1. Review the PLOT of all works studied this semester.
2. Briefly tell the following about each work:
a) tone
b) setting/cultural aspects
c) examples of figurative language
d) symbols
e) themes/motifs and examples of them in each work
f) style/structure
g) characterization
*****REMEMBER: The STUDY GUIDE is worth 2 TEST
GRADES!
BRING the STUDY GUIDE
to the EXAM on Exam Day.
15 December 2009
08 December 2009
FORMAT INFORMATION FOR W. LIT. #1
Students,
If you do not know how to format your essay using the MLA Style format, please go to Google or another search engine and type in MLA format. All the information you need is online. (Please do NOT number your title page; also, you must have a numbered Works Cited Page.)
If you do not know how to format your essay using the MLA Style format, please go to Google or another search engine and type in MLA format. All the information you need is online. (Please do NOT number your title page; also, you must have a numbered Works Cited Page.)
FORMAT FOR TITLE PAGE
Format for Title Page of WL # 1 Assignment
1. Press enter 20 times (You will be on line 21)
2. Click on center alignment
3. Enter the Title in all caps.
4. Press enter 20 times (You will be on line 41)
5. Click on right alignment.
6. Type your name, press enter
7. Type: World Literature Assignment One,
press enter
8. Type the name of the course, (English A1),
press enter
9. Type the date (December 14, 2009)
1. Press enter 20 times (You will be on line 21)
2. Click on center alignment
3. Enter the Title in all caps.
4. Press enter 20 times (You will be on line 41)
5. Click on right alignment.
6. Type your name, press enter
7. Type: World Literature Assignment One,
press enter
8. Type the name of the course, (English A1),
press enter
9. Type the date (December 14, 2009)
TITLE PAGE FORMAT
Format for Title Page of WL # 1 Assignment
1. Press enter 20 times (You will be on line 21)
2. Click on center alignment
3. Enter the Title in all caps.
4. Press enter 20 times (You will be on line 41)
5. Click on right alignment.
6. Type your name, press enter
7. Type: World Literature Assignment One,
press enter
8. Type the name of the course, (English A1),
press enter
9. Type the date (December 14, 2009)
1. Press enter 20 times (You will be on line 21)
2. Click on center alignment
3. Enter the Title in all caps.
4. Press enter 20 times (You will be on line 41)
5. Click on right alignment.
6. Type your name, press enter
7. Type: World Literature Assignment One,
press enter
8. Type the name of the course, (English A1),
press enter
9. Type the date (December 14, 2009)
07 December 2009
RUBRIC FOR INTERNAL ORAL PRESENTATIONS
Assessment Rubric for Practice Oral Presentation
Knowledge and understanding of the work(s) __________
Thorough appreciation and coverage of the aspect discussed __________
Knowledge and use of the linguistic register
appropriate for the type of presentation, where
register refers to the student’s sensitivity to elements such as the vocabulary, tone, sentence structure and idiom appropriate to the task __________
Appropriate length of presentation __________
STUDENT NAME : ________________________________
DATE : ___________________________________________
Knowledge and understanding of the work(s) __________
Thorough appreciation and coverage of the aspect discussed __________
Knowledge and use of the linguistic register
appropriate for the type of presentation, where
register refers to the student’s sensitivity to elements such as the vocabulary, tone, sentence structure and idiom appropriate to the task __________
Appropriate length of presentation __________
STUDENT NAME : ________________________________
DATE : ___________________________________________
Directions for Internal Oral Presentations
Shaw
English A1 IB
Oral Presentations
The Individual Oral Presentation makes up 15% of your A1 requirement (your World Literature essays make up 10% each). The Oral Presentation is internally assessed (by yours truly), and the Oral Presentation is a one-time, on-the-spot performance in front of your teacher and peers. Therefore, preparation is absolutely necessary!
