‘Swounds, I should take it: for it cannot be
But I am pigeon-liver’d and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave’s offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder’d,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon’t! foh! About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim’d their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I’ll have these players
Play something like the murder of my father
Before mine uncle: I’ll observe his looks;
I’ll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I’ll have grounds
More relative than this: the play ‘s the thing
Wherein I’ll catch the conscience of the king.
Bring to class a printed copy of an original essay that responds with thoughtful care to the AP prompt on the handout you received in class. On the handout is both the prompt and a model using Hamlet's first soliloquy to respond to the prompt. (If you have misplaced the handout, the prompt is as follows:
Choose a distinguished novel or play in which some of the most significant events are mental or psychological: for example, awakenings, discoveries, and changes in consciousness. In a well-organized essay, describe how the author manages to give these internal events the sense of excitement, suspense, and climax usually associated with external actions. Do not merely summarize the plot.
Use the model essay to gain understanding of how you are to craft your own essay; you will respond to the prompt by using Hamlet's second soliloquy as your text. The second soliloquy is in Act 2, Scene 2, and I've copied it below:
O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann’d,
Tears in his eyes, distraction in’s aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What’s Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn’d defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i’ the throat,
As deep as to the lungs? who does me this?
Ha!
‘Swounds, I should take it: for it cannot be
But I am pigeon-liver’d and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave’s offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder’d,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon’t! foh! About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim’d their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I’ll have these players
Play something like the murder of my father
Before mine uncle: I’ll observe his looks;
I’ll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I’ll have grounds
More relative than this: the play ‘s the thing
Wherein I’ll catch the conscience of the king.
http://www.bardweb.net/content/readings/hamlet/lines.html
Great info on Hamlet’s “To be or not to be” soliloquy!
Great info on Hamlet’s “To be or not to be” soliloquy!
It's a new year!!
Welcome to 2020!
So...First things first!
The DEADLINE for the Raleigh Fine Arts Literary Contest is January 17 at midnight!! Each of you is encouraged to submit a short story before the deadline. Here is the link:
Literary Contest Submission
Welcome to 2020!
So...First things first!
The DEADLINE for the Raleigh Fine Arts Literary Contest is January 17 at midnight!! Each of you is encouraged to submit a short story before the deadline. Here is the link:
Literary Contest Submission
Week of January 6-10:
Class on January 7:
We will...
1. Complete AP Progress Check for the FRQ in Unit 2
2. Complete the AP Progress Check for the MCQ in Unit 3
3. Discuss criteria for the RFA Literary Contest
Class on January 7:
We will...
1. Complete AP Progress Check for the FRQ in Unit 2
2. Complete the AP Progress Check for the MCQ in Unit 3
3. Discuss criteria for the RFA Literary Contest
CLASS on Tuesday, December 17:
1. Prompt Outline and Claim Quiz
2. Reading and discussion of the poem, "Relations" on AP classroom
DUE on Thursday, December 19:
Reread the poem "Relations." You will find it on AP Classroom labeled Unit 2 FRQ.
Bring to class a list of at least 5 meaningful contrasts you find in the poem.
Be prepared to discuss the poem's contrasts.
Be prepared to discuss the ways these contrasts convey the complexity of the family relationships present in the poem.
Be prepared to create a claim which responds effectively to the dictates of the prompt.
Be prepared to write the paragraph required by the prompt.
1. Prompt Outline and Claim Quiz
2. Reading and discussion of the poem, "Relations" on AP classroom
DUE on Thursday, December 19:
Reread the poem "Relations." You will find it on AP Classroom labeled Unit 2 FRQ.
Bring to class a list of at least 5 meaningful contrasts you find in the poem.
Be prepared to discuss the poem's contrasts.
Be prepared to discuss the ways these contrasts convey the complexity of the family relationships present in the poem.
Be prepared to create a claim which responds effectively to the dictates of the prompt.
Be prepared to write the paragraph required by the prompt.
CLASS on Thursday, Nov. 5:
1. Discussion of ways to determine exactly what an AP prompt requires and how to write a claim for a top-notch AP essay
2. Class editing of claims for 2002's prompt no. 2
3. Class analysis of student claims to determine if prompt criteria was met
DUE on Monday, Nov. 7:
Be prepared for a quiz on chapters 19-25 on The Kite Runner. Likewise, be prepared to write an essay on one of the two prompts for which you wrote claims.
1. Discussion of ways to determine exactly what an AP prompt requires and how to write a claim for a top-notch AP essay
2. Class editing of claims for 2002's prompt no. 2
3. Class analysis of student claims to determine if prompt criteria was met
DUE on Monday, Nov. 7:
Be prepared for a quiz on chapters 19-25 on The Kite Runner. Likewise, be prepared to write an essay on one of the two prompts for which you wrote claims.
CLASS on Tuesday, November 3: Discussion of Hassan's dream and it's possible meaning as it relates to the context of the novel; short discussion of the beginning poem and related questions in Unit 2 of AP Classroom; collaboration with peer to craft an excellent claim from an AP prompt (using The Kite Runner as the text)
DUE on Thursday, November 5: Completion of the AP multiple choice questions in Unit 2 on AP Classroom AND the creation of an original claim in response to the second prompt on the handout (using The Kite Runner as the text)
DUE on Thursday, November 5: Completion of the AP multiple choice questions in Unit 2 on AP Classroom AND the creation of an original claim in response to the second prompt on the handout (using The Kite Runner as the text)
STOP!
Do not scroll below this line!!
Only materials above this line are for students in this current school year!!!
Material below this line is from last year.
___________________________________________________________________________________________________________
Do not scroll below this line!!
Only materials above this line are for students in this current school year!!!
Material below this line is from last year.
___________________________________________________________________________________________________________
Tips for studying for the AP exam:
1. Before the test, put to memory the names of the characters, the detailed plot, and the major and minor themes in four novels or plays of literary merit. I'd include Hamlet and your summer novel for 2 of them. Any book you've read in English class in high school should suffice for the other 2.
2. When you write about the novel or play, you will be given a list of suggested titles. You do NOT have to use these titles. You may use one of the four that you have reviewed and remember well.
