AP Literature and Composition, period 3 2007 – 2008
Instructor: Carla Gardner
Email: cgardner@mccsc.edu/ phone: 330-7714, ext. 5-1101
August 15: Overview of course and Goals of Course handed out. I discussed several reasons why you should—and shouldn’t—take this class. I handed out a sample of the multiple choice test given by AP and asked you to finish it at home.
August 16: I gave you an AP “closed prompt” just to show you another type of question on part of the AP test (two essays and two or three Multiple Choice sections for the two hour test). We discussed the answers to the handout (“Ode to the West Wind”) from yesterday.
August 17: Today we discussed the upcoming Monday essay on your summer reading novel. You might want to review QuickNotes or some such book, but the best way to prepare, besides having read your book thoroughly, is to concentrate on a few critical chapters of your novel. Watching the film will not help—it’s your demonstrable knowledge of the written word that will be important for your success on the essay. You will have your choice of two different AP style prompts for each novel.
You also rec’d a syllabus today which will give you a sample of the way I typically run the AP course and work load. Every class is different, and I seldom do the same thing the same way twice, so some things may change. I will keep a daily calendar posted here as best I can.
Please remember to return the plagiarism and class policy forms (which need to be signed by a parent or guardian). I will return these to you. They are worth points in the bonus column, SO DON’T FORGET THEM, PLEASE. Summer Reading essay on Monday!
Monday, Aug. 20
You typed up your responses to the prompts for summer reading. No homework tonight, but expect it tomorrow! In the meantime, remember that you must choose a novel to read OUTSIDE OF CLASS from the list of classics we gave you or from any AP Central site. We will take “classic” to mean well-established in the literary criticism of the day as a significant work. See me if you ‘re not sure about this!
Tuesday, Aug. 21
You were given two
handouts and a reading assignment in your just-handed-out textbook,
(1) “Passionate Attention” handout: read and annotate (unfamiliar vocabulary, main ideas, and reactions/connections/questions). This is due on Thursday.
(2) “The Japanese Quince” short story handout. We read and discussed.
(3) Reading assignment in book is p.47-56. Think about ways you’d like to keep notes/journals/ response books, whatever you’d like to call them—but a kind of notebook just for AP Lit/Comp in which you’d record your reactions to assigned texts, free readings, poetry, films or plays you’ve seen, and so forth—a kind of personal place for writing about reading. Also a place where you could take notes for academic assignments which may, sometimes, be collected and graded. The personal part of the journal would be a “lockbox” or “treasure chest” of ideas and reactions which might get you in touch with your own literary passions!
We’ll talk more about this later.
Wednesday, Aug. 22
Ok, we talked about vocabulary work. It will be, for the time being, a combination of bonus point opportunity (make a notebook with new words, definitions, sentence using) and word lists I provide from old AP tests (as well as, of course, the various literary terms you will be expected to learn and use).
You had two handouts today; one explaining “The Method” (Rosenwasser) and an heuristic (repetition, strand, binary, anomaly). You will please apply “the method” to “The Japanese Quince” (first three columns) and then write the “healthy “paragraph .
Please read chapter 6, p. 71+ in RWFL; make sure you have a notebook just for AP stuff, and that you have decided on how you’d like to “journal” your thoughts—what will your record of thinking made visible look like?
ALSO, you must choose a novel (fictional work) for your “outside of class” reading by MONDAY, Aug. 27. Try http://www.k12.hi.us/konawahs/ap_suggested_reading_list.htm [if that doesn’t work, just Google “AP Suggested Reading Lists”—it should be the first or second selection on p. 1] for an expanded list of books that have appeared in some fashion or other on old AP tests.
ALSO, please have read and annotated “Passionate Attention.”
AUGUST 23, Thursday
[For some reason everything now prints in bold face when I get to your page. I hope to get this fixed soon! Sorry! The font size also changes arbitrarily. Go figure.]
(1) Reminder: Finish applying The Method to “Japanese Quince” and do the paragraph assignment in this handout by Monday.
(2) Annotate “Passionate Attention” for Friday, 8/24
(3) Use The Method on “The Use of Force”
Tomorrow: The chapter called “Interpreting: Asking ‘So What?’” and another short story, “Araby” by James Joyce.
August 24, Friday
Due today:” Passionate Attention” annotation (fonts/margins are OUT OF CONTROL!! Sorry!)
For Monday, 8/27: You will show me your annotations to the “Interpreting Literature: Asking ‘So What?’” article, and your application of THE METHOD to “The Japanese Quince” and “The Use of Force.” We will discuss your answers to the questions about the sample AP student essay (over The Scarlet Letter) and I’ll collect those (for “class participation points”).
DON’T FORGET TO PICK OUT A
BOOK FOR OUTSIDE of CLASS
DON”T FORGET TO HAVE A JOURNAL OR NOTEBOOK, etc. just for AP Lit/Comp.
(For Tuesday 8/28: Be ready to discuss “Araby” (handed out today) and “Eveline” (in RWFL,p.340)
We will be drafting essays in class next Friday 9/1; your summer reading essays will be returned on Monday, 8/27.
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MONDAY, Aug. 27
COLLECTION
Today I collected your evaluations of the STUDENT WRITING SAMPLE, and we shared our opinions on this essay; We discovered we are tough critics—much tougher than the AP judge—he or she gave the student paper an *8 (out of 9); you gave it a 6. I didn’t have time to look over your annotations to the short stories we’ll be discussing; you may turn these in, however, after you’ve had a chance to use them for your next essay.
NEW WRITING ASSIGNMENT
You rec’d your long-awaiting “What is Literature?” article and the SUMMARY WRITING assignment that goes with it; I’d like these to be one page, typed summaries. They are DUE on Thursday or Friday, your choice, of this week.
REVISION OF SUMMER READING ESSAY
You also got back your graded summer reading essays. You may revise these or not, your choice again. If you are satisfied with your current grade. I’ll simply enter it (with the points doubled or quadrupled, depending on how other AP teachers are weighting this grade). If you want to revise your essay, I’ll regrade it. Yes, it is possible for you to get a worse grade, though that rarely happens. You will not get extensive feedback on the revision. If you revise, I must have the original essay with my comments back or you will only receive the grade I’ve recorded in my notes, and I will not read the revision, no matter how brilliant it is! Be forewarned. Also, do not deviate from the original prompt or text too greatly. You might correct errors in expression and mechanics, lengthen or add support, strengthen your thesis/forecast, strengthen your conclusion—but otherwise, it’s merely a revision, not a whole new paper.
REMINDER: Tomorrow, bring your annotated “Araby” and your notes over “Eveline” (RWFL, p. 341)
TUESDAY, Aug. 28: You worked in groups and read today.
Wednesday, Aug. 29
Vocabulary words from old multiple choice AP tests for this week (look up the meanings for the words below you don’t know):
l. bellicose 2. lascivious 3. diaphanous 4. ire 5. avaricious 6. conniving 7. incongruous 8. ubiquitous
9. synaesthesia 10. antithetical 11. modicum 12. idyllic 13. transience 14. ephemeral 15. highbrow
16. admonitory 17. didactic 18. misnomer 19. anticlimactic 20. prescient
We put up our “METHOD” analyses of “Araby” and just got started talking about them when the bell rang. We will continue this work tomorrow. In the meantime, analyze “Eveline” with the method. Also, begin “Keeping Company.”