Approaches:
You should not merely summarize nor report on the story to the class. You will need to have an original and ambitious argument upon which to base you presentation. Consider comparing and/or contrasting with other texts we’ve read this year. You might want to consider cultural/historical significance. Whether you choose to look at the story in isolation or in the context of a textual or comparison comparison, you should narrow your approach to a specific focus/topic. The IB suggests the following general possibilities:
· Cultural setting of the work(s) and related issues
· Thematic focus
· Characterization (analysis)
· Techniques and style
· Author’s attitude to particular elements of the work(s)
· Interpretation of particular elements from different perspectives
The Actual Presentation:
You will have 10-15 minutes for your presentation. (Again, preparation is very important: if you are under time, you will be tempted to ramble to the 10-minute mark, and if you get to 15 minutes, I will cut you off.) You should not merely lecture to the class nor should you stand in front of us and read from an essay. Your presentation should, however, have a coherent structure. It should follow a logical sequence and should have a clear purpose and intent. Here are some possible ways (taken and/or adapted from the A1 curriculum guide) to structure your presentation:
· Structured discussion (presenter as teacher—asks good discussion questions, etc.)
· Oral exposé:
-Explanation of a particular aspect of work(s)
-Examination of a particular interpretation of work(s)
-Writer’s work set against culture, social, political background
-Commentary on the use of a particular image, idea or symbol
-Comparison of two passages, two characters, or two works
-Commentary on an extract from the story
· Role play (with a clear rationale)
-Monologue from a character
-Reminiscences by a character from a point later in his/her life
-Author responding to criticism; explaining intention
ASSESSMENT:
Whatever structure and approach you choose, keep in mind the CRITERIA on which you will be graded. According to the A1 curriculum guide, candidates (that’s you guys) are expected to show:
· Knowledge and understanding of the work(s)
· Thorough appreciation of the aspect discussed
· Knowledge and use of the linguistic register appropriate for the type of presentation, where register refers to the candidate’s sensitivity to elements such as the vocabulary, tone, sentence structure and idiom appropriate to the task.
***This is your copy of the rubric by which you will be graded. Please PRINT IT and bring it with you to class on Thursday!
5 Simple Steps to Success:
1. Choose your work.
2. Become familiar with it—read it over until to are extremely familiar with its’ context, annotating as you go.
3. Gather and organize ideas, observations, quotes, etc.
4. Choose an approach and organization: what will you examine and how will you present your findings?
5. Organize your presentation—I suggest making an outline on note cards—you MAY NOT read from these cards, word for word—but you may use them in your presentation. Rehearse your presentation so that you feel comfortable with the subject matter and the time constraints (when you practice your presentation, you need to time yourself).
We will begin Oral Presentations on Thursday, Dec. 10th and continue through Wednesday, Dec. 16th. REMEMBER—YOU CANNOT REDO YOUR PRESENTATION—YOU ONLY GET ONE CHANCE AT IT, SO BE READY ON THE 10TH. I WILL PICK STUDENTS TO GO IN RANDOM ORDER.
English A1 IB
Oral Presentations
The Individual Oral Presentation makes up 15% of your A1 requirement (your World Literature essays make up 10% each). The Oral Presentation is internally assessed (by yours truly), and the Oral Presentation is a one-time, on-the-spot performance in front of your teacher and peers. Therefore, preparation is absolutely necessary!
Approaches:
You should not merely summarize nor report on the story to the class. You will need to have an original and ambitious argument upon which to base you presentation. Consider comparing and/or contrasting with other texts we’ve read this year. You might want to consider cultural/historical significance. Whether you choose to look at the story in isolation or in the context of a textual or comparison comparison, you should narrow your approach to a specific focus/topic. The IB suggests the following general possibilities:
· Cultural setting of the work(s) and related issues
· Thematic focus
· Characterization (analysis)
· Techniques and style
· Author’s attitude to particular elements of the work(s)
· Interpretation of particular elements from different perspectives
The Actual Presentation:
You will have 10-15 minutes for your presentation. (Again, preparation is very important: if you are under time, you will be tempted to ramble to the 10-minute mark, and if you get to 15 minutes, I will cut you off.) You should not merely lecture to the class nor should you stand in front of us and read from an essay. Your presentation should, however, have a coherent structure. It should follow a logical sequence and should have a clear purpose and intent. Here are some possible ways (taken and/or adapted from the A1 curriculum guide) to structure your presentation:
· Structured discussion (presenter as teacher—asks good discussion questions, etc.)