2. Study your list of literary terms. Know all the ones we highlighted.
3. When taking the test and writing about the prose passage and poem in front of you, remember to read the prompts VERY CAREFULLY and note all that you are asked to do. And....It is very worth your while to use precious minutes to plan each essay. Do not forget that with EACH piece of evidence you provide, you must include a textual reference, the context of that textual reference, and your interpretation of that reference based on the dictates of the prompt.
4. Remember, too, that when writing about the passage and the poem, you must show how literary elements convey a particular meaning.
5. Avoid using the word "you."
6. Avoid fluff. Cut to the chase with a claim to start your essay. Understand that the graders want quality AND quantity, so provide as many textual references and interpretation of those references as you possibly can. And, of course, always support the essay's claim!!
1. Before the test, put to memory the names of the characters, the detailed plot, and the major and minor themes in four novels or plays of literary merit. I'd include Hamlet and your summer novel for 2 of them. Any book you've read in English class in high school should suffice for the other 2.
2. When you write about the novel or play, you will be given a list of suggested titles. You do NOT have to use these titles. You may use one of the four that you have reviewed and remember well.
2. Study your list of literary terms. Know all the ones we highlighted.
3. When taking the test and writing about the prose passage and poem in front of you, remember to read the prompts VERY CAREFULLY and note all that you are asked to do. And....It is very worth your while to use precious minutes to plan each essay. Do not forget that with EACH piece of evidence you provide, you must include a textual reference, the context of that textual reference, and your interpretation of that reference based on the dictates of the prompt.
4. Remember, too, that when writing about the passage and the poem, you must show how literary elements convey a particular meaning.
5. Avoid using the word "you."
6. Avoid fluff. Cut to the chase with a claim to start your essay. Understand that the graders want quality AND quantity, so provide as many textual references and interpretation of those references as you possibly can. And, of course, always support the essay's claim!!
Welcome to our Unit:
Poetry in Motion
Poetry in Motion
Classwork for Wednesday, April 24:
Read and annotate in order the following poems: "Ode on a Grecian Urn," by John Keats, "Composed Upon Westminster Bridge" by Walt Whitman, and "Out, Out--" by Robert Frost. Click on the respective boxes above for the full text of each poem.
As you read and annotate independently, answer in writing the following questions about each poem. When you and the class have finished answering the questions, you will get in groups of 2-4 and discuss the ways your answers to each poem compare. You will also discuss the ways literary devices contribute to the meanings of the poems.
1. Who is the speaker?
2. Look at the title. For "Ode on a Grecian Urn," write down the definition of ode. An ode is a lyric poem in the form of an address to a particular subject.
3. In "Ode...," the overall strategy of the poem is apostrophe—the address of an absent figure, an abstraction, or an object. In this case, what abstraction or object is being addressed by the speaker?
3. What is the conflict in the poem?
4. What themes does the poem present? What themes does it question?
5. What happens in the poem? Is the conflict resolved or sustained? How?
6. When does the action occur?
7. Where is the speaker?
8. What is the speaker's motivation to say what he does?
9. What is the form of the poem? Is it a sonnet or another fixed form? If it has a fixed form, are there any variations to the form?
10. How does the speaker organize words in sentences? Is the syntax odd or vague?
11. What is the vocabulary of the speaker?
12. Are there rhetorical patterns in the poem?
13. Is there rhyme in the poem?
14. How does the poem look on the page?
15. How does the rhythm and meter influence your perception of the speaker and his language?
16. What meter is present in the poem?
Read and annotate in order the following poems: "Ode on a Grecian Urn," by John Keats, "Composed Upon Westminster Bridge" by Walt Whitman, and "Out, Out--" by Robert Frost. Click on the respective boxes above for the full text of each poem.
As you read and annotate independently, answer in writing the following questions about each poem. When you and the class have finished answering the questions, you will get in groups of 2-4 and discuss the ways your answers to each poem compare. You will also discuss the ways literary devices contribute to the meanings of the poems.
1. Who is the speaker?
2. Look at the title. For "Ode on a Grecian Urn," write down the definition of ode. An ode is a lyric poem in the form of an address to a particular subject.
3. In "Ode...," the overall strategy of the poem is apostrophe—the address of an absent figure, an abstraction, or an object. In this case, what abstraction or object is being addressed by the speaker?
3. What is the conflict in the poem?
4. What themes does the poem present? What themes does it question?
5. What happens in the poem? Is the conflict resolved or sustained? How?
6. When does the action occur?
7. Where is the speaker?
8. What is the speaker's motivation to say what he does?
9. What is the form of the poem? Is it a sonnet or another fixed form? If it has a fixed form, are there any variations to the form?
10. How does the speaker organize words in sentences? Is the syntax odd or vague?
11. What is the vocabulary of the speaker?
12. Are there rhetorical patterns in the poem?
13. Is there rhyme in the poem?
14. How does the poem look on the page?
15. How does the rhythm and meter influence your perception of the speaker and his language?
16. What meter is present in the poem?
Homework for Thursday, April 4:
1. Read the three articles linked to the boxes below this assignment.
2. Take detailed notes on your reading, and be prepared for a multiple-choice quiz that will test your knowledge of the information provided in each of the articles.
3. Finish your flashcards of poetic devices, definitions, and examples.
4. If you have not already completed your annotation and chart of "Slam, Dunk, & Hook" in a Google Doc you created, then do so. (You were to create a chart exactly like the one you used for "Bright Star." You will have four columns. Each column will have one of the following headings: Line, Paraphrase, Element of Style (same thing as literary/poetic device), and Effect or Function. Each row will have one line of the poem under the heading, "Line." You will complete the chart by writing in each row of the remaining three columns answers that correspond both to the heading above and the line of poetry to the left.
Also, you will have time during our next class to complete your reading and note-taking from the pages on "Slam..." in your AP class book. You will also work in groups to create your Kahoot questions for your peers to play in class. Prizes will be awarded!!
1. Read the three articles linked to the boxes below this assignment.
2. Take detailed notes on your reading, and be prepared for a multiple-choice quiz that will test your knowledge of the information provided in each of the articles.
3. Finish your flashcards of poetic devices, definitions, and examples.
4. If you have not already completed your annotation and chart of "Slam, Dunk, & Hook" in a Google Doc you created, then do so. (You were to create a chart exactly like the one you used for "Bright Star." You will have four columns. Each column will have one of the following headings: Line, Paraphrase, Element of Style (same thing as literary/poetic device), and Effect or Function. Each row will have one line of the poem under the heading, "Line." You will complete the chart by writing in each row of the remaining three columns answers that correspond both to the heading above and the line of poetry to the left.