DUE ON THURSDAY or FRIDAY: One page typed summary of “WHAT IS LITERATURE?”
THURSDAY, Aug. 30
We finished reviewing what the different groups had noticed about “Araby” in using “The Method.” We asked the SO WHAT? Question (please, by the way, have read and annotated that handout, should I ask to see it).
A student asked if she HAD TO annotate/use “The Method” on “Eveline” or “Keeping Company” and I said, “THIS SHOULD BECOME YOUR HABIT.” Students who do it faithfully find they have a lot to say OF INTEREST because they’ve trained themselves to be astute observers. If I ask to see your notes and you have nothing to show me, I will be EXTREMELY DISAPPOINTED.
We talked a little about “Eveline”—surprisingly, many members of the class were MAD about her decision to ditch her finance—why would she deny herself this chance at happiness???
Tomorrow: I’ve requested a lab so you can use class/lab time to accomplish at least one of these things:
(1)Annotate/methodize any short story not so analyzed
(2) Finish your summary of “What is Literature?”
(3) Read on your Outside (of class) Novel
(4) Annotate “Asking ‘So What?’”
I have also assigned reading of pages 159-164 in RWFL; this is a review of literary features of the short story.
FRIDAY, Aug. 31
Come to class and we’ll go to the lab, probably 233. I’ll collect summaries at the end of the period. Read on your outside novel over the holiday; on Tuesday, we’ll discuss Eveline and “Keeping Company” and on Wednesday we’ll start our drafts, with final papers due on Friday.
TUESDAY, Sept. 4
Welcome back! I hope you all read on your outside novel!
Today we talked about “Eveline” and the tension created by her conflict; was the “epiphany” at the end frustrating for you?? Joyce kept us guessing about her motivations, and we have tried to understand her in light of her background, the social milieu of early 20th c. Ireland, Joyce’s own life and dilemmas, Catholic doctrine, Irish history, the nature of love—and the absence of the kind of psychology we’re used to today (you know, the whole self-esteem movement, the Hollywood style narcissism the mass media promotes, the recognition of hierarchies of real and legitimate needs exposed by the growth of psychological understanding). Hope the class discussion gave you all food for thought!
We didn’t stop there, of course, and plunged into “Keeping Company,” focusing at first on the verb, keep, and on the permutations of what is kept in the story—house, secrets, social expression, Nora herself behind William’s wall, etc. We noted that William is not as mature, emotionally, as Nora, and wondered if, at the end of the story,whether that small confident craft will sail into a better or worse relationship with William. We looked at Nora’s expressiveness (she thinks in terms of metaphor and simile; William is all about a kind of male terseness)—and—as we see the events of the story unfold through her consciousness (3rd person limited point of view) we understand her epiphany and have to infer William’s. I urge you to re=read this story, seeing the homophobic William as mercifully as you can (many of you, I think, did pity him for his narrowness)—many women are kept, protected, removed in male protectiveness (and selfishness, sometimes) when they are vulnerable (as a woman is in late pregnancy). William’s protectiveness may be misguided (and certainly his prejudices steer our sympathy away from admiring him), but you do need to look at that last paragraph carefully.
Well, the fun NEVER STOPS in AP LIT COMP! Tomorrow another story (ok, I found “A & P” by John Updike and printed it out for you!) I have just realized that with Purple Carpet, Picture Day, and SRT hitting us Wed/Thursday, there’s no point in pushing the next essay. I’ll get us some lab space for Friday,too, as I doubt we’ll have time for writing if we read Updike. IN THE MEANTIME, read those handouts from today(Guide to Writing, Writing a Strong Thesis, and the sample student essay on The Handmaid’s Tale, as well as the student paragraphs --all first paragraphs of the summer reading essay). I think you’ll get a feel for AP expectations and see how you’re measuring up when you have to write under time limitations. With an expanse of time, as you’ll have for the 2nd essay, you should be able to put together an essay which pleases you and your peers!
REMIND ME TO GIVE BACK THE SUMMARIES!! Also, please check your WEBGRADE; I think I’ve posted them correctly now.
WEDNESDAY, Sept. 5
Today you got back your summaries and the annotations to “So What?” (bonus points on last only).
I handed out
(1) Critical Analysis (model) of “The Japanese Quince” and we talked about why this was a superior essay. We noted the thesis and the forecast, the careful integration of supporting date from the text, the probable use of “the method” and annotations; the voice; and passionate attention, all of which, given the clear expression, impressive vocabulary, and thoughtful organization made this an opinion/interpretation worth the claim on our time. The authority this student could claim is a result of his/her close reading, thoughtful examination, and, probably, multiple drafts.
(2) We started reading the 2nd handout, “A & P,” by John Updike; this gives you a set of short stories from which to select for answer the (#3) handout/ prompt. Updike’s narratorl Sammy, is a kind of “noble failure.” Look for the story’s “epiphany” and examine how the first person point of view affects our interpretation of Sammy’s rebellion at the end of the story. Why will Sammy have so much trouble in his life???
(3) A 4th handout gives you space to organize your thoughts about a story in another way, this time focusing on the more conventional aspects of plot/point of view/setting/ symbolism. Whatever method (s) you use to generate materials for your own thinking about a story, it is clear that the kind of close reading you need to do is both a pleasurable and a challenging task.
(5) Don’t forget to read the handouts called “Guide to Writing” and “THESIS”—your textbook also has excellent advice on writing analytically in chapters 6-9, 71-112, with a nice sample essay in chapter 9. We will be coming back to the point in these chapters time and time again.
THURSDAY, Sept. 6
We were in the lab or in the classroom brainstorming all period. Same tomorrow. Paper due on Tuesday, next week.
REMINDER: If you are revising your Summer Reading Essay, I need that a.s.a.p!! We will be in lab 242 (off library) tomorrow,
continuing to brainstorm or draft.
FRIDAY, Sept. 7
If you are finished today, you may leave me a copy of your draft. Choose something you’d like me to look at, specifically, (not the whole paper) and I can add a note
BUT
YOU WILL NEED TO BRING A FINISHED
DRAFT TO
Don’t forget to keep reading on the novel you’ve selected for out-of-class reading.
Note: YOUR REVISION of the summer reading essay, if you chose to revise, should be in today or Monday, too.
Chapters 6-10 in RWFL, are full of very helpful advice on drafts, revisions, etc.
MONDAY, Sept. 10
Today we peer edited: Two people read your essay, discussed your paper with you and then wrote a PQS (praise,question,suggest) based on the kinds of questions and ratings you are asked to do on the sample student essays you receive from me from the AP workbooks. You also finished the sentence, “If I had more time to spend on this essay, I would…”
YOUR READING ASSIGNMENT for tomorrow in RWFL is “The Black Cat,” E.A. Poe, p. 815+
Look forward to the NEW VOCABULARY LIST I’ll have for you tomorrow; it has over 120 words culled from old AP tests with which you will want to become intimately acquainted. Ignore them at your peril!!
TUESDAY, Sept. 11
Today you turned in your papers, we discussed “The Black Cat,” and I assigned two new short stories, due Thursday, p. 261 “Call Me If You Need Me” and p 467 by Friday, “Barn Burning” both in RWFL. You rec’d a handout on Poe’s literary philosophy. This you are to read and write a 4-6 sentence summary of by Thursday. I think we’ll have a literary vocab/theory quiz on Friday.
