Rubic_Print_FormatCourse CodeClass CodePOS-500POS-500-O503Constitu.docx

Rubic_Print_FormatCourse CodeClass CodePOS-500POS-500-
O503Constitution Day
Presentation100.0CriteriaPercentageUnsatisfactory (0.00%)Less
than Satisfactory (74.00%)Satisfactory (79.00%)Good
(87.00%)Excellent (100.00%)CommentsPoints
EarnedContent80.0%Create a 12-15 slide PowerPoint
presentation about the core tenets of the U.S. Constitution:
Checks and balances Federalism Judicial review Limited
government Popular sovereignty Separation of powers
30.0%PowerPoint content does not address the core tenets of the
U.S. Constitution.Some of the core tenets of the U.S.
Constitution are minimally presented and are overgeneralized,
or lacking detail. One or more core tenets from the list are
missing.All of the listed core tenets of the U.S. Constitution are
adequately presented.All of the listed core tenets of the U.S.
Constitution are presented clearly with a logical progression of
ideas.All of the listed core tenets of the U.S. Constitution are
thoroughly presented and clearly delineated.Speaker notes
include content-related commentary for each slide, in a
minimum of 50-100 words. 15.0%Speaker notes are not
included.Speaker notes are not complete sentences and do not
appropriately describe the content of the slide. Minimum word
count is not met.Speaker notes are included with some detail.
Minimum required word count is met.Speaker notes are clear
and brief with appropriate details. Minimum required word
count is met. Speaker notes are clear and thoroughly describe
content presented on each slide. Minimum word count is met.
Audience selection and appropriateness of language and content
(includes sentence construction, word choice, etc.)
15.0%Intended audience is not specified and is not clear based
on content of presentation. Intended audience is specified,
however the vocabulary and content are not appropriate for the
intended audience. Intended audience is specified, and the
vocabulary and content are appropriate for the intended

audience. Intended audience is specified, and the writer is
clearly aware of audience. Uses a variety of appropriate
vocabulary to enhance the content for the specified audience.
Intended audience is specified, and the writer uses a variety of
sentence constructions, figures of speech, and word choice in
distinctive and creative ways that are appropriate to purpose,
discipline, and scope.Include a 250-500-word essay describing
two interactive learning activities for your intended audience to
coincide with your presentation. 20.0%The essay describing two
interactive learning activities for your intended audience is
missing.The activities are not described clearly, not interactive,
or not appropriate for the audience.The description of the
activities is somewhat unclear or the activities do not fully
contribute to the learning of the intended material.Both
activities are described well enough, interactive, and suitable
for the intended audience.Both activities are clearly described
and thoughtfully developed to provide meaningful and varied
interactive learning opportunities for the intended audience.
Organization and Effectiveness 15.0%Layout10.0%The layout is
cluttered, confusing, and does not use spacing, headings, and
subheadings to enhance the readability. The text is extremely
difficult to read with long blocks of text, small point size for
fonts, and inappropriate contrasting colors. Poor use of
headings, subheadings, indentations, or bold formatting is
evident.The layout shows some structure, but appears cluttered
and busy or distracting with large gaps of white space or a
distracting background. Overall readability is difficult due to
lengthy paragraphs, too many different fonts, dark or busy
background, overuse of bold, or lack of appropriate indentations
of text.The layout uses horizontal and vertical white space
appropriately. Sometimes the fonts are easy to read, but in a few
places the use of fonts, italics, bold, long paragraphs, color, or
busy background detracts and does not enhance readability. The
layout background and text complement each other and enable
the content to be easily read. The fonts are easy to read and
point size varies appropriately for headings and text.The layout