Also, you will have time during our next class to complete your reading and note-taking from the pages on "Slam..." in your AP class book. You will also work in groups to create your Kahoot questions for your peers to play in class. Prizes will be awarded!!
Assignments for Monday, March 18 through March 28 below the following lyrics to the song "Poetry in Motion."
(Title taken from the 1960's song by Ronald L. Mack and sung by Johnny Tillotson.)
"Poetry in Motion"
When I see my baby
What do I see
Poetry
Poetry in motion
Poetry in motion
Walkin' by my side
Her lovely locomotion
Keeps my eyes open wide
Poetry in motion
See her gentle sway
A wave out on the ocean
Could never move that way
I love every movement
And there's nothing I would change
She doesn't need improvement
She's much too nice to rearrange
Poetry in motion
Dancing close to me
A flower of devotion
A swaying gracefully
Whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Whoa
Poetry in motion
See her gentle sway
A wave out on the ocean
Could never move that way
I love every movement
There's nothing I would change
She doesn't need improvement
She's much too nice to rearrange
Poetry in motion
All that I adore
No number-nine love potion
Could make me love her more
Whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
"Poetry in Motion"
When I see my baby
What do I see
Poetry
Poetry in motion
Poetry in motion
Walkin' by my side
Her lovely locomotion
Keeps my eyes open wide
Poetry in motion
See her gentle sway
A wave out on the ocean
Could never move that way
I love every movement
And there's nothing I would change
She doesn't need improvement
She's much too nice to rearrange
Poetry in motion
Dancing close to me
A flower of devotion
A swaying gracefully
Whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Whoa
Poetry in motion
See her gentle sway
A wave out on the ocean
Could never move that way
I love every movement
There's nothing I would change
She doesn't need improvement
She's much too nice to rearrange
Poetry in motion
All that I adore
No number-nine love potion
Could make me love her more
Whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Whoa, whoa, whoa, whoa, whoa
Homework
for Monday, March 18:
Click on the box for the link to the two poems. Print out the poems and follow the directions for annotation. IMPORTANT NOTE: You will have to use your wcpss email to access the Google Doc.
for Monday, March 18:
Click on the box for the link to the two poems. Print out the poems and follow the directions for annotation. IMPORTANT NOTE: You will have to use your wcpss email to access the Google Doc.
Welcome to our study of
William Shakespeare's
The Tragedy of Hamlet!
Click on the picture below showing Benedict Cumberbatch as Hamlet. You'll find the full text of the play and many helpful links for study.
Also, look below the picture for your upcoming assignments!
William Shakespeare's
The Tragedy of Hamlet!
Click on the picture below showing Benedict Cumberbatch as Hamlet. You'll find the full text of the play and many helpful links for study.
Also, look below the picture for your upcoming assignments!
Important!!
You must register for the AP exam by February 28! As AP students, you do not have to pay for the exam. Click on the button below to register:
You must register for the AP exam by February 28! As AP students, you do not have to pay for the exam. Click on the button below to register:
Due dates for the next two weeks:
Friday, February 14--Valentine's Day!!
Short but challenging quiz on Act III.
Annotation of the 2nd soliloquy in the soliloquy packet.
Wednesday, February 20: Before your class ends on Wednesday, submit to Google Classroom an excellent and polished essay about the second or third soliloquy. (You will receive specific instructions in class and I will post these instructions for those who are absent by the end of the day on Wednesday.}
Friday, February 22: Quote quiz on Act IV.
Tuesday, February 26: Quote quiz on Act V.
Thursday, February 28: Last day to register for the AP exam. Do it!! Prepare for in class seminar on Hamlet.
Monday, March 4: Test on Hamlet. Test will focus on characters, plot, conflicts, themes, soliloquies, and poetic and literary devices found in the play.
Friday, February 14--Valentine's Day!!
Short but challenging quiz on Act III.
Annotation of the 2nd soliloquy in the soliloquy packet.
Wednesday, February 20: Before your class ends on Wednesday, submit to Google Classroom an excellent and polished essay about the second or third soliloquy. (You will receive specific instructions in class and I will post these instructions for those who are absent by the end of the day on Wednesday.}
Friday, February 22: Quote quiz on Act IV.
Tuesday, February 26: Quote quiz on Act V.
Thursday, February 28: Last day to register for the AP exam. Do it!! Prepare for in class seminar on Hamlet.
Monday, March 4: Test on Hamlet. Test will focus on characters, plot, conflicts, themes, soliloquies, and poetic and literary devices found in the play.
Monday, February 4:
CLASS--Act I:
Lecture: focus on revenge tragedy, plot, theme of corruption, first soliloquy
Group work: answer Act I questions and complete quotations sheet
Individual: annotate and analyze Hamlet’s first soliloquy--prepare to write essay
HOMEWORK: Complete any unfinished handouts
Read Act II and annotate the second soliloquy
Wednesday, February 6:
CLASS--Acts I and II:
Lecture: focus on end of Act I and Act II; look at plot, themes of spying, betrayal, and
secrecy and second soliloquy
Group work: explicate and analyze designated scenes
HOMEWORK:
Choose from list of prompts on handout and write an essay on either the first or second soliloquy
Study for quote quiz on Act II to be given on Friday, February 8
Friday, February 8:
CLASS--Quote Quiz on Act II; watch and analyze film clips of Hamlet
HOMEWORK--Read Act III and prepare for reading check quiz, class discussion, and Hamlet game
CLASS--Act I:
Lecture: focus on revenge tragedy, plot, theme of corruption, first soliloquy
Group work: answer Act I questions and complete quotations sheet
Individual: annotate and analyze Hamlet’s first soliloquy--prepare to write essay
HOMEWORK: Complete any unfinished handouts
Read Act II and annotate the second soliloquy
Wednesday, February 6:
CLASS--Acts I and II:
Lecture: focus on end of Act I and Act II; look at plot, themes of spying, betrayal, and
secrecy and second soliloquy
Group work: explicate and analyze designated scenes
HOMEWORK:
Choose from list of prompts on handout and write an essay on either the first or second soliloquy
Study for quote quiz on Act II to be given on Friday, February 8
Friday, February 8:
CLASS--Quote Quiz on Act II; watch and analyze film clips of Hamlet
HOMEWORK--Read Act III and prepare for reading check quiz, class discussion, and Hamlet game
Raleigh Fine Arts Literary Contest!