REMIND ME: I have that vocab. List on my desk; any vocab from it on Friday’s quiz will be in the first 20 words, which you ‘ve had for quite a while.
WEDNESDAY, Sept. 12
You had a “work day” today. I corrected the egregiously mis-stapled Poe essay; I handed out (1) the infamous 120 vocabluarly words list; (2) the Mythology/Psychology Criticism snippet; (3) the list of rhetorical terms (go to the online source at the bottom of the handout page or to any good online “literary terms” lexicon to see what ELSE you’re missing—we will occasionally need to know the meanings of some of these terms; I’ll clue you in before any tests.)
We “voted” to have our vocab quiz on Monday; it will include the first 20 words and the first 5 starred (asterixed) lit terms (see Literary Glossay , p. 1168+ in RWFL for most; will have to look up synaethesia)
Some of you worked on the little SUMMARY assignment (Poe piece); some of you read on one or more of the next two stories , “Call Me if You Need Me,”(Carver, 261) by Friday; “Barn Burning,” (Faulkner, 467) by Monday.
THURSDAY, Sept. 13
--Summary Poe Philosophy due tomorrow; 100-150 words ok (in ink if handwritten)
--Write a sentence of two in which you show how one might apply a FREUDIAN or MYTHOLOGICAL interpretation to some feature of the Poe story.
--Don’t forget your –outside reading work—you will need to write about your novel before the end of the six weeks (Sept. 28). You may write about this novel during one of the periods in ISTEP week.
--We discussed the possibility of seeing “Becoming Jane”
FRIDAY, Sept. 14
Make sure you’ve read “Call Me If You Need Me” carefully.
MONDAY, SEPT. 17
Today we finished our discussion of “Call Me if You Need Me” and I reminded you about “Barn Burning” and added the last story we’ll look at, “The Birthmark” by Nathaniel Hawthorne (p. 605).
REMINDER: Application of Freudian/Mythological perspectives to any of last three stories (Call Me, Barn Burn, Birthmark) story should be done by end of period tomorrow.
Students got to see their papers (the ones I’d finished grading).
Vocab test will be this coming Friday—first 5 lit terms. First 20 reg voc, and any vocab from the assigned RWFL “background” subject to testing (see pp. 159-164 on “The Short Story” for these terms: narrator—persona; point of view— first person and unreliable or naïve narrator,limited, intrusive,omniscient, objective, third person limited, stream of consciousness; characters and characterization—direct, indirect, flat, round, protagonist/antagonist; dialogue; plot—exposition, rising action, climax, falling action, resolution; flashback and foreshadowing). You should be able to recognize these terms if they appear in any question about literature; I will not ask you to define them but to pick a correct definition from 3 or 4 choices.
TUESDAY, Sept. 18
Please have your 1-2 sentence application today, if possible. (Alex—Friday’s fine).
ENRICHMENT MATERIALS: Handout included “Young Goodman Brown” and two psychological analyses of it, plus a section on the role of ARCHETYPE in the mythological interpretation. Understand that these approaches to the explication of literature allow for an interpretive context which (1) allows for certain insights another valid interpretation might not have and (2) allows the critic—you—to have some fun finding even more to say about a story than you ever thought you could!
These are not prescriptions for interpretation; they are merely examples of some types of contexts (see “GUIDE TO WRITING” for many other interpretive approaches). You need to be familiar with the handouts, by the way.
“The Birthmark”—we’ll talk about “Barn Burning” and try to get to “The Birthmark” on Friday. You should be developing a set of notes for one of these, maybe a page or two in length, which uses ONE or more of the following rubrics for explication:
(1) The Method (significant detail---repetition—strands—organizing contrasts (binaries)—anomalies (“seems to be about but may really be about….”)
(2) Double entry Journal (side A: what took my attention; side B: my reactions)
(3) One or more of the “Guide to Writing” approaches (sociological, psychological, mythological,ethical for character interpretation) etc—see pages 1-3)
(4) Structural: Note striking features of setting, plot, point of view, motifs, symbols, themes—see me for handout on this if you’d like to try this kind of annotation.
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WEDNESDAY, Sept. 19
Today I interpreted dreams (anyone can do it! I don't charge for my interpretations, but they rely on simple principles: the assumption that dreams are metaphoric renderings of the days triumphs, concerns, anxieties or forecasts of those to come), talked briefly about the enrichment materials ("Young Goodman Brown," and the two literary criticism articles attached which use psychological interpretation). The last page of the short story is missing from some handouts, so see me to get yours updated. You will want to read the section of this handout on ARCHETYPE. Very interesting!
I also laid out 4 different kinds of annotation formats; you are welcome to collect at least one of these if you are still stumped on how to annotate one of the last two assigned stories (Barn Burning/Birthmark). This is due on FRIDAY, Sept. 21. They are not high stakes, but I think I'll award up to 15 points for this effort.
I have collected the short "applications" of either the mythological/archetypal or psychological interpretive sentences (2-4) you were to write over "The Black Cat." Be sure to get that to me if you haven't already done so.
I handed
out "
WE WILL HAVE A FULL HOUR TOGETHER TOMORROW; we'll start by discussing Faulkner.
In the meantime, I hope those of you who haven't been here were busy reading your outside novels.
THURSDAY, Sept. 20: Discuss Faulkner; literary terms/vocab quiz on Friday; then discuss Birthmark.
Annotation for stories due tomorrow.
MONDAY, Sept. 24
Your vocab quiz grades are posted. Also, many people have failed to turn in the required notes over the short stories and/or the psychological/mythological interpretation over "Black Cat." WHY????????
Tomorrow is READ AND ANNOTATE ON YOUR OUTSIDE NOVEL day. Wednesday we write!!!
Thursday will be a day of recovery. No, just kidding, ABANDON HOPE YE WHO ENTER HERE! We'll have a genuine SOCRATIC SEMINAR over last two stories. And I will decide on what novel to give you for next term's novel (choices: Pride and Prejudice; Song of Solomon; Heart of Darkness)
Tuesday, Sept. 25
You took notes, I hope, using a "lens" approach—thinking about the outside novel's interpretive matrix—sociological, ethical, psychological, mythological, historical, feminist, or even biographical implications for the story's broader meanings. The AP "open" prompts often direct you to some particular aspect of text and then want you to "relate this to the meaning of the text as a whole." Here are some example prompts from old AP tests:
AP "OPEN" PROMPTS FOR THE LAST 40 YEARS
1997: Novels and plays often include scenes of weddings, funerals, parties and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole.
1967: Frequently, in novels or plays, minor characters contribute significantly to the total work. They often have particular functions, e.g., as instruments in the plot, foils to the main characters, commentators on the main action and theme, and so on. Write a well-organized essay showing how two or three minor characters function in the work in which they appear
1987: Some novels and plays seem to advocate changes in social or political attitudes or traditions. Choose such a novel or play and note briefly the particular attitudes or traditions that the author apparently wishes to modify. Then analyze the techniques the author uses to influence the reader's or audience's views. Avoid plot summary; do not write about a film or television program.
1977: A character's attempt to recapture or to repeat the past is important in many plays and novels. Choose a literary work in which a character views the past with such feelings as reverence, bitterness, or longing. Show with clear evidence from the work how the character's view of the past is used to develop an significant theme in the work.
2007---?????
