20 August 2010
Writing a Thesis Statement
Writing a Thesis Statement.
What is a Thesis Statement?A thesis statement usually consists of one or two sentences, and normally comes at the very end of the introduction to a paper or essay. Its purpose is to explain in a few words the topic area of your paper, but more than this, it clarifies the stand you are going to take on a particular subject. In other words, it gives your interpretation of the topic. Your thesis statement can thus be viewed as a map (and a promise) for your reader of how the essay will develop. The rest of the essay (main body) will be devoted to arguing for, supporting and proving the claim made in the thesis statement.What is a thesis statement?* Usually a single sentence somewhere in your introduction (often at the end.)*Gives, briefly, the subject to be discussed, and also your interpretation of that subject.* Makes clear at the start the argument, idea or analysis that you are going to take up: in fact, it is your answer to the question taken up by your paper.* Is not a simple obvious statement everyone can agree on without discussion.* Can be viewed as a map (and a promise) for your reader of how the essay will develop.Good Thesis Statements:• Make a knowledge claim that purports to offer a new approach or idea in a particular field, and to explain why it is new. The purpose of any academic thesis is to add to the existing pool of knowledge in a particular area, or to “fill in the gaps of knowledge.” As such, your knowledge claim should clearly state why the information/knowledge that you have to offer is new within your field, and should also convince the reader that your claim is likely to be true based on the evidence provided• Make an argumentative assertion that summarizes the conclusions you have reached about your topic after reviewing the literature. This assertion should be focused and specific enough to be “proven” within the boundaries of your paper. It should also identify the relationships between the pieces of evidence that you are providing.• Outline the scope, purpose and direction of your paper. After finishing your thesis statement, the reader should clearly know the essence of your intended project, and also the boundaries you intend to place on it. Your thesis statement should not make the reader expect more than you are prepared to present in your final document.
SCENE 4 Qs. on Oedipus Rex; EXODOS Qs.
Questions on Scene 4/Choral Ode
1. How does the messenger’s well-meaning effort to jog the old herdsman’s memory remind us of the way a cross-examiner might try to get a recalcitrant witness to « remember » in court ?
2. Why is the old man (herdsman) reluctant to answer ?
3. What does Oedipus threaten to do to make the herdsman talk ?
4. Why does the herdsman shrink from saying what he’s been forced to tell ?
5. Why does Oedipus feel compelled to hear the truth uttered aloud ?
6. The rapid-fire dialogue between Oedipus and the herdsman is an example of what ?
7. Why does Oedipus want never again to see the light of sun now that the truth has been clearly revealed ?
8. Do the Chorus’ words suggest that Oedipus did anything to deserve his fate ?
9. Oedipus’ fall from grace is an example of what ?
10. Explain the metaphor of « Time » in Antistrophe 2.
11. Choruses frequently meditate on the ways in which affection brings suffering. Why ?
Questions on the Exodos
1. Describe the prelude to Jocasta’s death.
2. How did Jocasta die ?
3. What was Oedipus’ reaction to Jocasta’s suicide ?
4. Whay did Oedipus commit this act ?
5. Whom does Oedipus curse ?
6. What does Oedipus mean when he says that Apollo was the curse, but he himself is the agent of his own blinding ?
7. Is it reasonable that Oedipus feels he cannot bear to look on anything in the world anymore ?
8. What ironies are involved in Oedipus’ curse on the man who saved him ?
9. Why is he disturbed that his friends pity him and feel pain for him ?
10. Do you agree or disagree witgh the Chorus that Oedipus would be better off dead than blind and banished ?
11. What might Oedipus’ decision to go on living in blindness, exile, and suffering say about his heroic statue ?
12. Why does Oedipus say that he deserves worse punishment than hanging ?
13. Now that Oedipus is blind, where is his inner vision turned ?
14. How are Creon’s tone and remarks reminiscent of Jocasta ?
15. Is there evidence that Creon is cool and impatient with Oedipus ?
16. Analyze lines 222-242.
17. How is Oedipus’ speech like a funeral lament ?
18. Is Creon’s admonition about Oedipus’ children mean-spirited, kindly, justified ? Why ?
1. How does the messenger’s well-meaning effort to jog the old herdsman’s memory remind us of the way a cross-examiner might try to get a recalcitrant witness to « remember » in court ?