Click on the RFL Literary Contest icon to the left to submit your short story!
Click on the RFL Literary Contest icon to the left to submit your short story!
- Click on the boxes below to see the videos of tips for writing a winning story. You can do this!
DUE DATE FOR SUBMISSION: JANUARY 22 AT MIDNIGHT!!!
For classwork on December 4, click on the following button to read and analyze the poem, "Siren Song," by Margaret Atwood. Follow the instructions for each segment of the online tutorial.
For Wednesday, November 28:
All AP students! Please sign in to both Remind and Google Classroom. Submit to Google Classroom the draft of your essay on November 19th.
CODE for Google Classroom for 1A:
2rwaywa
CODE for Google Classroom for 3A:
5j6ase
Web address and CODE for Remind for both classes of AP students:
https://www.remind.com/join/2f376e
- Bring in 3 scholarly articles with commentary to support your DLA claim and topic sentences. You will need to look at a variety of articles to find the three that contain pertinent quotes to corroborate your own interpretations.
- IMPORTANT: Use ONLY literary criticism; do NOT use reviews, overviews, summaries, or any kind of analysis that is not written by a reputable scholar from a reputable college or university.
- Print out the 3 articles to submit with your final paper, and highlight each of the quotes you will insert into your final paper.
- I approve the following two data bases that can be found on Broughton's media center website: https://offtheshelfbhs.weebly.com/e-sources.html
- 1. JSTOR
- To access JSTOR, Click on "E-Sources."
- Next click on the JSTOR link to search for scholarly articles. Use the username and password for JSTOR you received in class. If you don't have them, email me, and I'll send them to you.
- 2. NC WiseOwl
- To access NC WiseOWL, Click on "E-Sources."
- Next, click on "Professional."
- Then, click on "Academic OneFile." Here, you can search for articles related to your claim.
- You may also click on "Academic Search Complete" for an extensive collection of both articles and books that contain a series of articles.
All AP students! Please sign in to both Remind and Google Classroom. Submit to Google Classroom the draft of your essay on November 19th.
CODE for Google Classroom for 1A:
2rwaywa
CODE for Google Classroom for 3A:
5j6ase
Web address and CODE for Remind for both classes of AP students:
https://www.remind.com/join/2f376e
Homework for Monday, November 6:
Have a claim for your DLA ready to turn in. (See all DLA due dates below.)
Have a claim for your DLA ready to turn in. (See all DLA due dates below.)
"Trifles is a one-act play by Susan Glaspell. It was first performed by the Provincetown Players at the Wharf Theatre in Provincetown, Massachusetts, on August 8, 1916. The play was soon followed by the short story, "A Jury of Her Peers", also written by Glaspell, which carries the same characters and plot line."
Click on the box below for the full text of Trifles:
Click on the box below for the full text of Trifles:
AP SENIORS!
WELCOME TO THE 2018-2019 AP LITERATURE AND COMPOSITION CLASS WITH MRS. GULLEDGE!
Important!!!!
Homework for Thursday, October4:
Group essay is due!! Each group should turn in the following items on Thursday:
- One sentence outline in this order: claim, logic flow chart of the claim, and three topic sentences
- Typed essay in MLA format
Essay and presentation guidelines are on your handout, but here are some additional tips for the presentation:
You will be graded on how successfully you convey to the class both the claim and supporting evidence of your essay. You are not to read the essay aloud; instead, you are to convey the claim and the proof of the essay's claim in an interesting and meaningful conversational way, using original art, posters, acting out of scenes, slides, or interpretive oral readings of passages. Your primary goal is to help your classroom of peers understand more fully this powerful novel.
Due Dates and Timeline for Group Essay and Presentation:
Homework for September 28:
1. Work both independently and collectively to write your essay in full.
2. Create a separate sheet with the final claim at the top and the three topic sentences below. I want to look at these.
Claim:
Topic Sentence 1:
Topic Sentence 2:
Topic Sentence 3:
3. If you have not done so, put the names of your group members at the top of your shared Google doc.
4. Have a specific plan for the way in which your group will present to the class your claim and the ways in which your essay supports your claim.
Class time on September 28:
You will meet with me if you need some help with your essay.
You will work in your groups on your essay and your presentation so that you can turn in your typed essay to me on Tuesday, October 2 AND be ready to present.
We will draw numbers from a hat to determine the order of the presentations that will start on Tuesday, the 2nd.
Homework for October 2:
Polish your essay to perfection and work on the finishing touches of your presentation materials. Type your essay in MLA format, and be prepared to send me or give me your presentation materials immediately after you present to the class.
Classwork for October 2:
Work on topic sentences and essay.
Homework for October 4:
Complete outline and essay. See details at top of this page.
Classwork for October 4:
Presentations!
http://thepoetrypundit.blogspot.com/2012/09/metonymy-vs-synecdoche.html
Homework for
Wednesday, September 5:
1. Draw three columns on a piece of paper. Using your professor book to help you, list in the 1st column the characteristics of Christ that could potentially be exhibited by a literary character. In the 2nd column, beside each characteristic, write an example of how Randle McMurphy exhibits that characteristic. Also in the second column, along with each explanation of how McMurphy behaves like Christ, provide evidence with a quote and page number. In the third column, beside each example of McMurphy as a Christ figure, give evidence that makes each example of Christ-like behavior ironic.
2. Read class schedule below.
Tentative class schedule for the next two weeks:
Wednesday, 9-5:
- 10-point quick quiz on last week's three assigned professor book chapters
- Discussion of first class essay and how to assess the demands of a prompt, sample outlines for prompts, and marking codes
- Distribution of writing folders and White's WOW
- Submission of DLA title
- Dickinson's use of literary devices in "Much Madness is divinest Sense"
- Continued discussion of ways to assess AP prompt demands
- Lecture and practice: writing interpretive sentences
- Group work using OFOTCN:
a. In-depth examination of character motive and the effects of forced conformity
b. Close look at the ways literary devices and narrative techniques are used to convey meaning
c. Preparation for group presentation
d. Distribution of group presentation rubrics
- Quiz on literary devices we have discussed in class, essay writing skills we have discussed, and the components of interpretive sentences.