WEDNESDAY and THURSDAY, Sept. 27,28: We wrote our papers and revised them.
FRIDAY,Sept. 29
TIME FOR A MULTIPLE CHOICE AP PRACTICE TEST??
Bring your RWFL books; we have some poetry to tackle next!
OCTOBER 1, 2007
Today we finished discussing the Rossetti poem and looked at some of the features of poetry. You were asked to read pp. 164-171.
Tomorrow you will have a sub with a big assignment for you in the literature book. Make sure you pick this up from a friend if you cannot be here for whatever reason. The work assigned on this will be due Thursday. LOTS seniors make sure you turn in the work via e-mail to me if you cannot get it done in class tomorrow. HERE IT IS:
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AP LITERATURE and COMPOSITION ASSIGNMENT
I Please read and ANNOTATE the following poems for discussion on Wednesday:
l. The three poems by Thomas Hardy on pp. 374-375. Your annotation should include your analysis of
--rhyme scheme
--rhythmic(metrical) pattern
--use of figurative language
--stanza form
--use of irony
--use of characters, conflict, dialogue, setting, plot
2. What is the nature of marriage as portrayed in these three poems? (paragraph response, please)
II Please read the next 4 poems (Pound, Bly, two by Rich) on pp. 276-278. Consult part V of the book, “An Introduction to Figurative Language” (pp. 199-214). Then IDENDIFY and INTERPRET any metaphors or similes in any the poems. Say how each contributes to the impact or meaning of the poem in a sentence or two for
(a) “The River-merchant’s Wife: A Letter”
(b) “In Rainy September”
( c) “Living in Sin”
(d) “Novella”
III Read the “Review List of the Ten Ideas for Writing” on p. 35 of our book, RWFL.
(These ideas are spelled out in greater detail on pp. 26-34). Select ONE of these activities for ONE of the poems listed above from the suggestions #s 3-10. Limit your production to a single typed page, please. This work sheet and the writing activity are due on FRIDAY, OCT 5th. (LOTS: you may turn this work in, to the extent you finished it, today; I will give you some additional time when you return on Monday).
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Wednesday, Oct. 3rd
After show and tell and please don't ever share again, Geoffrey!!, we managed to talk about the poetry on pages 277+ (to end of chapter) and be completely puzzled by it, too. We will continue this discussion tomorrow when I will expect the group reporter to turn in the notes for a GRADE for the group effort. You just might want to re-read the poem you were assigned tonight, hint, hint.
Review chapter 19 in RWFL, p. 199+: Figurative Language. I am thinking about making up a fiendishly difficult quiz over LITERARY TERMS SOON!!
Thursday, Oct. 4th
Some work time, some discussion time, an article for you to read and write 10 summary points on by Laurence Perrine on why poetry's meaning, while offering much in the way of food for thought, can't mean just ANYTHING.
This summary will be due next Tuesday. Tomorrow: make sure your analysis of the earlier poems and your "creative Writing" venture assigned on Tuesday is pretty much ready to hand in on Friday, unless you have a very very good reason for not getting it done.
Let's talk about BRING MOM OR DAD OR BOTH TO CLASS DAY, since we're into sharing!!!!
Friday, Oct. 5th
The work above, given to you by the sub on Tuesday, is due.
We will also be getting our own copy of Pride and Prejudice—yay!
We had mini-lessons from the groups which were assigned poems from the unit we're reading (starting on p. 277 with poems for discussion).
NOTICE TO ELANE, KELLY, and CHRISTINE: after you've recovered, please look carefully at these two poems—your group may discuss them with the class on Tuesday: "Novella," p. 278 and "Just the Two of Us," p. 281. I asked students to answer the usual questions: What is this poem about? So what? How does the form impact, fit, expand, relate to the meaning?
Tuesday, your 10 point summary of the
ALL students will take a LITERARY (POETRY) TERMS quiz on Tuesday, also.( Part of this quiz will include 5-10 beloved AP questions and a previously unread/undiscussed but definitely cuss-ed poem.) Since there will be a BONUS POINT section on the quiz over the poems we HAVE discussed, no one need panic about the AP section!)
Everyone got a copy of Pride and Prejudice today (LOTS girls may buy their own if they desire or simply pick up your copy on Monday). You need to have read through Volume I (ends p. 96 in the copy we are using) by FRIDAY, OCT. 12. Be prepared for Socratic Seminar type discussion and some kind of task.
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MONDAY, OCTOBER 8, 2007
Today we reviewed what will be on the quiz and finished
two more group presentations; will finish ALL presentations on the poems
tomorrow, then take the quiz. Wednesday will be a day when you get MORE POEMS
to read and work on. THURSDAY will be a
Tuesday, Oct. 9: Literary Terms quiz day. Are you also reading your Jane Austen??
Wednesday, Oct. 10: Yay! More literary terms quizzes and bonus opportunities. Did you
turn in your 10 point
Thursday, Oct. 11: Because I promised, it's a reading day. We will catch up with poetry on Monday of next week—also hear from Kelly, et.al, on "Novella" and "Just the Two of Us." Read the handouts I have you yesterday, along with the Sonnet Set you get today for Monday's class. THEN WE"ll WRITE our first poetry essay on Tuesday.
Friday, Oct. 12: We talked about the novel, Pride and Prejudice today. A fairly lively conversation ensued when I asked if people still were positioning themselves for "advantageous" marriages—but we also talked about the novel as a satire of manners, a critique of class consciousness, and a plea for the plight of women—in a roundabout way, at least. I asked you to consider the artfulness of Ms. Austen in the way she structured the novel; to consider her use of dialogue, the withholding of vital information, the obstacles preventing real understanding, the miscommunications, the foreshadowings, and so on. We are looking at the organizing construct of "pride" and "prejudice" and will also be examining, in the next volume, which should be read by Oct. 18 (Thursday—remember, the 19th is "fall break"), the role of language—understatement, hyperbole, metaphor to create humor—and the handling of point of view.
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Monday, Oct. 15: We discussed the poems on the handouts; we will discuss SONNETS tomorrow; I should also have a "creative poem" assignment for you to complete! We need to have another AP Vocabulary test; start studying the next 20 words—let's do that on Monday of next week!!
Tuesday, Oct. 16: We talked about two
sonnets—Browning and
Homework ongoing: Pride and Prejudice; we'll have our roundtable discussion of Volume 2 on Monday. I want to see NOTES over the novel. I print out Sparknotes and then write all over them as I am reading Austen; useful for reminding me about plot events and my own observations about the book's structure, tone, handling of point of view, comic deliciousness, etc.
To people—you know who you are, miscreants-- who haven't yet turned in the summary of Perrine's points, tomorrow morning is your last chance.
Wednesday, Oct. 17: LAB/ Creative Writing Handout—see below
Thursday, Oct. 18: LAB/peer editing---Note: Those not here will do the essay edit next Wednesday during SRT (in library where I am).
Friday, Oct. 19: FALL BREAK!!!!
CREATIVE WRITING IDEAS for AP POETRY UNIT
Gardner 2007
Here are some ways in which you can earn a few bonus points this grading period (up to the limit of 10 points). TYPE where it seems wise; no penciled toss offs, please, unless you’re drawing.