· Oral exposé:
-Explanation of a particular aspect of work(s)
-Examination of a particular interpretation of work(s)
-Writer’s work set against culture, social, political background
-Commentary on the use of a particular image, idea or symbol
-Comparison of two passages, two characters, or two works
-Commentary on an extract from the story
· Role play (with a clear rationale)
-Monologue from a character
-Reminiscences by a character from a point later in his/her life
-Author responding to criticism; explaining intention
ASSESSMENT:
Whatever structure and approach you choose, keep in mind the CRITERIA on which you will be graded. According to the A1 curriculum guide, candidates (that’s you guys) are expected to show:
· Knowledge and understanding of the work(s)
· Thorough appreciation of the aspect discussed
· Knowledge and use of the linguistic register appropriate for the type of presentation, where register refers to the candidate’s sensitivity to elements such as the vocabulary, tone, sentence structure and idiom appropriate to the task.
***This is your copy of the rubric by which you will be graded. Please PRINT IT and bring it with you to class on Thursday!
5 Simple Steps to Success:
1. Choose your work.
2. Become familiar with it—read it over until to are extremely familiar with its’ context, annotating as you go.
3. Gather and organize ideas, observations, quotes, etc.
4. Choose an approach and organization: what will you examine and how will you present your findings?
5. Organize your presentation—I suggest making an outline on note cards—you MAY NOT read from these cards, word for word—but you may use them in your presentation. Rehearse your presentation so that you feel comfortable with the subject matter and the time constraints (when you practice your presentation, you need to time yourself).
We will begin Oral Presentations on Thursday, Dec. 10th and continue through Wednesday, Dec. 16th. REMEMBER—YOU CANNOT REDO YOUR PRESENTATION—YOU ONLY GET ONE CHANCE AT IT, SO BE READY ON THE 10TH. I WILL PICK STUDENTS TO GO IN RANDOM ORDER.
02 December 2009
RRJ's for PERFUME on Chapters 1-5
Students,
Please post your RRj's for Chapters 1-5 of PERFUME here...
Please post your RRj's for Chapters 1-5 of PERFUME here...
20 November 2009
Notes on READERS’ RESPONSE JOURNAL
Note: Journal entries may be done at home or in class or half and half. They may form the basis for discussion, further development or exploration, group work, formal or informal oral work and/or further writing assignments. They may be mixed and matched, adapted for individual works, different ages, specific goals. Variety and modification are essential to avoid formula approaches and boredom. A quick journal response to the topic at hand or a homework assignment is a good way to begin a class, to focus students on the task at hand. Many of these suggestions work for works of art, film and music as well.
1. Pre- write: before reading, respond to title, extracted images or words or ideas . . . What is yourexperience of the word or image? What do you see, or what expectations are set up? Use art or musicbefore experiencing text. E.g. Look at Magritte before reading Kafka; listen to Lakota flute music before orwhile reading a poem by Peter Blue Cloud.
2. Write down first impressions: immediately after finishing & section or a text, take some time to -writedown anything that comes to you in relation to the text, your initial reactions or responses, Don’t try topuzzle them out; write freely. If the reading bores you, write that down. If you're intrigued by certainstatements, attracted to characters, interested in issues or ideas, if you find something confusing orirritating, write it down. Just keep writing. This assignment can be very brie£ a two-minute initialresponse to a poem or opening paragraph, or more sustained, a 20-minute "free" writing immediately afterfinishing a novel or play.
3. Ask questions, what perplexes you about a passage or point the author makes? Do you wonder why theauthor said a particular thing, in a particular way? You might begin with the words "I wonder . . ."
4. Jot down ideas, words, details, moments, anything that strikes you. This assignment may result in sjmple lists. Or students may write about these entries, or some of these entries, as homework or working from the lists in class. They may answer such questions as: why are they there? What might they mean? What do they add? Why did you pick them out? Why are they memorable? In response to images, students might begin to see, ... feel ... bear . . - smell . . . turn . . . ! imagine ...