- Discussion of the fishing trip as a baptism
- Additional time in groups to prepare for group presentation
- Group presentations
- In-class timed essay: response to choice of prompts about OFOTCN.
- Reading of "Silver Water" by Amy Bloom.
- VACATION DAY-no school
- Reading-check quiz on "Silver Water"
- Discussion of "Silver Water"
- AP practice test
- Review of practice test responses a. focus on ways poetic devices convey a poem's meaning
b. focus on ways literary devices convey a narrative's meaning - Tips for doing well on AP tests
1. Read the following three chapters in your book, How to Read Literature Like a Professor :
a. "More Than It's Gonna Hurt You: Concerning Violence"
b. "Yes, She's a Christ Figure, Too"
c. "If She Comes Up, It's Baptism"
2. Be prepared for a reading-check quiz on these three chapters.
3. Be prepared to discuss Dickinson's poem further and to make connections between the poem and the novel, ...Cuckoo's Nest.
4. Be prepared to work in groups to answer questions about the novel as it relates to the three chapters in the Professor book.
Homework for Wednesday, August 29:
1. Bring your novel, One Flew Over the Cuckoo's Nest to class. (You do not need to bring two other books to class just yet, but you should have a copy of How to Read Literature Like a Professor and a copy of the novel you plan to use as your primary source for your documented literary analysis(DLA).
2. Read and prepare to discuss the meaning of the following short poem by Emily Dickinson. Consider how it relates to Cuckoo's Nest.
Much Madness is divinest Sense -
To a discerning Eye -
Much Sense - the starkest Madness -
’Tis the Majority
In this, as all, prevail -
Assent - and you are sane -
Demur - you’re straightway dangerous -
And handled with a Chain -
2. Look up and write down the definitions of the following words:
insanity
psychosis
paranoid schizophrenia
psychopath
discerning
assent
demur
allegory
analogy
allusion
misogyny
3. If you have not already done so, choose the novel you want to use for your DLA and share the title with me on Wednesday.
4. Mark one passage from Cuckoo's Nest that made an impression on you. Be ready to explain to the class the impact of this passage and it's relevance to the novel as a whole.
IMPORTANT! SCROLL DOWN FOR CURRENT CLASSWORK AND ASSIGNMENTS:
SHORT STORY CONTEST!
Your short story for the Raleigh Fine Arts Literary Contest must be uploaded to the RFA website by midnight on Thursday, January 18!
Click on the box below to access the website. Follow the instructions posted for student submissions.
Your short story for the Raleigh Fine Arts Literary Contest must be uploaded to the RFA website by midnight on Thursday, January 18!
Click on the box below to access the website. Follow the instructions posted for student submissions.
To understand FAST just how to write a short story, click on the box below:
Click on the picture of Kurt Vonnegut to read his 8 tips on how how to write a good short story.
Note: *********Any assignments below are old. Please only pay attention to the assignments above! Thank you!
Quarter 4 Essay assignments:
1. First essay assignment:The Sun Also Rises essay requires that you explicate a passage from the novel. The prompt and passage are attached in the Word document below:
sun_also_rises..close_reading_analysis.docx |
2. Second essay assignment:
Write a poem analysis of "On Not Shoplifting Louise Bogan's The Blue Estuaries."
Click on the swan for the link to the poem.
Here is the prompt for the analysis:
Read carefully the poem "On Not Shoplifting Louise Bogan's The Blue Estuaries" by Julia Alvarez. Then write a well-organized essay in which you analyze how Alvarez conveys the speaker's discoveries. You may wish to consider such poetic devices as tone, imagery, and selection of detail.
Write a poem analysis of "On Not Shoplifting Louise Bogan's The Blue Estuaries."
Click on the swan for the link to the poem.
Here is the prompt for the analysis:
Read carefully the poem "On Not Shoplifting Louise Bogan's The Blue Estuaries" by Julia Alvarez. Then write a well-organized essay in which you analyze how Alvarez conveys the speaker's discoveries. You may wish to consider such poetic devices as tone, imagery, and selection of detail.
Thursday, March 16:
Test on The Stranger by Albert Camus
link to Crash Course on existentialism:
https://www.youtube.com/watch?v=YaDvRdLMkHs
The test will include...
Eight tenets of existentialism
Ways existentialist ideas exist in The Stranger
Meaning and principles of "the absurd"
Character, plot, and symbol in The Stranger
The Myth of Sisyphus and how Mersault is like Sisyphus
Questions from Students…FAQ:
(Rubric for the DLA is below the questions/answers)
Do you indent a quote when it is 4 or more lines?
Yes, but only on the left side. You come in ½ from the left margin. See the quotations page at OWL at Purdue. https://owl.english.purdue.edu/owl/resource/747/03/
Is it okay if my intro altogether is three paragraphs?
Yes, as long as the three paragraphs are not unnecessary summary. You don’t want to have summary that doesn’t allude to the thesis idea and then move your reader logically towards the full thesis.
Can the conclusion have quotes from the book or only from the articles?
The conclusion can have quotes from the book or the articles.
How should we introduce quotes without summarizing too much?
I’m not sure what is meant here. All quotes should fit into the data you give to support your sub-claim/claim. The context you provide for the quote should be only enough to explain how the quote is part of your data that supports your sub-claim/claim.
What is a good number of sub-claims to have? Three to six on average, though some papers will have more.
How do I format quotes in general? Introduced and non-introduced? All quotes should be introduced. Please see the quotations page on OWL Purdue:
https://owl.english.purdue.edu/owl/resource/747/03/
Block quotes? Need semi-colon before?
When you insert a long quotation (a block quote), you introduce it with a sentence and then follow that introductory sentence with either a colon or a comma. See the quotations page at OWL at Purdue: https://owl.english.purdue.edu/owl/resource/747/03/
Do our papers need to have the different sections labeled?
No
How do I introduce quotes from the articles/secondary sources?
Example: In his article, “How to Have Fun over the Holidays,” John Smith agrees that certain guests must be avoided if festivities are to be enjoyed by all. He writes, “Make sure you do not invite reindeer to your holiday parties. They might rein in on your fun” (42).