(1) Take any poem from the current unit/handouts. Write a sequel or a prequel to it, imitating the forms/length/ style of the original, but with a different speaker, preferably one with a bone to pick, a rejoinder, or a rebuttal.(Tone) Be prepared to present this (or have it presented) in a dramatic way.. I mean, what WOULD Margery do with herself? What does the man in the artist’s studio want from that woman, anyway? What are the housewives thinking about the belly dancer? And, on a serious note, what would the marriage counselor have to say to the folk in “Novella”? the mother-in-law to the River-Merchant’s Wife? Who was Elizabeth Barrett Browning loving—let him/Him reply.
(2) On a more serious note: If you wish to use the same speaker, fine, but present the speaker at a different stage in his/her life; for example-- the Young Wife in her own voice, perhaps on the blossoming of love or the birth of her first child. For “In the End, We Are All Light,” replace the observations on old men carrying purses for their wives with observations on how young men act with their girlfriends (or wives). Be a fly on the wall in the room of the bride-elect today or overhear something that changes your mind about a person imitating Hardy poems. This is the lyrical poem assignment. Choose free verse or rhyme with fairly regular metrical pattern, but make sure your poem is rich in connotation.
(3) Re-write a poem from the unit in a format and in the language of a favorite musical genre—reggae,Texas swing, rap, emo, ska, hip hop, heavy metal, folk, country western, punk, techno, trash metal, 70’s classic rock, rockabilly, world music, bluegrass, the art song, opera—you name it—and then PERFORM it for the class.(You can bring in a videotape)
(4) Write a narrative poem about
your experiences as a student at
(5) Illustrate one of the poems from the book or handouts in a truly interesting way—re-see the poem as, say, a blog page or an advertisement or a poster for the MAC or as a wall hanging or a tattoo—ok, I don’t know again—just have fun leaping boundaries/ categories. If “How Do I Love Thee” were a tattoo, what would it look like?
(6) Interpretive Dance: If you’ve been performing with the IU Ballet or in Windfall Dancers or just Riverdancing your heart out, you might want to give us a rendition of one of the narrative poems, a sonnet, or a longer lyrical poem in dance. (Actually, I’ve seen this done brilliantly).
(7) Imagine something utterly fantastic—what if stars could sing, what if poems fell from the sky like rain, what if giants moved mountains to stage rage, or the earth could pontificate—what would these events sound like? How would you capture them in images and rhythms, and figurative language? Sci-Fi HIGH!!
THURSDAY, Oct. 18, 2007: We went to computer lab to finish our poetry papers. Those needing another class period to finish may do so on Tuesday or Wednesday, depending on the availability of labs. In the meantime read to the end of VOLUME 2 or PRIDE AND PREJUDICE!!
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Monday, Oct. 22, 2007
Today we talked about Pride and Prejudice: you are to look to see how social and other boundaries are crossed, subverted, or observed in the novel. A note-taking assignment will be given to you tomorrow, which will be a reading day for the novel. We will talk again about the novel on Friday; then write about it early next week.
Students who need to finish their poetry papers will be able to use lab 233. I turned back the papers that were done so you could see your grades, re-collected them for my own teaching purposes, and will have them back to you in a day or two for keeps.
REMINDER # 1: You should be studying the next 20 words on the vocabulary list
REMINDER #2: If you are doing a creative writing, art, dance, etc (see handout), I need it by Wednesday, please.
Oct. 23/24: reading days
Oct 25: Pride and Prejudice review
Oct 26:
Monday, Oct. 29: Last discussion day. Writing tomorrow.
WEEK of Oct. 29-Nov. 2
We have been studying
poetry in the Families unit in RWFL and finishing up the Pride and Prejudice
essay. On Friday, Nov. 2, we shared “creations” and I added words 41-60 from
the AP Vocabulary List for the final. I will be giving you a study sheet on
Monday; in the meantime, please feel free to review the literary glossary in
the back of your RWFL book. The final will consist of genuine AP questions, my vocab/lit. terms test, and a
section asking questions about the shared literature from RWFL literature that
we’ve read this trimester.
FINALsssss WEEK
OK, it’s
Tuesday and I’m about ready to go vote. Your grades are posted; sorry I
couldn’t give all of you all of the so richly deserved (ahem….) “bonus” points
you might have been hoping for on the poems and performances, but I did give
you the maximum I could under my long-established policy (UP to 20 bonus points
available each term)—some of you maxed out despite heroic (?) effort to grub
all the points—strike that—EARN all the points you could. But you already get a
huge “bump” just for trying the AP course, so there’s no pity party from me (I
am teacher, hear me roar). Check your grades online and if there’s any
discrepancy between what I recorded and what your returned, written grade is,
let me know (i.e. show me the error) quickly so I can correct the online grade.
Tonight, after 7 hours here at school on a “day off,” I return home to start
creating your final. (Who deserves the pity party now?) At any rate, GOOD LUCK
on all your finals!
Oh! BRING ME YOUR little BOOKS on Wednesday and certainly bring RWFL on Thurs/Fri(some of you who turned in Pride and Prejudice turned in one of my “loaner” copies—you have to give me back the book I originally assigned to you—Amy, Maggie, Callan, Chris, Kelly, Elaine, and possibly, Amanda!! Also I need to have your RWFL book back even if you are continuing with me, but especially if you will be with Dr. Rakic or are finished taking your one semester of AP.
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MONDAY, NOVEMBER 12 WELCOME TO THE NEW TRIMESTER!!!!
Hello! We have
several new faces in class: I hope you are reading this tonight and that you
will feel free to ask me any questions about the course, note my e-mail address
at the top, and be a positive presence in the class. Today I gave you your new
RWFL book, the plagiarism policy
(which must be signed and returned by Wednesday), and an assignment: Write a
humorous skit using at the very least the 5 traits of comedy we identified in
our brainstorming today (Namely, exaggeration through slapstick and other
physical comedy, including the use of costumes, make-up, and invented actions;
reversals of roles or expectations; play with language, and the use of stock
characters/stereotypes). We read “Death Knocks” by Woody Allen where much of
the humor in the situation is derived from these features. On p. 593 you were
asked to do assignment #2, write a 2-3 page, typed, comedy sketch in which a
character has a DIALOGUE with an embodied “abstraction”—e.g., death, God, the
devil, an angel, one’s conscience, one’s inner child (inner chef?), one’s
id/superego/collective unconscious and so on. You may work solo or with a
partner and will have class time tomorrow to draft; these will be presented to
the class on Wednesday with any revised version due no later than THURSDAY, Nov. 15.
(Warning: Language in these skits strictly
PG-13)
In the meantime, before we get to OTHELLO, you should be choosing a noteable play or novel to read outside of class within the next month (we will write about this play or novel before the winter break). You will be asked tomorrow to review the material in chapter 17 or RWFL on plays.
Here is a copy of the handout I’ll give you tomorrow in class, in case you cannot be here:
COMEDY
CHECKLIST for AP Literature and Composition
We have read a short, comic sketch by Woody Allen and noted at least 5 features of comedy writing. Below is a checklist generated after visiting several web sites of teachers who have prepared elaborate comedy curricula for their students. Please make sure that in writing your own sketch, you use at least 3 of the features of comedic writing as listed below. Your typed, 2-3 page DIALOGUE sketch, featuring no more than 3 characters, which is due, finished, on______________, should say at the top of the page, exactly what features you have adapted to your own use.
