This document provides an overview of the learning objectives and activities for a unit on short stories. The unit will focus on analyzing elements of literature like plot, setting, characterization and point of view through several short stories. Students will complete close readings of stories, activities exploring themes and characters, and a final project analyzing a myth or creating an original myth. The document lists learning standards, objectives, vocabulary words, story resources, and assessment requirements for the unit.
An emergency 'first aid' slideshow used in an attempt to steer my current A level class back towards the Assessment Objectives for their imminent coursework essay in Literature this year! It's specific to the texts we are studying (Atwood / Ishiguro) but bits may still be useful to other groups!
An emergency 'first aid' slideshow used in an attempt to steer my current A level class back towards the Assessment Objectives for their imminent coursework essay in Literature this year! It's specific to the texts we are studying (Atwood / Ishiguro) but bits may still be useful to other groups!
riting About LiteratureGenerally, the essays you write in lite.docxjoellemurphey
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
209.20191.ENG11238A Assignments * Essay 1 Final!
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ENG 1123 Online Summer Thompson
Essay #1: UNIT 1 –
Stories:The Disappearance, The Story of an Hour, The Yellow
Wallpaper, and Suicide Note
Instruc!onsInstruc!ons:
Compose a cri!cal analysis essay on one of the topics below.
Your essay should be well developed, unified, coherent, and
gramma"cally correct. Refer to the Grading Criteria for MCC
English Classes in the First Day Handout for this course.
Required length: 1 ½ -2 typed pages
You will have a chance to earn 5 bonus points on this essay
by following the direc"ons for checking your graded essay
in Turn It In and looking over the correc"ons and comments
(a#er I have graded it). Turn It In will show me if you viewed
your document or not. The direc"ons (with pictures) are in
this week's module "tled "Instruc"ons for Seeing
Correc"ons in Turn It In."
Create a thesis statement, and back up your claim with
support/evidence from the text. Support should contain clear,
specific examples from the story or stories you are analyzing, as
well as documenta"on for all text references. Include at least
one quota!on from the story in each body paragraph of your
essay, for a total of 4 quota"ons from the story/poem. *See
handouts about how ci"ng poetry is different than stories. It
would be a good idea to do an outline before wri"ng the essay.
Follow MLA format: Use size 12, Times New Roman font and 1-
inch margins; double space.
Include a Work Cited page. It is not included in the two-page
length requirement; it should appear on a separate page at the
end of your paper. You will automa"cally lose 20 points for not
including a Works Cited page.
Topics:
1. Analyze a character in one of the short stoires and show
how he or she is a dynamic, round, flat, or sta!c character
by examining his or her development over the course of the
story.
2. Choose one work from Units 1 and discuss how in
the story/poem society plays a part in imprisoning/s"fling
the main character.
3. Discuss the importance of se%ng in 1 work from Units 1.
Analyze how the se%ng ("me and place) adds meaning,
conflict, and/or relevance to the characters. Do NOT just
describe the se%ng and tell me “in this story the se%ng is
this. In that story the se%ng is that.” That is not analysis,
nor is it interes"ng. I want to know how and why the
se%ng is significant, what thisreveals about the characters,
the "me period, and the conflict within the story
StepsSteps:
Before beginning your paper, read the wri"ng handouts; use
them as a guide while working on your essay as well.
Use the outline form on the next page to plan your paper.
You may write/type directly o.
riting About LiteratureGenerally, the essays you write in litera.docxdaniely50
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
Overall Instruction· For any of these topic choices, you must q.docxalfred4lewis58146
Overall Instruction:
· For any of these topic choices, you must quote directly from your chosen works and include page numbers in a parenthetical citation after quotes. Instructions for in-text, parenthetical citations are attached (see pages 3-5 of this handout).
· Choose quoted passages that function as strong evidence and help you communicate your main message about the works of literature you are analyzing. Once you quote a passage, be sure to USE it: that is, interpret what it’s saying and tie it back to your main point about the text. Through your interpretation (analysis) of each and every quote, you should advance your paper’s main argument (thesis).
· Avoid summary! In none of these assignment choices do I ask you to summarize or retell the storyline. Assume your audience has read the pieces that you’re writing about. Instead of summary, I want your creative-analytical response to the literature.