How do I cite a direct quote from my book?
If you’re writing about the novel, Hansel and Gretel Ditch the Witch, your quote from the novel might look something like this:
Hansel encourages Gretel to eat the cookies on the witch’s roof. He says, “My dear sister, these cookies are magic and will give you the ability to fly away” (82).
See the quotations page at OWL at Purdue: https://owl.english.purdue.edu/owl/resource/747/03/
Do we include the URL of the J-stor articles we use?
See “Works Cited: Electronic Sources” https://owl.english.purdue.edu/owl/resource/747/08/
How many scholarly articles do we need?
At least 3
And how many quotes from each?
An average of 3 quotes per article, though you may have two from one, one from another, and four or five from another
What is my scholarly articles aren’t very relevant to my paper?
You do need to find parts of scholarly articles that ARE relevant. Even though you are required to quote from three articles only, you need to look at many articles to find the ones that are relevant.
Is it okay to have three long quotes in a ten page paper?
I’d suggest a maximum of two long quotes, and to ask that you use ellipsis within one of the long quotes so that you can quote what you need and take out what you don’t need—and, thus, shorten the quote
Is it okay to say bibliography rather than works cited on the reference page?
MLA says to say Works Cited.
How do I know if I have an interpretive thesis?
Ask me or ask a peer you trust. Is the thesis interpreting an observation?
(Rubric for the DLA is below the questions/answers)
Do you indent a quote when it is 4 or more lines?
Yes, but only on the left side. You come in ½ from the left margin. See the quotations page at OWL at Purdue. https://owl.english.purdue.edu/owl/resource/747/03/
Is it okay if my intro altogether is three paragraphs?
Yes, as long as the three paragraphs are not unnecessary summary. You don’t want to have summary that doesn’t allude to the thesis idea and then move your reader logically towards the full thesis.
Can the conclusion have quotes from the book or only from the articles?
The conclusion can have quotes from the book or the articles.
How should we introduce quotes without summarizing too much?
I’m not sure what is meant here. All quotes should fit into the data you give to support your sub-claim/claim. The context you provide for the quote should be only enough to explain how the quote is part of your data that supports your sub-claim/claim.
What is a good number of sub-claims to have? Three to six on average, though some papers will have more.
How do I format quotes in general? Introduced and non-introduced? All quotes should be introduced. Please see the quotations page on OWL Purdue:
https://owl.english.purdue.edu/owl/resource/747/03/
Block quotes? Need semi-colon before?
When you insert a long quotation (a block quote), you introduce it with a sentence and then follow that introductory sentence with either a colon or a comma. See the quotations page at OWL at Purdue: https://owl.english.purdue.edu/owl/resource/747/03/
Do our papers need to have the different sections labeled?
No
How do I introduce quotes from the articles/secondary sources?
Example: In his article, “How to Have Fun over the Holidays,” John Smith agrees that certain guests must be avoided if festivities are to be enjoyed by all. He writes, “Make sure you do not invite reindeer to your holiday parties. They might rein in on your fun” (42).
How do I cite a direct quote from my book?
If you’re writing about the novel, Hansel and Gretel Ditch the Witch, your quote from the novel might look something like this:
Hansel encourages Gretel to eat the cookies on the witch’s roof. He says, “My dear sister, these cookies are magic and will give you the ability to fly away” (82).
See the quotations page at OWL at Purdue: https://owl.english.purdue.edu/owl/resource/747/03/
Do we include the URL of the J-stor articles we use?
See “Works Cited: Electronic Sources” https://owl.english.purdue.edu/owl/resource/747/08/
How many scholarly articles do we need?
At least 3
And how many quotes from each?
An average of 3 quotes per article, though you may have two from one, one from another, and four or five from another
What is my scholarly articles aren’t very relevant to my paper?
You do need to find parts of scholarly articles that ARE relevant. Even though you are required to quote from three articles only, you need to look at many articles to find the ones that are relevant.
Is it okay to have three long quotes in a ten page paper?
I’d suggest a maximum of two long quotes, and to ask that you use ellipsis within one of the long quotes so that you can quote what you need and take out what you don’t need—and, thus, shorten the quote
Is it okay to say bibliography rather than works cited on the reference page?
MLA says to say Works Cited.
How do I know if I have an interpretive thesis?
Ask me or ask a peer you trust. Is the thesis interpreting an observation?
Rubric for Documented Literary Analysis
____I have an outline with my claim and my sub-claims.
____My thesis statement(s) is a complex, meaningful interpretation about a connection, an irony, a conflict, a character’s motive, etc. It is an interpretive CLAIM; it is not merely an observation.
____In my thesis, I have not been vague; EACH of my “pieces” has been appropriately identified with specific reference to the text. For example, instead of saying, “…Beloved helps Sethe remember what she doesn’t want to remember,” you would say, “…Beloved helps the reluctant Sethe remember the abuse she endured during her time as a slave.”
____I introduce my thesis—my claim—with the following information/structure:
____I have plentiful and relevant DATA to support my interpretation.
____Throughout my essay, I have RRR—repeatedly reminded the reader of my claim and sub-claims.
____Throughout my essay, I have presented each piece of evidence in a logical progression.
____I have adhered to the expectations of the “Errors to Avoid” sheet.
____I have included DATA from at least three secondary sources.
____I have an outline with my claim and my sub-claims.
____My thesis statement(s) is a complex, meaningful interpretation about a connection, an irony, a conflict, a character’s motive, etc. It is an interpretive CLAIM; it is not merely an observation.
____In my thesis, I have not been vague; EACH of my “pieces” has been appropriately identified with specific reference to the text. For example, instead of saying, “…Beloved helps Sethe remember what she doesn’t want to remember,” you would say, “…Beloved helps the reluctant Sethe remember the abuse she endured during her time as a slave.”
____I introduce my thesis—my claim—with the following information/structure:
- A bit of background about the author and the novel/play itself
- My reasons for why the interpretation warrants being explored and proven
- Textual evidence that gives credence to my reasons for wanting to discuss and prove my interpretation
- I logically lead into my thesis statement(s) that will conclude my introduction
____I have plentiful and relevant DATA to support my interpretation.
- ____ My DATA is logically divided into the SUB-CLAIMS that support my CLAIM.