Here’s the list (I do not pretend that it is comprehensive) of comedy advice:
1. Make use of MISTAKES (errors, disorder, and ensuing chaos)
2. Find the dark side of the sunny day (satirize)
3. Deflate posers—and remember: all human vices and foibles are open for ridicule
4. Wrestle sacred cows (rebellion is key to comedy): beloved figures (Peter Jennings, Oprah, Uncle Sam) may be mocked if there is an element of hubris in someone’s behavior/demeanor/manner
5. Subvert expectation (think “Puttin’ on the Ritz” as sung by Frankenstein)
6. Slip on a banana peel every now and then (farce)
7. Use funny names or punny names, and elaborate names--these can be quite amusing (Borat comes to mind—yes, he’s a rat we might want to boo)
8. Exaggeration of language/play on words, wit (sharp verbal felicity with swift perception) are key
9. Find a conflict and highlight its stupidities (Jon Stewart/Stephen Colbert are masters)
10. Combine the familiar with the ridiculous (Alice was too big for the rabbit hole; think of Robin Williams as a nanny—if you wanted to make fun of your best friend’s laziness, you might costume his head onto the body of a slug, or use knights that go clippedy-clop
11. Satirize a whole genre (in some ways, Allen does this with “Death Knocks:--have you ever seen any Ingmar Bergman films, especially one called “The Seventh Seal”?)
12. Use self-deprecating humor (think Garrison Keillor’s “Prairie Home Companion,” show or how funny Click and Clack on “Car Talk” are doing this—and although majorly annoying, anything Conon does on Late Night).
13. Put in plot twists and don’t be afraid to go from the sublime to the ridiculous
14. Political Incorrectness, if distanced, can be funny and not painful (“Borat” comes to mind again)
15. Pair Opposites—conflict is essential (Jeffersons, Archie and Edith, Desi and Lucy)
16. Imposters, Schemers, Buffoons, and Churls: Think Costanza, Elaine, Kramer, and Newman (all beloved stock characters from Greek comedy)
17. Use a “blocking” character or an “unwilling assistant” (Doris Day comedies have them)—have you seen “The Office”?
18. Villains, fools, and tricksters (“Scrubs” has them all)
19. Study “The Simpsons”—don’t forget to give the doofus a big heart
AND above all, plot: give us setting, a problem, and lots of rising action with a quick climax and resolution.
TUESDAY, Nov. 13, 2007
Today you had time to work on your comedy skit ideas, you rec’d the handout above, and I reminded you that there will be an AP vocabulary quiz on Friday over words 61-80 (I have this word list to the newcomers). New students also rec’d a “CLASS POLICY” which must be signed and returned (and don’t forget to sign and return the Plagiarism policy,too).
Due Dates: ROUGH DRAFT (ready to be performed) should be
done by end of period on Thursday. Some groups may want to go on Thursday, so
we could also see and give feedback to those groups. ALL groups must be fully
ready to perform on Friday (even if a member of the group is absent). The
finished, revised, skit, typed and annotated as the Comedy Checklist says will be due on MONDAY.
In the meantime: students should be perusing the handouts from early in the year, no matter what teacher they had, to find titles of works they might want to begin reading for the OUTSIDE READING—this time, the outside reading may be a play of literary significance. The on-line AP sites have several lists of recommended reading and I will show you tomorrow what the English dept. has in its collections which would constitute legitimate readings for the course.
Also, tomorrow, I hope to have a TRIMESTER TWO Syllabus which is more specific than the one I gave our early in Trimester One, so I’ll be working on updating it and getting that into your hands this week! In the meantime, check this site daily!!!
ABSTRACTION ideas for those of you still deciding who your person and the embodied abstraction in the skit will be:
Death, Liberty, Freedom, The Past, The Future, the 3rd Dimension, a Muse, a Spirit of (art, music, history, Literature); Faith, Hope, Charity; The Ghost of Christmas Past; Amour/Love/Cupid, St. Valentine; Ego, Id, Superego, collective unconscious, Narcissism; the Feminine Mystique and Male Chauvinism; Peace and War; the seasons, agriculture, fecundity; French Cuisine and Haute Couture; Art Nouveau, Romanticism, Expressionism, Surrealism, and Post-Modernism and so on!
FRIDAY, Nov. 16: We saw and reviewed skits and will no doubt continue these on Monday. You have a CALENDAR of AP work; read it and note what you have to do over the plays and the respective due dates for the typed work. You will need to annotate the play you don’t do a writing activity for; again, one to two typed pages should suffice, using the Guide to Writing suggestions for annotation.
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Work Schedule for Monday-Wednesday, Nov. 19,20,21 (remember, by policy, this work is DUE BEFORE YOU are gone if you are going on vacation early)
PLAY: Read Fences by August Wilson (911) and The Master Builder (1076 RWFL); be prepared for a discussion over these plays on Monday, Nov. 26. Have your outside play or novel selected and started. Eugene O’Neill’s The Hairy Ape (554) will be started on Monday,11/26. We will write on plays on Tuesday or Wednesday, Nov. 28th or so-- and THEN: Shakespeare’s OTHELLO!!
We will go to the Auditorium on Tuesday, Nov. 20, to see the drama class’s productions of Shakespeare’s comedies. You should be able to pick up more pointers about the challenges of comedic writing and I WILL ASK YOU TO BOTH ENJOY AND ANALYZE these productions.
PLEASE BRING IN YOUR SIGNED CLASS POLICIES AND YOUR PLAGIARISM POLICY HANDOUT THIS WEEK!!!
IMPORTANT REMINDERS: Please read your TRIMESTER 2 syllabus and be aware of the writing activities associated with the plays. We will be writing about one of them the week after Thanksgiving—either Tuesday or Wednesday—and that means an AP style essay, written in-class. Your notes and other writing activities should help you with this challenge and these will be available to you during the essay writing time.
Monday, November 26, 2007
Please do your writing assignments over the play (do 2; it’s a good idea to take notes over the play you don’t do an activity on). I DO NEED SOME ESSAY writing from you, so we will be writing about the plays, in a sweet, little in-class experience either on Wed. or Thursday, depending on how lively and interesting our discussions are tomorrow.
Tuesday—Work on Activities for plays; Wed--Thursday: Discuss plays, play activities due on Wednesday.
Friday, November 30: Drafted from prompts below (due next week, Wed; we will also work on Monday and have peer editing exercise to do; Tuesday we’ll start Othello, Wed. your final draft will be turned in and we’ll continue with OTHELLO.
AP Literature and Composition: An Essay on Drama Gardner 2007-08
Directions: Choose one of the prompts below. Your finished draft will be due on Monday, Dec. 3 and the final draft on or before Thursday, Dec. 6, no exceptions.
PROMPTS from Nov. 30
Writing about PLOT
How do the elements of plot and structure in your chosen play illustrate the truth of this assertion?
Writing about
CHARACTER
Show how a character from your chosen play illustrates Miller’s assertion.
NOTE FOR ALL: Use the checklists called “Writing about Drama” to help you brainstorm ideas about the prompts provided on this page; note that it is not necessary to write about all the topics on the checklist; chose the most suggestive ones considering your own thoughts and notes about the play you choose to analyze).