5. Copy passages, long or short, that strike you for whatever reason. Underline key words or phrases,parts of speech, punctuation marks. What is striking and why? How do words and images work? Or, colormark with different colors specific elements (e.g. parts of speech, shapes, colors, harsh words, naturewords, references to earth, sky, time, space, people, animals), to identify dominant elements, patterns orstructural shifts, and speculate about the significance of your markings.
6. Make connections with your own experience, with other texts or concepts or events. Do you see anysimilarities between this material and other bocks that you have read? Does it bring to mind other issues orincidents or people?
7. Write down some words that are new to you or particularly effective, harsh, musical . . .
8. Draw pictures in response to what you read or make collages, adding words from the text. Or design book covers, again with words from the text, or draw stage settings ...
9. Try agreeing or arguing with the author; add details to support your position.
10.Identify the author's point of view, his or her attitude toward the subject, the purpose behind the pieceof writing. Compare it to your own or that of other writers.
MINIMAL:
Write a personal response; copy a passage and comment on it; state an opinion and support it; ask questions; choose an image and respond to it; make lists.
Medium:
-Copy a significant or striking passage. Tell why it is striking or important, what it tells you about character or theme or atmosphere or narrator. Identify key words or images or phrases and write about their effects. .Color mark for important elements or patterns and comment on their nature and implications.
— Write down five striking things. A thing may be an idea, an event, a word, a person, a phrase, an image, a conversation, a moment, a detail, a chapter title ...
- Write a personal response to a person or event or the opening chapter or immediately after finishing.. . —Write a page of lists of details or sentences or phrases or colors or things in nature or objects ...
Specific:
-Give examples of the child's voice in The Bluest Eye. List images of decay in Hamlet. List phrases that characterize the narrator of Prufrock." List significant objects in the first six chapters of One Hundred Years of Solitude. List conflicts in "Young Goodman Brown."
Note: Journal entries may be done at home or in class or half and half. They may form the basis for discussion, further development or exploration, group work, formal or informal oral work and/or further writing assignments. They may be mixed and matched, adapted for individual works, different ages, specific goals. Variety and modification are essential to avoid formula approaches and boredom. A quick journal response to the topic at hand or a homework assignment is a good way to begin a class, to focus students on the task at hand. Many of these suggestions work for works of art, film and music as well.
1. Pre- write: before reading, respond to title, extracted images or words or ideas . . . What is yourexperience of the word or image? What do you see, or what expectations are set up? Use art or musicbefore experiencing text. E.g. Look at Magritte before reading Kafka; listen to Lakota flute music before orwhile reading a poem by Peter Blue Cloud.
2. Write down first impressions: immediately after finishing & section or a text, take some time to -writedown anything that comes to you in relation to the text, your initial reactions or responses, Don’t try topuzzle them out; write freely. If the reading bores you, write that down. If you're intrigued by certainstatements, attracted to characters, interested in issues or ideas, if you find something confusing orirritating, write it down. Just keep writing. This assignment can be very brie£ a two-minute initialresponse to a poem or opening paragraph, or more sustained, a 20-minute "free" writing immediately afterfinishing a novel or play.
3. Ask questions, what perplexes you about a passage or point the author makes? Do you wonder why theauthor said a particular thing, in a particular way? You might begin with the words "I wonder . . ."
4. Jot down ideas, words, details, moments, anything that strikes you. This assignment may result in sjmple lists. Or students may write about these entries, or some of these entries, as homework or working from the lists in class. They may answer such questions as: why are they there? What might they mean? What do they add? Why did you pick them out? Why are they memorable? In response to images, students might begin to see, ... feel ... bear . . - smell . . . turn . . . ! imagine ...
5. Copy passages, long or short, that strike you for whatever reason. Underline key words or phrases,parts of speech, punctuation marks. What is striking and why? How do words and images work? Or, colormark with different colors specific elements (e.g. parts of speech, shapes, colors, harsh words, naturewords, references to earth, sky, time, space, people, animals), to identify dominant elements, patterns orstructural shifts, and speculate about the significance of your markings.
6. Make connections with your own experience, with other texts or concepts or events. Do you see anysimilarities between this material and other bocks that you have read? Does it bring to mind other issues orincidents or people?