- ____My DATA is in the form of quotes and paraphrased evidence from the text.
- ____I have included three to four excellent QUOTES per sub-claim.
- ____I have provided the CONTEXT for each piece of DATA.
____Throughout my essay, I have RRR—repeatedly reminded the reader of my claim and sub-claims.
____Throughout my essay, I have presented each piece of evidence in a logical progression.
____I have adhered to the expectations of the “Errors to Avoid” sheet.
____I have included DATA from at least three secondary sources.
- I have included an average of at least three quotes from each of my three secondary sources.
- I have highlighted each of my secondary quotes…both in my paper and in my attached articles.
- I have introduced and punctuated my quotes correctly.
- I have followed the structural format, using 12 font and spacing correctly.
DUE DATES FOR YOUR
DOCUMENTED LITERARY ANALYSIS:
DOCUMENTED LITERARY ANALYSIS:
November 9: Final date for interpretive thesis and introduction
November 14: Final Outline Due
November 16: Draft of first section of body (or third of body)due 2-3 typed pages-due
November 18: Draft of second section of body (or third of body)due 2-3 typed pages-due
November 22: Draft of third section of body (or third of body)due 2-3 typed pages-due
November 29: Full, edited, polished draft in MLA formal-due
December 1: At least one scholarly article--printed out with highlighted passages to be used--due
December 5: At least two additional scholarly articles (to make a total of at least three)--printed out with highlighted passages to be used-due
December 7:a) Relevant passages from scholarly articles inserted into your essay to support further your original interpretation-due b) works cited page-due
December 9: Final, polished documented literary analysis in MLA format with works cited page attached-due
November 14: Final Outline Due
November 16: Draft of first section of body (or third of body)due 2-3 typed pages-due
November 18: Draft of second section of body (or third of body)due 2-3 typed pages-due
November 22: Draft of third section of body (or third of body)due 2-3 typed pages-due
November 29: Full, edited, polished draft in MLA formal-due
December 1: At least one scholarly article--printed out with highlighted passages to be used--due
December 5: At least two additional scholarly articles (to make a total of at least three)--printed out with highlighted passages to be used-due
December 7:a) Relevant passages from scholarly articles inserted into your essay to support further your original interpretation-due b) works cited page-due
December 9: Final, polished documented literary analysis in MLA format with works cited page attached-due
Announcements
Here is the link to Gulledge's SIGN-UP GENIUS for individual conferences:
http://www.signupgenius.com/go/10c0845aeab2da3fc1-conferences
COLLEGE ESSAYS
Dr. Jane Elkin will soon be at Broughton to help you improve your college essays. She knows just what the colleges are looking for in an essay and is an excellent resource for you. Sign up early to get a spot!!
Email her at [email protected] and she will connect you to the Sign-up Genius. Send to her your essays 24 hours in advance.
Conferences start on October 1 and will go throughout the month. They will be after school from 2:30-3:30 and will last about 12 minutes for each student.
Homework for October 24:
Bring to class both your summer novel and your refined thesis for your summer novel. Below are some helpful documents that will assist you in creating a thesis with a meaningful interpretation of text. Try to look at all of them--since they all have something different to offer.
Bring to class both your summer novel and your refined thesis for your summer novel. Below are some helpful documents that will assist you in creating a thesis with a meaningful interpretation of text. Try to look at all of them--since they all have something different to offer.
|
|
thesisstatementtips--3rdeditedversion.pdf |
thesis-statements-the-writing-center_at_unc.pdf |
model_claims.docx |
Homework for the week of October 10-14:
First, make sure you sign up immediately for your individual conference with me to discuss your plan for your summer novel documented literary essay.
IMPORTANT NOTE: I have created a new webpage for sign-ups, and the times are now a bit different, so please click on the link and sign up now!!
Here is the link to SIGN-UP GENIUS:
www.SignUpGenius.com/go/10C0845AEAB2DA3FC1-individual1
Secondly, Read The Kite Runner through Chapter 19 by Tuesday, October 11. Complete the book by Thursday, October 13. You will be expected to work in groups and discuss your reading in class. Group presentations will occur. BRING YOUR BOOK TO CLASS! You will have an assessment on your knowledge of the book on Wednesday of next week with an in-class writing assignment and some specific short-answer questions regarding the text.
First, make sure you sign up immediately for your individual conference with me to discuss your plan for your summer novel documented literary essay.
IMPORTANT NOTE: I have created a new webpage for sign-ups, and the times are now a bit different, so please click on the link and sign up now!!
Here is the link to SIGN-UP GENIUS:
www.SignUpGenius.com/go/10C0845AEAB2DA3FC1-individual1
Secondly, Read The Kite Runner through Chapter 19 by Tuesday, October 11. Complete the book by Thursday, October 13. You will be expected to work in groups and discuss your reading in class. Group presentations will occur. BRING YOUR BOOK TO CLASS! You will have an assessment on your knowledge of the book on Wednesday of next week with an in-class writing assignment and some specific short-answer questions regarding the text.
Homework for the WEEK of September 26-30:
For Monday: Write your essay in response to the prompt you were given in class. (If you've been absent, the prompt is below.) Make sure you note each PIECE of the prompt and include each piece--as it relates to the story-- in your thesis statement(s)/introduction. Take your time to create a thesis with clarity, and make sure that you include ample evidence from the text that supports effectively the complex, multi-faceted prompt.
THE PROMPT:
Choose a distinguished novel or play in which some of the most significant events are mental or psychological; for example, awakenings, discoveries, changes in consciousness. In a well-organized essay, describe how the author manages to give those internal events the sense of excitement, suspense, and climax usually associated with external action. Include, too, the way the author’s ability to add excitement to the character’s awakening contributes to the meaning of the work as a whole.
For Tuesday: Read the short story, "Young Goodman Brown" by Nathaniel Hawthorne.
Click on the picture below for the full text of the story.
Be prepared to take a reading-check quiz on the story.
As you read, consider the following ideas/questions and be prepared to discuss them:
What is YGB's purpose for going on his journey through the forest?
Look at the illusions he harbors about the holy people in his community.
What experiences does YGB have on his journey that shatter these illusions?
How do YGB's shattered illusions change the way he views himself and his community when he returns to his home the next day? How, in particular, does he now view Faith, his wife? Why can't he recover from his disillusionment?