2. Why is the old man (herdsman) reluctant to answer ?
3. What does Oedipus threaten to do to make the herdsman talk ?
4. Why does the herdsman shrink from saying what he’s been forced to tell ?
5. Why does Oedipus feel compelled to hear the truth uttered aloud ?
6. The rapid-fire dialogue between Oedipus and the herdsman is an example of what ?
7. Why does Oedipus want never again to see the light of sun now that the truth has been clearly revealed ?
8. Do the Chorus’ words suggest that Oedipus did anything to deserve his fate ?
9. Oedipus’ fall from grace is an example of what ?
10. Explain the metaphor of « Time » in Antistrophe 2.
11. Choruses frequently meditate on the ways in which affection brings suffering. Why ?
Questions on the Exodos
1. Describe the prelude to Jocasta’s death.
2. How did Jocasta die ?
3. What was Oedipus’ reaction to Jocasta’s suicide ?
4. Whay did Oedipus commit this act ?
5. Whom does Oedipus curse ?
6. What does Oedipus mean when he says that Apollo was the curse, but he himself is the agent of his own blinding ?
7. Is it reasonable that Oedipus feels he cannot bear to look on anything in the world anymore ?
8. What ironies are involved in Oedipus’ curse on the man who saved him ?
9. Why is he disturbed that his friends pity him and feel pain for him ?
10. Do you agree or disagree witgh the Chorus that Oedipus would be better off dead than blind and banished ?
11. What might Oedipus’ decision to go on living in blindness, exile, and suffering say about his heroic statue ?
12. Why does Oedipus say that he deserves worse punishment than hanging ?
13. Now that Oedipus is blind, where is his inner vision turned ?
14. How are Creon’s tone and remarks reminiscent of Jocasta ?
15. Is there evidence that Creon is cool and impatient with Oedipus ?
16. Analyze lines 222-242.
17. How is Oedipus’ speech like a funeral lament ?
18. Is Creon’s admonition about Oedipus’ children mean-spirited, kindly, justified ? Why ?
SCENE 3 Qs. on Oedipus Rex
Questions on Scene 3/Choral Ode
1. Discuss how the messenger’s arrival makes us feel that the plot has been tied into a « knot » that needs to be undone.
2. Look up the Greek word « philos. » How is this ironic when Oedipus uses this word in speaking to Jocasta ?
3. How do you respond to Oedipus’ reaction of relief to the messenger’s message ? Why ?
4. How does the fact that Oedipus should derive comfort from what ought to be bad news highlight the way in which everything is turned upside down in this legend ?
5. By refusing to go near his parents, and thus, theoretically, eliminating the chance of fulfilling the oracle, what is Oedepus really avoiding ?
6. Who is « Liaus’ man »?
7. What does Jocasta mean in lines 140-142 ?
8. Why do you think Jocasta does not want the truth about Oedipus’ birth revealed ?
9. How is Oedipus being unfair to Jocasta in lines 158-162 ?
10.What is Oedipus’ reaction to his being a foundling ?
11.What is the Chorus’ reaction to this news ?
1. Discuss how the messenger’s arrival makes us feel that the plot has been tied into a « knot » that needs to be undone.
2. Look up the Greek word « philos. » How is this ironic when Oedipus uses this word in speaking to Jocasta ?
3. How do you respond to Oedipus’ reaction of relief to the messenger’s message ? Why ?
4. How does the fact that Oedipus should derive comfort from what ought to be bad news highlight the way in which everything is turned upside down in this legend ?
5. By refusing to go near his parents, and thus, theoretically, eliminating the chance of fulfilling the oracle, what is Oedepus really avoiding ?
6. Who is « Liaus’ man »?
7. What does Jocasta mean in lines 140-142 ?
8. Why do you think Jocasta does not want the truth about Oedipus’ birth revealed ?
9. How is Oedipus being unfair to Jocasta in lines 158-162 ?
10.What is Oedipus’ reaction to his being a foundling ?
11.What is the Chorus’ reaction to this news ?