is visually pleasing and contributes to the overall message with
appropriate use of headings, subheadings, and white space. Text
is appropriate in length for the target audience and to the point.
The background and colors enhance the readability of the
text.Mechanics of Writing (includes spelling, punctuation,
grammar, language use)5.0%Slide errors are pervasive enough
that they impede communication of meaning.Frequent and
repetitive mechanical errors distract the reader.Some
mechanical errors or typos are present, but they are not overly
distracting to the reader.Slides are largely free of mechanical
errors, although a few may be present.Writer is clearly in
control of standard, written, academic
English.Format5.0%Documentation of Sources (citations,
footnotes, references, bibliography, etc., as appropriate to
assignment and style)5.0%Sources are not
documented.Documentation of sources is inconsistent or
incorrect, as appropriate to assignment and style, with numerous
formatting errors.Sources are documented, as appropriate to
assignment and style, although some formatting errors may be
present.Sources are documented, as appropriate to assignment
and style, and format is mostly correct. Sources are completely
and correctly documented, as appropriate to assignment and
style, and format is free of error.Total Weightage100%
Writing About Poetry
Writing about poetry can be one of the most demanding tasks
that many students face in a literature class. Poetry, by its very
nature, makes demands on a writer who attempts to analyze it
that other forms of literature do not. So how can you write a
clear, confident, well-supported essay about poetry? This
handout offers answers to some common questions about
writing about poetry.
What's the Point?

In order to write effectively about poetry, one needs a clear idea
of what the point of writing about poetry is. When you are
assigned an analytical essay about a poem in an English class,
the goal of the assignment is usually to argue a specific thesis
about the poem, using your analysis of specific elements in the
poem and how those elements relate to each other to support
your thesis.
So why would your teacher give you such an assignment? What
are the benefits of learning to write analytic essays about
poetry? Several important reasons suggest themselves:
•
To help you learn to make a text-based argument. That is, to
help you to defend ideas based on a text that is available to you
and other readers. This sharpens your reasoning skills by
forcing you to formulate an interpretation of something
someone else has written and to support that interpretation by
providing logically valid reasons why someone else who has
read the poem should agree with your argument. This isn't a
skill that is just important in academics, by the way. Lawyers,
politicians, and journalists often find that they need to make use
of similar skills.
•
To help you to understand what you are reading more fully.
Nothing causes a person to make an extra effort to understand
difficult material like the task of writing about it. Also, writing
has a way of helping you to see things that you may have
otherwise missed simply by causing you to think about how to
frame your own analysis.
•

To help you enjoy poetry more! This may sound unlikely, but
one of the real pleasures of poetry is the opportunity to wrestle
with the text and co-create meaning with the author. When you
put together a well-constructed analysis of the poem, you are
not only showing that you understand what is there, you are also
contributing to an ongoing conversation about the poem. If your
reading is convincing enough, everyone who has read your
essay will get a little more out of the poem because of your
analysis.
What Should I Know about Writing about Poetry?
Most importantly, you should realize that a paper that you write
about a poem or poems is an argument. Make sure that you have
something specific that you want to say about the poem that you
are discussing. This specific argument that you want to make
about the poem will be your thesis. You will support this thesis
by drawing examples and evidence from the poem itself. In
order to make a credible argument about the poem, you will
want to analyze how the poem works--what genre the poem fits
into, what its themes are, and what poetic techniques and
figures of speech are used.
What Can I Write About?
Theme: One place to start when writing about poetry is to look
at any significant themes that emerge in the poetry. Does the
poetry deal with themes related to love, death, war, or peace?
What other themes show up in the poem? Are there particular
historical events that are mentioned in the poem? What are the
most important concepts that are addressed in the poem?
Genre: What kind of poem are you looking at? Is it an epic (a
long poem on a heroic subject)? Is it a sonnet (a brief poem,
usually consisting of fourteen lines)? Is it an ode? A satire? An
elegy? A lyric? Does it fit into a specific literary movement