7. Write down some words that are new to you or particularly effective, harsh, musical . . .
8. Draw pictures in response to what you read or make collages, adding words from the text. Or design book covers, again with words from the text, or draw stage settings ...
9. Try agreeing or arguing with the author; add details to support your position.
10.Identify the author's point of view, his or her attitude toward the subject, the purpose behind the pieceof writing. Compare it to your own or that of other writers.
MINIMAL:
Write a personal response; copy a passage and comment on it; state an opinion and support it; ask questions; choose an image and respond to it; make lists.
Medium:
-Copy a significant or striking passage. Tell why it is striking or important, what it tells you about character or theme or atmosphere or narrator. Identify key words or images or phrases and write about their effects. .Color mark for important elements or patterns and comment on their nature and implications.
— Write down five striking things. A thing may be an idea, an event, a word, a person, a phrase, an image, a conversation, a moment, a detail, a chapter title ...
- Write a personal response to a person or event or the opening chapter or immediately after finishing.. . —Write a page of lists of details or sentences or phrases or colors or things in nature or objects ...
Specific:
-Give examples of the child's voice in The Bluest Eye. List images of decay in Hamlet. List phrases that characterize the narrator of Prufrock." List significant objects in the first six chapters of One Hundred Years of Solitude. List conflicts in "Young Goodman Brown."
18 November 2009
Holiday Questions on LIKE WATER FOR CHOCOLATE
STUDENTS:
Please read LIKE WATER FOR CHOCOLATE over the Thanksgiving holidays and answer these ten questions. This IS for a GRADE!
Like Water for Chocolate: Questions for the Holidays
1. What is the historical setting for this novel?
2. Describe, briefly, the culture of Mexico in this novel.
3. What is the role of food in this novel?
4. What do you think are some of the themes? Elaborate on those that you can identify.
5. From whose point of view is the story told?
6. What is the setting?
7. Give the structure of the novel.
8. What is the dominant symbol in the novel?
9. Look up “magical realism” and give examples of it in this novel.
10. Give any examples of foreshadowing.
Please read LIKE WATER FOR CHOCOLATE over the Thanksgiving holidays and answer these ten questions. This IS for a GRADE!
Like Water for Chocolate: Questions for the Holidays
1. What is the historical setting for this novel?
2. Describe, briefly, the culture of Mexico in this novel.
3. What is the role of food in this novel?
4. What do you think are some of the themes? Elaborate on those that you can identify.
5. From whose point of view is the story told?
6. What is the setting?
7. Give the structure of the novel.
8. What is the dominant symbol in the novel?
9. Look up “magical realism” and give examples of it in this novel.
10. Give any examples of foreshadowing.
17 November 2009
WORKSHEET ON WIDE SARGASSO SEA
COMPLETE THIS WORKSHEET FOR FRIDAY
FOR A GRADE.
FOR A GRADE.
WIDE SARGASSO SEA
1. TONES:
2. PT. Of View:
3. SETTINGS:
4. PROTAGONIST/ANTAGONIST
5. THEMES:
6. MOTIFS:
7. SYMBOLS:
8. FORESHADOWINGS:
Questions on Part 2 of WIDE SARGASSO SEA
Questions on Part II of Wide Sargasso Sea
1. Explain what the following are symbols of:
a) Coulibri
b) Thornfield Hall
c) "white”/whiteness"
d) "red”/redness"
2. Explain how Antoinette is torn between racial identity, being black or white?
3. What do you see as Antoinette's main desire in this novel?
4. What two things does Antoinette's racial slur, directed at Tia, cause?
5. What's the figurative significance of Antoinette putting on Tia's dress?
6. Explain what Tia means when she says, "black nigger is better than white nigger."
7. What does Antoinette's calling Mr. Mason her "white pappy" indicate?
8. What makes Rochester question his wife's heritage and ultimately reject her?
9. What do you think Rochester's greatest fear is?
10.What is one of the great ironies concerning Rochester?
1 l.Why does Rochester call Antoinette "Bertha"?
12.Explain the narration in Part II. Is it split? If so, who narrates which
section(s)?
13. "Black feminist critics claim that it is the mystification of sexual relations between white men and black women that has given rise to the stereotype of the black whore." Find two important incidents of this kind in WSS. Who are the victims?