SCENE 2 Qs. on Oedipus Rex
Questions on Scene 2/Ode of Oedipus Rex
1. How do you react to Oedipus’ outburst ? How has Oedipus moved from conjecture to certainty ? Is he justified ?
2. What is the irony of Oedipus’ use of hunting images to describe Creon’s supposed ambition ?
3. What does the exchange between Oedipus and Creon remind you of ?
4. What does Creon mean when he says that he doesn’t want to be king ?
5. What is Oedipus really saying to the Chorus in lines 137-138 ?
6. Is there a metaphor in lines 169-170 ? If so, what is it ?
7. What is Jocasta’s view of prophets ? Is it similar to Oedipus’ view ?
8. How does Oedipus interpret Jocasta’s speech ?
9. Discuss Oedipus’ reaction to Apollo’s prophecy when he heard it (p. 1242).
10. What do you feel about Oedipus’ attempt to take action rather than submit passively to his fate ?
11. React to the gods’ malevolence.
12. Why does Oedipus seem less certain that he’s the murderer ?
13. Analyze Jocasta’s speech.
14. Who is the « I/me » in Strophe 1 ?
15. Summarize the Antistrophe.
16. Why might it be less frightening to believe that there is some divine plan or unuversal order, even if it is terrible, rather than thinking good and bad fortune are purely random ?
17. Of what does the Chorus try to convince Oedipus about knowledge ?
18. What role does the Chorus play in heightening the dramatic tension of this play ?
1. How do you react to Oedipus’ outburst ? How has Oedipus moved from conjecture to certainty ? Is he justified ?
2. What is the irony of Oedipus’ use of hunting images to describe Creon’s supposed ambition ?
3. What does the exchange between Oedipus and Creon remind you of ?
4. What does Creon mean when he says that he doesn’t want to be king ?
5. What is Oedipus really saying to the Chorus in lines 137-138 ?
6. Is there a metaphor in lines 169-170 ? If so, what is it ?
7. What is Jocasta’s view of prophets ? Is it similar to Oedipus’ view ?
8. How does Oedipus interpret Jocasta’s speech ?
9. Discuss Oedipus’ reaction to Apollo’s prophecy when he heard it (p. 1242).
10. What do you feel about Oedipus’ attempt to take action rather than submit passively to his fate ?
11. React to the gods’ malevolence.
12. Why does Oedipus seem less certain that he’s the murderer ?
13. Analyze Jocasta’s speech.
14. Who is the « I/me » in Strophe 1 ?
15. Summarize the Antistrophe.
16. Why might it be less frightening to believe that there is some divine plan or unuversal order, even if it is terrible, rather than thinking good and bad fortune are purely random ?
17. Of what does the Chorus try to convince Oedipus about knowledge ?
18. What role does the Chorus play in heightening the dramatic tension of this play ?
SCENE 1 Qs.on Oedipus Rex
Oedipus Rex : Questions on Scene 1/Ode
1. Summarize Oedipus’s first speech in Scene 1.
2. How do you respond to Oedipus’s curse ? What does it say about human knowledge that Oedipus, renowned for his intelligence, cannot see what is plain to us, with our hindsight ?
3. Oedipus thinks of himself as a « stranger » to the city and to the royal house. Why is this a tragic mistake ?
4. Does Teiresias sound reasonable ? Is Oedipus justified in feeling infuriated ?
5. What do you think is revealed in Scene 1 as one of Oedipus’s flaws ?
6. Is Oedipus’s suspiciousness based on reasonable (even if ultimately false) conjecture ?
7. What does Teiresias imply about the role of seer ?
8. What does Oedipus accuse Teiresias of ? Why do you think he does this ?
9. How does the audience understand Teiresias in a way Oedipus does not ?
10. Give specific examples of Oedipus’s arrogance in this scene.
11. Summarize Teiresias’s prophecy in this scene.
12. One of the ironies of the play is that the structure of its plot is essentially comic, that is suited to a story with a happy ending. Normally, the stranger who proves to be a citizen gains rewards. What does Teiresias say will happen to this « stranger » ?
13. What does the metaphor « a fellow sower in his father’s bed » mean ?
14. Why does the Chorus seem not to understand Teriesias’s prophecy, which to us seems quite explicit ?
15. Oedipus has represented himself as a « tracker. » What is the effect of the Chorus speaking of itself now as a tracker, or a pack of hunting hounds ?