How do each of the following components of the story act as symbols?
the forest
the journey
the holy people going to the meeting
Faith
the cloud
the pink ribbon
the fire
For Monday: Write your essay in response to the prompt you were given in class. (If you've been absent, the prompt is below.) Make sure you note each PIECE of the prompt and include each piece--as it relates to the story-- in your thesis statement(s)/introduction. Take your time to create a thesis with clarity, and make sure that you include ample evidence from the text that supports effectively the complex, multi-faceted prompt.
THE PROMPT:
Choose a distinguished novel or play in which some of the most significant events are mental or psychological; for example, awakenings, discoveries, changes in consciousness. In a well-organized essay, describe how the author manages to give those internal events the sense of excitement, suspense, and climax usually associated with external action. Include, too, the way the author’s ability to add excitement to the character’s awakening contributes to the meaning of the work as a whole.
For Tuesday: Read the short story, "Young Goodman Brown" by Nathaniel Hawthorne.
Click on the picture below for the full text of the story.
Be prepared to take a reading-check quiz on the story.
As you read, consider the following ideas/questions and be prepared to discuss them:
What is YGB's purpose for going on his journey through the forest?
Look at the illusions he harbors about the holy people in his community.
What experiences does YGB have on his journey that shatter these illusions?
How do YGB's shattered illusions change the way he views himself and his community when he returns to his home the next day? How, in particular, does he now view Faith, his wife? Why can't he recover from his disillusionment?
How do each of the following components of the story act as symbols?
the forest
the journey
the holy people going to the meeting
Faith
the cloud
the pink ribbon
the fire
Homework for the WEEK of September 19-23:
For Monday, September 19:
1. Read The Road through page 150. Be prepared to take a reading check quiz and engage in class discussion.
2. For Wednesday, September 21:
Finish reading The Road. Be prepared to write an in-class timed writing about the
novel. You will be allowed to choose from one of three prompts.
3. For Friday, September 23:
You should turn in an introduction and thesis statement(s) that effectively introduce the summer novel/play analysis you will write. The thesis statement should be typed and ready to turn in for a grade. (You will sign up for your individual conferences with me next week. During those conferences, we will discuss and edit your thesis statements.)
I will also continue to give you tips about writing introductions and thesis statements next week.
So you can continue to expand and improve the complexity of your thesis statement(s), the grading criteria for the introduction and thesis statement(s) to be turned in on Friday, the 23rd,, are below.
The introduction to your Documented Literary Analysis (25 points):
for Homework for Tuesday, September 13:
1. Prepare a thesis--either in the form of a statement or series of statements--in which you reveal your own particular interpretation of some meaningful component of your summer novel. NOTE:
The sample introduction for Catcher in the Rye that we went over in class is attached in a word document below. You might consider the causes and effects of a character's circumstances, behavior and beliefs. You might also look to see if a pattern of behavior or events reveals meaning. Consider, too, what symbols are present that might reveal character or author's purpose. Remember, avoid cliches and platitudes. Go deep and create a complex interpretation. To get started, think about the character's desires and fears. Examine what the character wants that she can't have and why she wants it, and uncover why the character can't get what she wants. Bring your thesis to class and be prepared to defend it.
2. Re-read the first four chapters of your summer novel and annotate them with IN GREAT DETAIL.
Certainly, you should make "summary notes," but go well beyond summary, too. Write in the margins your interpretations of important passages. Also, write questions in the margins that you want to answer. Most importantly, mark with written notes and highlights the evidence that speaks to the following ideas:
1. what the character wants/can't get/why
2. causes and effects of a character's desires and fears
3. symbols
4. patterns
5. your personal interpretation stated in your thesis
For Monday, September 19:
1. Read The Road through page 150. Be prepared to take a reading check quiz and engage in class discussion.
2. For Wednesday, September 21:
Finish reading The Road. Be prepared to write an in-class timed writing about the
novel. You will be allowed to choose from one of three prompts.
3. For Friday, September 23:
You should turn in an introduction and thesis statement(s) that effectively introduce the summer novel/play analysis you will write. The thesis statement should be typed and ready to turn in for a grade. (You will sign up for your individual conferences with me next week. During those conferences, we will discuss and edit your thesis statements.)
I will also continue to give you tips about writing introductions and thesis statements next week.
So you can continue to expand and improve the complexity of your thesis statement(s), the grading criteria for the introduction and thesis statement(s) to be turned in on Friday, the 23rd,, are below.
The introduction to your Documented Literary Analysis (25 points):
- Your introduction should contain a complex, meaningful, and specific interpretation of your text. 5 points
- Your interpretation (thesis) should be clearly stated and, as a rule, conclude your introduction. 3 points
- Your introduction should be approximately two-three paragraphs. 3 points
- Your introduction should provide a brief background of the author and the historical context of your chosen text. 3 points
- Using relevant details from your text, your introduction should provide a general (not specific yet--that's for the paper) logical, step-by-step explanation of your interpretation of text. 8 points
- Your introduction should include your reasons for believing there is merit in analyzing your interpretation through writing. 3 points
for Homework for Tuesday, September 13:
1. Prepare a thesis--either in the form of a statement or series of statements--in which you reveal your own particular interpretation of some meaningful component of your summer novel. NOTE:
The sample introduction for Catcher in the Rye that we went over in class is attached in a word document below. You might consider the causes and effects of a character's circumstances, behavior and beliefs. You might also look to see if a pattern of behavior or events reveals meaning. Consider, too, what symbols are present that might reveal character or author's purpose. Remember, avoid cliches and platitudes. Go deep and create a complex interpretation. To get started, think about the character's desires and fears. Examine what the character wants that she can't have and why she wants it, and uncover why the character can't get what she wants. Bring your thesis to class and be prepared to defend it.
2. Re-read the first four chapters of your summer novel and annotate them with IN GREAT DETAIL.
Certainly, you should make "summary notes," but go well beyond summary, too. Write in the margins your interpretations of important passages. Also, write questions in the margins that you want to answer. Most importantly, mark with written notes and highlights the evidence that speaks to the following ideas:
1. what the character wants/can't get/why
2. causes and effects of a character's desires and fears
3. symbols
4. patterns
5. your personal interpretation stated in your thesis