such as Modernism, Romanticism, Neoclassicism, or
Renaissance poetry? This is another place where you may need
to do some research in an introductory poetry text or
encyclopedia to find out what distinguishes specific genres and
movements.
Versification: Look closely at the poem's rhyme and meter. Is
there an identifiable rhyme scheme? Is there a set number of
syllables in each line? The most common meter for poetry in
English is iambic pentameter, which has five feet of two
syllables each (thus the name "pentameter") in each of which
the strongly stressed syllable follows the unstressed syllable.
You can learn more about rhyme and meter by consulting our
handout on sound and meter in poetry (at
http://owl.english.purdue.edu/handouts/general/gl_soundmeter.h
tml) or the the introduction to a standard textbook for poetry
such as the Norton Anthology of Poetry. Also relevant to this
category of concerns are techniques such as caesura (a pause in
the middle of a line)and enjambment (continuing a grammatical
sentence or clause from one line to the next). Is there anything
that you can tell about the poem from the choices that the
author has made in this area? For more information about
important literary terms, see our handout (at
http://owl.english.purdue.edu/handouts/general/gl_litterms.html
) on the subject.
Figures of speech: Are there literary devices being used that
affect how you read the poem? Here are some examples of
commonly discussed figures of speech:
•
metaphor: comparison between two unlike things
•

simile: comparison between two unlike things using "like" or
"as"
•
metonymy: one thing stands for something else that is closely
related to it (For example, using the phrase "the crown" to refer
to the king would be an example of metonymy.)
•
synechdoche: a part stands in for a whole (For example, in the
phrase "all hands on deck," "hands" stands in for the people in
the ship's crew.)
•
personification: a non-human thing is endowed with human
characteristics
•
litotes: a double negative is used for poetic effect (example: not
unlike, not displeased)
•
irony: a difference between the surface meaning of the words
and the implications that may be drawn from them
Cultural Context:How does the poem you are looking at relate
to the historical context in which it was written? For example,
what's the cultural significance of Walt Whitman's famous elegy
for Lincoln "When Lilacs Last in the Dooryard Bloomed" in
light of post-Civil War cultural trends in the U.S.A? How does
John Donne's devotional poetry relate to the contentious

religious climate in seventeenth-century England? These
questions may take you out of the literature section of your
library altogether and involve finding out about philosophy,
history, religion, economics, music, or the visual arts.
What style should I use?
It is useful to follow some standard conventions when writing
about poetry. First, when you analyze a poem, it is best to use
present tense rather than past tense for your verbs. Second, you
will want to make use of numerous quotations from the poem
and explain their meaning and their significance to your
argument. After all, if you do not quote the poem itself when
you are making an argument about it, you damage your
credibility. If your teacher asks for outside criticism of the
poem as well, you should also cite points made by other critics
that are relevant to your argument. A third point to remember is
that there are various citation formats for citing both the
material you get from the poems themselves and the information
you get from other critical sources. The most common citation
format for writing about poetry is the Modern Language
Association (MLA) format. For more about MLA format, see
our handout at
http://owl.english.purdue.edu/handouts/research/r_mla.html.
Developed by Brian Yothers, March 2003
This page is located at
http://owl.english.purdue.edu/handouts/print/general/gl_poetry.
html
Copyright ©1995-2004 by OWL at Purdue University and
Purdue University. All rights reserved.
Use of this site, including printing and distributing our
handouts, constitutes acceptance of our terms and conditions of

fair use, available at
http://owl.english.purdue.edu/lab/fairuse.html.
PAGE
1
Still I Rise
By Maya Angelou
You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I'll rise.
Does my sassiness upset you?
Why are you beset with gloom?
'Cause I walk like I've got oil wells
Pumping in my living room.
Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.
Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops.
Weakened by my soulful cries.
Does my haughtiness offend you?
Don't you take it awful hard

'Cause I laugh like I've got gold mines
Diggin' in my own back yard.
You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I'll rise.
Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?
Out of the huts of history's shame
I rise
Up from a past that's rooted in pain
I rise
I'm a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that's wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

Phenomenal Woman
By Maya Angelou
Pretty women wonder where my secret lies.
I'm not cute or built to suit a fashion model's size
But when I start to tell them,
They think I'm telling lies.
I say,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Phenomenally.