NOTE FOR ALL: You will need to reflect upon how you might use the language associated with discussions of dramatic text: stage directions, exposition, characterization ( foils): nonverbal language ( costumes, gestures, setting), antecedent action, dramatic question; tension, conflicts—are they parallel or related?; motivation; foreshadowing; dramatic irony; rising action (a series of crises or complications/ reversals of fortune, tragic flaw or error (e.g., rigidity, self-righteousness, pride or loss of outward fortune, reputation, power—some erosion of the protagonist’s moral character or greatness of spirit); movement from stability to instability or catastrophe); climax; denouement (the unknotting); resolution (triumphant, unsettling, satisfying?).
WARNING TO ALL WRITERS: please do not just give me a plot summary. Frame your thesis/forecast to show me what you understand about the playwright’s artistry—how did he make that character who he is and what were his goals in doing so? USE YOUR CHECKLISTS to generate material which shows you have analyzed how something is made to happen, and do not just write an account of what happens as if there were no generating intelligence behind the art.
PROBABLE CALENDAR
December 3: We worked in lab on our papers.
December 4, 5: We will start OTHELLO and read in small groups, getting through acts 1 and 2—what’s not finished in class will be read at home.
Dec. 6: FINAL DRAFT of your paper is DUE, without exception. We will have a peer editing exercise with rubric. PAPERS WILL BE TURNED IN NO LATER THAN 4th period. Any changes to the finished draft may be made in ink.
Dec. 7: Othello, act 3
December 10: FILM??? Or part of it?
December 11, 12: Finish Othello
Dec. 13: FILM: in 238
Dec. 14: Film, finished (again, in room 238). Make sure your are reading Acts III and IV on your own.
Dec. 17, 18: Act V should be finished. We will prepare for writing about outside reading with class discussion. Groups will have a chance to meet and finish the worksheet.
Dec. 19: outside reading essay in-lab.
Dec. 20/21: I will be absent for the first time in many years before a holiday—have family business that can only be conducted on Friday in Texas, couldn’t get a late afternoon flight out on Thursday. I feel terrible about this, BUT, just so you don’t suffer the guilt I will , we will have an AP sample test on Thursday (don’t worry—you can work with a partner on it—you will have to simply justify your answer choices in writing). On Friday, you will have a sweet little quiz over another set of AP words. In the time not filled by quizzes, you should be reading your outside novels—SSR is a gift! (Yes, it is!). (By the way, if YOU are absent these days, you will simply take the make up quizzes when you return, but without help or mercy).
WISHING YOU A SAFE AND PLEASANT BREAK!!
REMINDER FOR JANUARY 7: You will write about your outside novels then; if you haven’t picked one yet, I must know what you intend to read for the AP prompt you’ll be given…….let me know before break because if you choose a book which is not significant, you may be cooking your goose.
IMPORTANT NOTE (Zain, can you hear me??) BELOW ARE THE PROMPTS I used on Dec. 19th for our 3rd writing assignment this six weeks. If you were absent, you should pick one of these, think, and then give yourself about 45 minutes to write a response. You may give this essay to me on MONDAY, JANUARY 7th, and with any luck, the grade on it will be included in your six weeks (term) grade. If not, the worst thing that will happen is that the grade will be posted later but still be figured into the trimester grade at the end of February.
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OTHELLO Writing Assignment # 3 AP Literature and Composition
Quickly find a prompt you like. (Don’t agonize—they are all designed to help you respond to this particular play.)
CHOOSE ONE, take about 10-15 minutes to draft/outline, make notes, search notes--then write a working thesis. Stop occasionally to see if you are supporting your thesis with details. Make sure you offer a conclusion which points to the significance/larger meaning. Revise thesis as needed once you’ve written the analysis.
PROMPTS
1. Discuss the contrast between outer manner (appearance) and inner nature (reality) in a character in the play. Explain how verbal and dramatic irony created by this contrast contribute to the meaning of the work as a whole.
2. Authors are often concerned with issues related to the conflict between emotion and reason. Show how this conflict functions in the play to create high stakes drama and significant meaning. Examine this through the playwright’s use/construction of character, symbols, and/or irony.
3. Frequently in literature, a novel or play focuses around a pair of counterparts, characters who seem inseparably bound by situation or by fate. This mutual involvement, which may range from the acute interdependence of soul-mates to the polar hostility of rivals, is often used to further the work’s larger literary purpose. Choose such a pair of counterparts from Othello. Using your knowledge of the work, clarify the nature of the characters’ relationship and indicate in what way their mutual involvement makes an important contribution to the meaning of the work as a whole.
4. Both luck and skill are often required for unlikely events to lead to seemingly unlikely but tragic ends. Explain how luck and skill function to create the conclusion of the play. In your discussion, show how Shakespeare’s understanding of plot (exposition, rising action, crises, and resolution) and characterization create significant meaning in this play.
5. Some critics think that Iago is easily the most malicious, evil character in all of literature. Explain how his motivation (consider examining any of the major themes relating to jealousy, anger, hatred, revenge, for example); the construction of character; symbolism, and/or the structure of plot events lead you to agree with this assessment. Consider how such evil contributes to the meaning of the play as a whole.[NOTE: You will need to NARROW this prompt to focus on a topic you can cover fully in the time you have to write]
6. Sometimes, goodness can aid in the production of suffering. Show how this paradox functions to affect the ultimate fates of at least one character in the play (Othello and/or Desdemona, but also Cassio and/or Emilia may be considered for this topic). How does such a paradox contribute to the meaning of the work as a whole?
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HERE IS THE ASSIGNMENT YOU NEED TO FINISH IN LIEU OF THE PROMISED VOCABULARY QUIZ
AP VOCABULARY WORK
THIS WILL BE DUE ON January 7, 2008.
Get out your AP WORD LISTS; starting with word # 81 (preordained) and ending with word #107 (premonitory), and leaving out all the literary terms (the words with asterix*), please use those 20 words to do one of the following exercises:
(1) Take any 15 of these words and after looking up their definitions and usages, incorporate them into an amusing or light-hearted story about one or more of the characters in Othello.
(2) Take any 15 of the words from your list and flesh out the character of one of the “bit players”—e.g. Lodovicio, Gratiano, Roderigo, Montano, or even Emilia or Bianca. Writing from this character’s perspective, create a commentary on the actions of the major players—Desdemona, Othello, Iago, Cassio.
(3) Take any 15 of the vocabulary words and create a prequel or sequel to the book you are reading for the outside reading project.
(4) Take any 15 of these vocabulary words and create a character sketch of one of the major figures in the outside reading book.
(5) Take any of the 15 vocabulary words from your list and write a story about your
experiences thinking/reading/writing about Othello. There is no need to include derogatory comments about your classmates in this analysis. Unless, of course, they have vilified you. Then a jealous revenge might be proper. Feel free to incorporate the insults from the times, if need be.
WELCOME BACK!!!
January 7, 8: We shared our creative efforts with the vocabulary assignment you rec’d before the winter break; I returned the essays you wrote over Othello, and shared with you several which had very effective introductory paragraphs. On Tuesday I gave you this handout for the OUTSIDE READING NOVEL/PLAY. We will work on our notes for these tomorrow, Thursday, and draft on Friday, with the end product and all your notes, annotations, etc. due with the finished paper on Monday.
______________________________________________________________________________________________________________________________
AP OUTSIDE READING ESSAY, Trimester 2 Gardner 2008
Points: 125
Due Date:________________
Requirements: Essay of 3 to 5 pages, titled on topic of your choice.