14.Daniel Cosway makes a clear link between sexual promiscuity and blackness. Is he believable? Is he reliable? Why or why not? Give dialogue to support what you say!
15.WSS has been said by critics to be a "story of male domination." Explain Rochester's actions through a completely European lens.
16.Research Question: What was the Victorian perception of female sexuality?
17.Research Question: How does the Victorian perception of female sexualityaffect Rochester's relationship with Antoinette?
18.Give examples through dialogue to exemplify Question # 17.
19.Research Question: Investigate the care of the mentally ill in the 19th century, and compare their treatment to the way in which Annette Cosway Mason and Antoinette Cosway are treated.
20.React to the following quote from literary criticism: "In Wide Sargasso Sea, Rhys does not place the blame for women's passivity, lack of identity, or disorientation on men. She instead creates characters who are responsible for their own fates. In showing the negative consequences of depending on others for identity, Rhys encourages the development of a strong sense of self. She punctuates that personal goal with doubt, however, by emphasizing that people are products of their environment."
1. Explain what the following are symbols of:
a) Coulibri
b) Thornfield Hall
c) "white”/whiteness"
d) "red”/redness"
2. Explain how Antoinette is torn between racial identity, being black or white?
3. What do you see as Antoinette's main desire in this novel?
4. What two things does Antoinette's racial slur, directed at Tia, cause?
5. What's the figurative significance of Antoinette putting on Tia's dress?
6. Explain what Tia means when she says, "black nigger is better than white nigger."
7. What does Antoinette's calling Mr. Mason her "white pappy" indicate?
8. What makes Rochester question his wife's heritage and ultimately reject her?
9. What do you think Rochester's greatest fear is?
10.What is one of the great ironies concerning Rochester?
1 l.Why does Rochester call Antoinette "Bertha"?
12.Explain the narration in Part II. Is it split? If so, who narrates which
section(s)?
13. "Black feminist critics claim that it is the mystification of sexual relations between white men and black women that has given rise to the stereotype of the black whore." Find two important incidents of this kind in WSS. Who are the victims?
14.Daniel Cosway makes a clear link between sexual promiscuity and blackness. Is he believable? Is he reliable? Why or why not? Give dialogue to support what you say!
15.WSS has been said by critics to be a "story of male domination." Explain Rochester's actions through a completely European lens.
16.Research Question: What was the Victorian perception of female sexuality?
17.Research Question: How does the Victorian perception of female sexualityaffect Rochester's relationship with Antoinette?
18.Give examples through dialogue to exemplify Question # 17.
19.Research Question: Investigate the care of the mentally ill in the 19th century, and compare their treatment to the way in which Annette Cosway Mason and Antoinette Cosway are treated.
20.React to the following quote from literary criticism: "In Wide Sargasso Sea, Rhys does not place the blame for women's passivity, lack of identity, or disorientation on men. She instead creates characters who are responsible for their own fates. In showing the negative consequences of depending on others for identity, Rhys encourages the development of a strong sense of self. She punctuates that personal goal with doubt, however, by emphasizing that people are products of their environment."
RRJ's for Part 3 of WIDE SARGASSO SEA
Students,
Please post your RRJ's for Part 3 of WIDE SARGASSO SEA here...Thanks!
Please post your RRJ's for Part 3 of WIDE SARGASSO SEA here...Thanks!
RRJ's for Part 2 of WIDE SARGASSO SEA
Students,
Please post your RRJ's for Part 2 of Wide Sargasso Sea here...Thanks.
Please post your RRJ's for Part 2 of Wide Sargasso Sea here...Thanks.
13 November 2009
RRJ part 1 of Wide Sargasso Sea
Students:
Please post your RRJ's for WIDE SARGASSO SEA here...thanks.
Please post your RRJ's for WIDE SARGASSO SEA here...thanks.
11 November 2009
Questions on Part 1 of WIDE SARGASSO SEA
Notes for Questions on Wide Sargasso Sea : Part I
1. What are the birds symbolic of ?
2. What is Christophine’s role in Part I ?
3. In what ways does Antoinette’s description of Tia throwing the stone match her feelings of internal pain at this time ?