Phenomenal woman,
That's me.
Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
I say,
It's the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.
Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care.
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Alone
by Maya Angelou
Lying, thinking
Last night
How to find my soul a home
Where water is not thirsty
And bread loaf is not stone
I came up with one thing
And I don't believe I'm wrong
That nobody,
But nobody
Can make it out here alone.
Alone, all alone
Nobody, but nobody
There are some millionaires
With money they can't use
Their wives run round like banshees
Their children sing the blues
They've got expensive doctors
To cure their hearts of stone.
But nobody
No, nobody
Alone, all alone

Nobody, but nobody
Now if you listen closely
I'll tell you what I know
Storm clouds are gathering
The wind is gonna blow
The race of man is suffering
And I can hear the moan,
'Cause nobody,
But nobody
Can make it out here alone
Alone, all alone
Nobody, but nobody
From Oh Pray My Wings Are Gonna Fit Me Well By Maya
Angelou. Copyright © 1975 by
Maya Angelou. Reprinted with permission of Random House,
Inc. For online information
about other Random House, Inc. books and authors, visit the
website at
www.randomhouse.com.
Maya Angelou was born Marguerite Johnson in St. Louis,
Missouri, on April 4, 1928. She
grew up in St. Louis and Stamps, Arkansas. She is an author,

poet, historian, songwriter,
playwright, dancer, stage and screen producer, director,
performer, singer, and civil rights
activist. She is best known for her autobiographical books: All
God's Children Need Traveling
Shoes (1986), The Heart of a Woman (1981), Singin' and
Swingin' and Gettin' Merry Like
Christmas (1976), Gather Together in My Name (1974), and I
Know Why the Caged Bird
Sings (1969), which was nominated for the National Book
Award.
Among her volumes of poetry are A Brave and Startling Truth
(Random House, 1995), The
Complete Collected Poems of Maya Angelou (1994), Wouldn't
Take Nothing for My Journey
Now (1993), Now Sheba Sings the Song (1987), I Shall Not Be
Moved (1990), Shaker, Why
Don't You Sing? (1983), Oh Pray My Wings Are Gonna Fit Me
Well (1975), and Just Give
Me a Cool Drink of Water 'fore I Diiie (1971), which was
nominated for the Pulitzer prize.
In 1959, at the request of Dr. Martin Luther King Jr., Maya
Angelou became the northern
coordinator for the Southern Christian Leadership Conference.
From 1961 to 1962 she was
associate editor of The Arab Observer in Cairo, Egypt, the only
English-language news
weekly in the Middle East, and from 1964 to 1966 she was
feature editor of the African
Review in Accra, Ghana. She returned to the U.S. in 1974 and
was appointed by Gerald
Ford to the Bicentennial Commission and later by Jimmy Carter
to the Commission for
International Woman of the Year. She accepted a lifetime

appointment in 1981 as Reynolds
Professor of American Studies at Wake Forest University in
Winston-Salem, North Carolina.
In 1993, Angelou wrote and delivered a poem, "On The Pulse of
the Morning," at the
inauguration for President Bill Clinton at his request.
The first black woman director in Hollywood, Angelou has
written, produced, directed, and
starred in productions for stage, film, and television. In 1971,
she wrote the original
screenplay and musical score for the film Georgia, Georgia, and
was both author and
executive producer of a five-part television miniseries "Three
Way Choice." She has also
written and produced several prize-winning documentaries,
including "Afro-Americans in the
Arts," a PBS special for which she received the Golden Eagle
Award. Maya Angelou was
twice nominated for a Tony award for acting: once for her
Broadway debut in Look Away
(1973), and again for her performance in Roots (1977).
Maya Angelou passed away May 28, 2014.
so you want to be a writer?
by Charles Bukowski

if it doesn't come bursting out of you
in spite of everything,
don't do it.
unless it comes unasked out of your
heart and your mind and your mouth
and your gut,
don't do it.
if you have to sit for hours
staring at your computer screen
or hunched over your
typewriter
searching for words,
don't do it.
if you're doing it for money or
fame,
don't do it.
if you're doing it because you want
women in your bed,
don't do it.
if you have to sit there and
rewrite it again and again,
don't do it.
if it's hard work just thinking about doing it,
don't do it.
if you're trying to write like somebody
else,
forget about it.
if you have to wait for it to roar out of
you,
then wait patiently.
if it never does roar out of you,
do something else.
if you first have to read it to your wife