16. Why is the Chorus reluctant to believe Teiresias ? On what is the Thebans’ allegiance to Oedipus based ?
1. Summarize Oedipus’s first speech in Scene 1.
2. How do you respond to Oedipus’s curse ? What does it say about human knowledge that Oedipus, renowned for his intelligence, cannot see what is plain to us, with our hindsight ?
3. Oedipus thinks of himself as a « stranger » to the city and to the royal house. Why is this a tragic mistake ?
4. Does Teiresias sound reasonable ? Is Oedipus justified in feeling infuriated ?
5. What do you think is revealed in Scene 1 as one of Oedipus’s flaws ?
6. Is Oedipus’s suspiciousness based on reasonable (even if ultimately false) conjecture ?
7. What does Teiresias imply about the role of seer ?
8. What does Oedipus accuse Teiresias of ? Why do you think he does this ?
9. How does the audience understand Teiresias in a way Oedipus does not ?
10. Give specific examples of Oedipus’s arrogance in this scene.
11. Summarize Teiresias’s prophecy in this scene.
12. One of the ironies of the play is that the structure of its plot is essentially comic, that is suited to a story with a happy ending. Normally, the stranger who proves to be a citizen gains rewards. What does Teiresias say will happen to this « stranger » ?
13. What does the metaphor « a fellow sower in his father’s bed » mean ?
14. Why does the Chorus seem not to understand Teriesias’s prophecy, which to us seems quite explicit ?
15. Oedipus has represented himself as a « tracker. » What is the effect of the Chorus speaking of itself now as a tracker, or a pack of hunting hounds ?
16. Why is the Chorus reluctant to believe Teiresias ? On what is the Thebans’ allegiance to Oedipus based ?
19 August 2010
More Questions on the Prologue from Oedipus Rex
More Questions on the Prologue/Parodos
1. Why is Oedipus thought to be a “tyrannos”?
2. How can we say that Oedipus is described as a pilot whose duty it is to guide his ship through treacherous waters?
3. Consider the effect of contrast between the house of Cadmus, emptied, and the house of Hades, filled?
4. How do Oedipus’s subjects view him? Explain the irony that Oedipus came to Thebes as the city’s savior with the gods’ assistance?
5. When Sophocles wrote this play, Athens was reeling from recent war and a severe plague which killed many people and undermined faith in the law and religious customs. What do you think that the biggest fear of most play-goers was? ( as well as the citizens of Thebes in the play?)
6. How does Oedipus’s claim to be even more affected by the sickness than his subjects mean something different to us who know he’s polluted and is the cause of the plague?
7. Oedipus projects himself as a sort of hunter or tracker, hunting down his prey. Explain how he is also the hunter whose arrow will hit the true mark but miss the target he thinks he sees.
8. If only one man killed Liaus, why does the slave who came home say that the king’s party was surrounded by robbers rather than a single man was involved?
9. As the Chorus reminds the gods that they have helped Thebes before, of what are we reminded?
10. Why does the Chorus focus on children and women of childbearing age as victims of the plague?
1. Why is Oedipus thought to be a “tyrannos”?
2. How can we say that Oedipus is described as a pilot whose duty it is to guide his ship through treacherous waters?
3. Consider the effect of contrast between the house of Cadmus, emptied, and the house of Hades, filled?
4. How do Oedipus’s subjects view him? Explain the irony that Oedipus came to Thebes as the city’s savior with the gods’ assistance?
5. When Sophocles wrote this play, Athens was reeling from recent war and a severe plague which killed many people and undermined faith in the law and religious customs. What do you think that the biggest fear of most play-goers was? ( as well as the citizens of Thebes in the play?)
6. How does Oedipus’s claim to be even more affected by the sickness than his subjects mean something different to us who know he’s polluted and is the cause of the plague?
7. Oedipus projects himself as a sort of hunter or tracker, hunting down his prey. Explain how he is also the hunter whose arrow will hit the true mark but miss the target he thinks he sees.
8. If only one man killed Liaus, why does the slave who came home say that the king’s party was surrounded by robbers rather than a single man was involved?
9. As the Chorus reminds the gods that they have helped Thebes before, of what are we reminded?
10. Why does the Chorus focus on children and women of childbearing age as victims of the plague?
11 August 2010
15 December 2009
STUDY GUIDE FOR EXAM
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.
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.
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:
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