4. In what way do Tia’s tears reflect Antoinette’s bleeding face ? How does the reference of a « looking glass » make sense concerning the issue of race in the novel ?
5. There is an obvious disconnect between Tia and Antoinette, and in what ways does Rhys’ style demonstrate such a separation ?
6. What is the significance that Antoinette’s last detail of Coulibri is this confrontation with her former friend ?
7. How does Antoinette’s experience at the convent compare with Jane Eyre’s experience at Lowood School ?How would you characterize Christophine’s relationship with Antoinette so far ?
8. In her description of all of the things being left behind at Coulibri, the last item mentioned is the picture of the Miller’s Daughter. How does this contrast with the other items that make up the list ? What is the significance, if any, of Antoinette having such affection for this particular picture ?
9. As Antoinette is watching Coulibri burn, the sky is compared to the sunset and she comments on how the flowers, the ferns, the ginger lilies, etc. will be burnt to nothingness along with the house. How does the nature imagery add to the passage ?
10.Antoinette’s childhood is heavily overcast by threat. What are the threats from outside her household ? What are the threats from within ? To whom and to what does she turn for protection ?
11.What is the racial situation as Antoinette is growing up ? What does it mean that she gets called « white cockroach » and « white nigger ? » How well do Antoinette and her mother understand the mindset of recently liberated slaves ?
1. What are the birds symbolic of ?
2. What is Christophine’s role in Part I ?
3. In what ways does Antoinette’s description of Tia throwing the stone match her feelings of internal pain at this time ?
4. In what way do Tia’s tears reflect Antoinette’s bleeding face ? How does the reference of a « looking glass » make sense concerning the issue of race in the novel ?
5. There is an obvious disconnect between Tia and Antoinette, and in what ways does Rhys’ style demonstrate such a separation ?
6. What is the significance that Antoinette’s last detail of Coulibri is this confrontation with her former friend ?
7. How does Antoinette’s experience at the convent compare with Jane Eyre’s experience at Lowood School ?How would you characterize Christophine’s relationship with Antoinette so far ?
8. In her description of all of the things being left behind at Coulibri, the last item mentioned is the picture of the Miller’s Daughter. How does this contrast with the other items that make up the list ? What is the significance, if any, of Antoinette having such affection for this particular picture ?
9. As Antoinette is watching Coulibri burn, the sky is compared to the sunset and she comments on how the flowers, the ferns, the ginger lilies, etc. will be burnt to nothingness along with the house. How does the nature imagery add to the passage ?
10.Antoinette’s childhood is heavily overcast by threat. What are the threats from outside her household ? What are the threats from within ? To whom and to what does she turn for protection ?
11.What is the racial situation as Antoinette is growing up ? What does it mean that she gets called « white cockroach » and « white nigger ? » How well do Antoinette and her mother understand the mindset of recently liberated slaves ?
06 November 2009
New Vocabulary Words: Unit 4
Students:
Please find listed below your Unit 4 Vocabulary Words. You are to do the following things with each--a) give the part of speech; b) define according to the part of speech ; c) give an example of how you could use each one. Due Monday! (No Frayer Models this week!) :)
New Vocabulary: Unit 4
1. affable
2. aggrandize
3. amorphous
4. aura
5. contraband
6. erudite
7. gossamer
8. infer
9. inscrutable
10. insular
11. irrevocable
12. propensity
13. querulous
14. remonstrate
15. repudiate
16. resilient
17. reverberate
18. scurrilous
19. sedulous
20. sleazy
Please find listed below your Unit 4 Vocabulary Words. You are to do the following things with each--a) give the part of speech; b) define according to the part of speech ; c) give an example of how you could use each one. Due Monday! (No Frayer Models this week!) :)
New Vocabulary: Unit 4
1. affable
2. aggrandize
3. amorphous
4. aura
5. contraband
6. erudite
7. gossamer
8. infer
9. inscrutable
10. insular
11. irrevocable
12. propensity
13. querulous
14. remonstrate
15. repudiate
16. resilient
17. reverberate
18. scurrilous
19. sedulous
20. sleazy
03 November 2009
Subscribe to:
Posts (Atom)