or your girlfriend or your boyfriend
or your parents or to anybody at all,
you're not ready.
don't be like so many writers,
don't be like so many thousands of
people who call themselves writers,
don't be dull and boring and
pretentious, don't be consumed with self-
love.
the libraries of the world have
yawned themselves to
sleep
over your kind.
don't add to that.
don't do it.
unless it comes out of
your soul like a rocket,
unless being still would
drive you to madness or
suicide or murder,
don't do it.
unless the sun inside you is
burning your gut,
don't do it.
when it is truly time,
and if you have been chosen,
it will do it by
itself and it will keep on doing it
until you die or it dies in you.

there is no other way.
and there never was.
From sifting through the madness for the Word, the line, the
way by Charles Bukowski.
Copyright © 2003 by the Estate of Charles Bukowski. Reprinted
by permission of
HarperCollins. All rights reserved.
the suicide kid
by Charles Bukowski
I went to the worst of bars
hoping to get
killed.
but all I could do was to
get drunk
again.
worse, the bar patrons even
ended up
liking me.
there I was trying to get

pushed over the dark
edge
and I ended up with
free drinks
while somewhere else
some poor
son-of-a-bitch was in a hospital
bed,
tubes sticking out all over
him
as he fought like hell
to live.
nobody would help me
die as
the drinks kept
coming,
as the next day
waited for me
with its steel clamps,
its stinking
anonymity,
its incogitant
attitude.
death doesn't always
come running
when you call
it,
not even if you
call it
from a shining
castle
or from an ocean liner
or from the best bar
on earth (or the
worst).

such impertinence
only makes the gods
hesitate and
delay.
ask me: I'm
72.
Copyright © 2005 by Charles Bukowski. From Slouching
Toward Nirvana: New Poems.
Reprinted with permission of HarperCollins Publishers.
The meek have inherited
By Charles Bukowski
if I suffer at this
typerwriter
think how I’d feel
among the lettuce-
pickers of Salinas?
I think of the men
I’ve known in
factories
with no way to
get out—
choking while living
choking while laughing
at Bob Hope or Lucille
Ball while
2 or 3 children beat

tennis balls against
the walls.
some suicides are never
recorded.
From Love is a Dog From Hell
Charles Bukowski was born in Andernach, Germany on August
16, 1920, the only child of an
American soldier and a German mother. At the age of three, he
came with his family to the
United States and grew up in Los Angeles. He attended Los
Angeles City College from 1939
to 1941, then left school and moved to New York City to
become a writer. His lack of
publishing success at this time caused him to give up writing in
1946 and spurred a ten-year
stint of heavy drinking. After he developed a bleeding ulcer, he
decided to take up writing
again. He worked a wide range of jobs to support his writing,
including dishwasher, truck
driver and loader, mail carrier, guard, gas station attendant,
stock boy, warehouse worker,
shipping clerk, post office clerk, parking lot attendant, Red
Cross orderly, and elevator
operator. He also worked in a dog biscuit factory, a
slaughterhouse, a cake and cookie
factory, and he hung posters in New York City subways.

Bukowski published his first story when he was twenty-four and
began writing poetry at the
age of thirty-five. His writing often featured a depraved
metropolitan environment,
downtrodden members of American society, direct language,
violence, and sexual imagery,
and many of his works center around a roughly autobiographical
figure named Henry
Chinaski. His first book of poetry was published in 1959; he
went on to publish more than
forty-five books of poetry and prose, including Pulp (Black
Sparrow, 1994), Screams from
the Balcony: Selected Letters 1960-1970 (1993), and The Last
Night of the Earth Poems
(1992). He died of leukemia in San Pedro on March 9, 1994.

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