Grading Standards: AP rubric (handout)
For this essay, you will need to create your own topic. Taking copious notes (see “Guide to Writing”), making journal observations (see your textbook, chapters 1-9), using graphic designs (webs, charts, grids, or using other heuristics), and drafting until you have an original, non-obvious, complex claim which would interest your audience (your peers, me, the AP readers) and the supporting evidence to develop the warrant needed will all help you produce a strong essay. For this essay, you may make limited use of the first-person voice and personal observations or connections which have helped you develop a deeper understanding of what the story is about and why it matters. (Note: a subject is not a topic. See standard composition guides for help on narrowing).
If you are totally stuck after much reflection, however, feel free to use one of the observations on reading and writing literature from four very different authors below. If your book validated any of these comments, you might want to use them as food for thought.
“One reads books in order to gain the privilege of living more than one life. People who don’t read are trapped in a mineshaft, even if they think the sun is shining.” Garrison Keillor
“ A book [is] the axe for the frozen sea inside us.” Franz Kafka
“Literature doesn’t have a country. Shakespeare is an African writer. . . Dickens’ characters are Nigerians. . . . Literature may come from a specific place, but it always lives in its own kingdom.” Ben Okri, contemporary Nigerian poet and novelist
“Occasionally the [
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January 14, Monday:
We worked with peer editors today. Your paper is due tomorrow or, at the
latest, Wednesday. Please bring your RWFL book tomorrow as we will start our
short story unit.
Jan. 15, Tuesday: Read short story in RWFL, “The Smallest
Woman in the World,” p. 822—do one of the activities at the end, due Thursday
for sharing—needs to be no more than a page.
Jan. 16, Wednesday: Read part of “Kindling” (Carver), p.
993—you should finish this on your own and have something interesting to say
about this story—think of the story’s structure, style, use of symbols and
myth.
Next, we’ll read “A Loaf of Bread” (842) and then “The
Rich Brother,” p, 349.
Jan. 17, Thursday: We heard various people’s reactions to
“Smallest Woman” and I collected those responses. We talked a bit about this
short story and moved in to a very short discussion of “Kindling,” which we
will finish tomorrow.
Jan. 18, Friday: Discuss “Kindling,” and move on to read
(together or in small groups), “The Rich Brother.” Then work time.
Homework: Read “A Loaf of Bread” and bring in your
detailed annotations of it (at least a page) and the Wolfe story on Tuesday. NO
SCHOOL MONDAY, MLK, Jr. Day!! It’s a day
on, so do something civic-minded!!
Jan. 22, Tuesday:
Today we discussed “The Rich Brother,” noting certain features of the
story which deepen our understanding of it. Students were given two handouts of
short stories and told to read them and annotate them by Thursday .We will
start of discussion of “Loaf of Bread,” and “The Worm in the Apple,” and “The
Jan. 23, Wednesday:
ANNOTATION DAY. I will collect, read, and grade your notes over all the
assigned stories (Smallest, Kinding, Rich Brother,
Loaf, and the two handouts) on Monday, Jan. 28. Use your time today and in SRT,
if possible, to make sure you have a page or more of notes—not about what
happens by HOW something happens. If you aren’t using the Guide to Writing
annotation advice or the Repetitions, Binaries, Strands, Anomalies hand out,
you should be trying these models.
SORRY: OUT SICK THURS./FRIDAY: YOU were given time to read your short
stories, to prepare paragraphs (one para. Per story) on TONE.
Monday, Jan. 28: GROUP WORK (You were put into a group to
work on discussing STYLE)
Tuesday, Jan. 29: Same as applied to the short stories
Wednesday, Jan. 30: Presentation of group’s discoveries
Thursday: Continue discussion of STYLE (diction, sentence
structure, use of figurative language); Handout.
Friday: WRITING in LAB (AP Essay # 3 of term)
NOTICE: Because 3 presenters were absent today, we will talk
about
FEBRUARY 1, 2008 (Friday): You have rec’d a copy of Song of Solomon.. You should be reading on this outside of class; our first discursion day will be next Friday (Feb. 8) and you should have read through chapter 9 by then.
We will write on Monday (short stories, style), and Tuesday
you should bring your RWFL books. We’ll start of poetry and be using AP sample
tests throughout the week (except Friday). No school on Feb. 6. We will be doing poetry and more AP test
practice the week of Feb. 11-15th also. Your final essay will be on
the final itself on either the 21st or 22nd of February;
it will consist of my questions, an AP section, and an in-class essay over the
novel, Song of Solomon.
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February 4, 2008 MONDAY: Today we wrote on the short stories in lab 242.
POETRY READING FOR TOMORROW: Review the poems I’ve already asked you to read, pp. 857-861 (Hughes, Swir, Brooks) adding 862-866 (Szymborska, Revard, Soyinka) for Tuesday; 867-874 by Thursday (Allen, Olds, Sagel,Soto, Ryu, Espada). REMEMBER: No school on Wednesday.
To review: symbol, metaphors, similes, oxymoron, speaker, personification, irony,,syntax, diction, punctuation, stanza length and arrangement, point of view, rhetorical devices, parallelism, anaphora and other tropes (see your handout) and all sound devices—rhyme, repetition, meter, assonance, consonance, onomatopoeia--these are many of the literary elements sources for interpretation/analysis of a poem. As these poems are in a thematic unit called “People and Cultures in Conflict and Change” these poems should be looked at in light of social and cultural contexts, too.
February 5, 2008: TUESDAY: The handout today featured several examples of past AP writing prompts/materials for the “closed response” part of the test. We went over these, except for the last comparison/contrast Wordsworth/Dunbar poems. Do look at these and think about how you’d go about structuring on outline for a short essay on these: I may call in such an outline for a grade.
February 6, 2008
WEDNESDAY: NO SCHOOL.
February 7, 2008 POETRY! (see “Monday” above). I’ll have some AP sample MC tests for you, too.
February 8, 2008: SONG OF SOLOMON. Have read through chapter 9. (I will try to have the essays from Monday back to you).
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February 11-14: Poetry, Sample AP tests and poetry writing assignments.
February 15: SONG OF SOLOMON discussion (You should be to chapter 14 or beyond)
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February 18-20: Finish Song of Solomon reading and discussion; Socratic Seminar. Review of literary terms and last AP Vocabulary.
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FOR THE FINAL:
Part I: An old AP test over a poem, multiple choice AP questions (@20%)
Part II: Teacher made questions over the last poetry unit (p.857+), the poems on the AP handouts I went over today ( “Death or Toad”, “Wild Swans,” “Facing It” handouts), Song of Solomon,the six short stories (see above Jan. 15 and on lists these) , the plays before Othello (Fences, Hairy Ape, Master Builder) and Othello.(20%)
Part III: Vocabulary Recognition (10%)
Part IV: ESSAY written in computer lab 233, response to an AP prompt over Song of Solomon.(50%)
21-22: FINALS (You will write about Song of Solomon, take a section of an AP test on poetry, and be quizzed over vocabulary words and literary concepts.
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ANSWERS TO THE AP PACKET
MRS. LAZARUS
28.B
29.E
30.A
31.B
32.D
33.E
34.E
35.B
36.E
(if
also on packet)
37. C
38. D
39.D
AP Poem: “Time was, a
sober Englishman wou’d knock/His servants up, and
rise by five o’clock,” etc.
16.E
17.C