Topics:
1. Put any character in conversation with a character from another work by a different author. Createthe dialogue they might have. Note that your dialogue should capture an important aspect of each character and should be focused on one main theme. You might, for example, have two characters discuss their views about their adversaries or lovers, their plans for dealing with a similar problem they have (e.g. unfaithful spouses or low social status), their different encounters with the underworld, and so on. Write a dialogue (of any length) between the two characters and attach it to an essay of 4-5 pages explaining the reasons you chose to write this particular dialogue and the message you wanted to get across about the role these characters play in their respective works and the burdens or successes they represent. Keep in mind that you don’t have to choose a work’s main characters; it would be very interesting to choose minor characters who play a smaller but critical role in the text. The best essays will illuminate a surprising intersection between the character and texts, as well as an important message about both your characters and the works they represent. Be sure to quote from the original texts in your dialogue and accompanying essay. An alternate approach to this essay choice would be to put two different authors from our syllabus into dialogue with each other.
2. Imagine that you’re planning a film based on a pairing or group of works from the syllabus. Write a description of your film, making sure to answer the questions: why make a film on your chosen works? What message, drawn from the original texts, are you trying to get across, and why do you think it’s important for a contemporary audience to hear this message? Also, think about the stylistic decisions that a film director makes and explain how you would like to see your film made, and why. (Is it a big- budget action film, a romance with recognizable stars, a musical, a comedy, or a “quieter” family drama?) Write an essay of 6-8 pages in which you discuss the .
Meenoo Rami Social Media Session for TeachersMeenoo Rami
How do we claim our voices as teachers and how do we tell the stories from our classroom? What happens to perception of teaching when we do this effectively?
21. “Thank You, Ma’am” (choose one activity for each story and post it on your blog as a post) [objective #1]
22.
23.
24. America’s Top Mythology CharacterYou will get to compete in the America’s Top Mythology Character Contest. Your job is convince a jury of your peers (classmates) why you believe your mythology character is the top one. Be sure to come armed with evidence and strong arguments to win this battle.
25. Create a Social Networking Page for your choice of Mythology Character. Be sure to include a name, age, education, favorite books, favorite music, and favorite hobbies. Your page must include at 10 status updates, 5-8 friends, 5-8 wall messages, and other information you deem necessary for a creative profile page.
26. 2-3 page analysis of a myth you researched. Your analysis should answer the following questions: what makes this a compelling myth to read? What message if any, is this myth trying to pass on to the reader? What major action takes place in this myth? What are the major and minor characters in this myth? What was the conflict in this myth and how was it resolved?Mythology Project Resources:<br />Create your own Myths and Legends - http://myths.e2bn.org/teachers/<br />Mythology Teacher - http://www.mythologyteacher.com/<br />Classical Greek Mythology - http://www.theoi.com/greek-mythology/greek-gods-cult.html<br />Greek Mythology Encyclopedia - http://www.pantheon.org/areas/mythology/europe/greek/articles.html<br />Mythology Presentation Rubric:<br /> <br />Evaluator's Name: Presenter's Name:<br />Category1-45-78-10 Speech SCORE: __________Student mumbles, incorrectly pronounces terms, and speaks too quietly for students in the back of class to hear.Student's voice is low. Student incorrectly pronounces terms. Audience members have difficulty hearing presentation.Student uses a clear voice and correct, precise pronunciation of terms so that all audience members can hear presentation.Eye Contact SCORE: __________ Student reads all of report with no eye contact.Student occasionally uses eye contact, but still reads most of report.Student maintains eye contact with audience, seldom returning to notes.Content SCORE: __________Student does not have grasp of information; student cannot answer questions about subject.Student is uncomfortable with information and is able to answer only rudimentary questions.Student demonstrates full knowledge (more than required) by answering all class questions with explanations and elaboration.Organization SCORE: __________ Audience cannot understand presentation because there is no sequence of information.Audience has difficulty following presentation because student jumps around.Student presents information in logical, interesting sequence which audience can follow.Interactive Nature SCORE: __________The presentation is neither engaging nor interactive. The student's presentation is somewhat engaging to the audience. Minimal questioning techniques are utilized. The student keeps his/her audience engaged in an interactive presentation. He/she utilizes questioning techniques and engages in discussion with the audience members.<br />Total Score: __________________ out of 50 possible points<br />Comments: <br />Check List for LAP 2 – <br />AssignmentComplete (Y/N)“Thank You, Ma’am” p. 86“Helen on Eighty-sixth Street” p. 104“Marigolds” p. 118“The Interlopers” p. 150“The Necklace” p. 159Mythology Project<br />