This document discusses using Shakespeare's works to teach students reading skills rather than just having students read Shakespeare. It argues that Shakespeare should be used as a process to teach reading rather than just an end product for students to be exposed to. Using carefully scaffolded lessons with Shakespeare can help students learn how to parse difficult language and texts which are skills that transfer to other subjects. The document concludes that teachers need to adapt how they teach Shakespeare to engage today's students by meeting them at their current reading levels and showing them how Shakespeare can improve their reading abilities.
William Shakespeare is referred to as "The Bard" because bard originally meant poet. As one of the greatest poets of all time, he is called the Bard of Avon from his hometown of Stratford-upon-Avon. Teachers should teach Shakespeare because his works deal with universal human themes like love, death, and betrayal that are still relevant today. His plays also expose students to diversity and challenge them. Teaching Macbeth involves pre-reading activities to introduce themes and symbols, then reading and discussing a scene in groups using close analysis of the text. Students would then perform the scene in a modern adaptation.
This document provides guidance on improving writing skills. It discusses evaluating writing based on 6 traits: ideas, organization, voice, word choice, sentence fluency, and conventions. It provides examples of strong and weak writing for each trait, and suggests techniques for strengthening writing. Readers are encouraged to thoughtfully analyze their own writing and learn from examples of both skilled and developing writers. The overall message is that writing is a craft that improves through practice, self-reflection, and embracing constructive feedback.
The document provides guidance for revising short stories for an exam. It discusses the format of exam questions, which may focus on themes, characters, symbols or other elements. It recommends revising each story's plot, characters, literary devices, structure, and form. Specific revision techniques are outlined, like writing notes and condensing them into summaries. The document emphasizes analyzing stories' language, structure, and form in exam answers and linking these to themes and the question. It provides examples of how to address these assessment objectives at different grade levels to achieve high marks.
This document defines and provides brief examples of 11 different literary devices: flashback, foreshadowing, dialogue, suspense, imagery, poetic justice, cliffhanger, deus ex machina, in medias res, ticking clock scenario, and bildungsroman. Each device is given a 1-2 sentence explanation of its purpose or effect in a story.
This document provides tips for understanding Shakespeare's language in his plays. It recommends skimming for familiar words, using footnotes to understand unfamiliar words, listening to actors' delivery to understand emotions and meanings, and using resources like SparkNotes if passages are still unclear. The document emphasizes that Shakespeare's word order and meanings have changed over time, so these tips can help a modern reader start to comprehend his rich language through patience and practice.
T.P. Kailasam's play "The Curse of Karna" focuses on exalting the character of Karna from the Mahabharata. It depicts Karna completing his education but being cursed by Parashurama for lying about his caste. Throughout the play, Karna is a matchless warrior but is repeatedly discouraged due to his lower caste birth. The play shows Karna defending Draupadi's honor and fighting valiantly against the Pandavas despite being unable to fully use his martial skills due to Parashurama's curse. In the end, the curse is fulfilled and Arjuna kills Karna on the battlefield.
This document defines and provides examples of several literary devices:
- Alliteration is the repetition of consonant sounds at the beginning of words. An example is "Peter Piper picked a peck of pickled peppers."
- Anaphora is the repetition of a word or phrase at the beginning of consecutive sentences to reinforce a point or add coherence, like in Winston Churchill's famous speech.
- A metaphor is a direct comparison between two unlike things, such as "All the world's a stage." An extended metaphor runs through several lines or an entire work.
- A simile directly compares two things using "like" or "as," for example "She is as beautiful as a sunrise."
William Shakespeare is referred to as "The Bard" because bard originally meant poet. As one of the greatest poets of all time, he is called the Bard of Avon from his hometown of Stratford-upon-Avon. Teachers should teach Shakespeare because his works deal with universal human themes like love, death, and betrayal that are still relevant today. His plays also expose students to diversity and challenge them. Teaching Macbeth involves pre-reading activities to introduce themes and symbols, then reading and discussing a scene in groups using close analysis of the text. Students would then perform the scene in a modern adaptation.
This document provides guidance on improving writing skills. It discusses evaluating writing based on 6 traits: ideas, organization, voice, word choice, sentence fluency, and conventions. It provides examples of strong and weak writing for each trait, and suggests techniques for strengthening writing. Readers are encouraged to thoughtfully analyze their own writing and learn from examples of both skilled and developing writers. The overall message is that writing is a craft that improves through practice, self-reflection, and embracing constructive feedback.
The document provides guidance for revising short stories for an exam. It discusses the format of exam questions, which may focus on themes, characters, symbols or other elements. It recommends revising each story's plot, characters, literary devices, structure, and form. Specific revision techniques are outlined, like writing notes and condensing them into summaries. The document emphasizes analyzing stories' language, structure, and form in exam answers and linking these to themes and the question. It provides examples of how to address these assessment objectives at different grade levels to achieve high marks.
This document defines and provides brief examples of 11 different literary devices: flashback, foreshadowing, dialogue, suspense, imagery, poetic justice, cliffhanger, deus ex machina, in medias res, ticking clock scenario, and bildungsroman. Each device is given a 1-2 sentence explanation of its purpose or effect in a story.
This document provides tips for understanding Shakespeare's language in his plays. It recommends skimming for familiar words, using footnotes to understand unfamiliar words, listening to actors' delivery to understand emotions and meanings, and using resources like SparkNotes if passages are still unclear. The document emphasizes that Shakespeare's word order and meanings have changed over time, so these tips can help a modern reader start to comprehend his rich language through patience and practice.
T.P. Kailasam's play "The Curse of Karna" focuses on exalting the character of Karna from the Mahabharata. It depicts Karna completing his education but being cursed by Parashurama for lying about his caste. Throughout the play, Karna is a matchless warrior but is repeatedly discouraged due to his lower caste birth. The play shows Karna defending Draupadi's honor and fighting valiantly against the Pandavas despite being unable to fully use his martial skills due to Parashurama's curse. In the end, the curse is fulfilled and Arjuna kills Karna on the battlefield.
This document defines and provides examples of several literary devices:
- Alliteration is the repetition of consonant sounds at the beginning of words. An example is "Peter Piper picked a peck of pickled peppers."
- Anaphora is the repetition of a word or phrase at the beginning of consecutive sentences to reinforce a point or add coherence, like in Winston Churchill's famous speech.
- A metaphor is a direct comparison between two unlike things, such as "All the world's a stage." An extended metaphor runs through several lines or an entire work.
- A simile directly compares two things using "like" or "as," for example "She is as beautiful as a sunrise."
Narrative Techniques & Other Literary Devicesaplitper7
Narrative techniques and literary devices are discussed including allusion, attitude, tone, mood, point of view, dialogue, flashback, foreshadowing, apostrophe, aside, stereotypes, turning points, internal monologue, soliloquy, manipulation of time, and in medias res. Examples are provided to illustrate each technique or device.
This document provides instructions and examples for 8 types of poems students must include in their 7th grade poetry portfolio: acrostic, haiku, cinquain, limerick, free verse, diamante, ode, and sonnet. It defines each type of poem and its structural requirements. Examples are provided for each poem type. A rubric is also included for grading the portfolio based on completeness, accuracy, presentation, and language/mechanics.
1. The poem Invictus by William Ernest Henley is about overcoming obstacles and persevering through hardship and pain.
2. The speaker has endured a harsh life full of dire circumstances and poor luck, yet has never winced or cried out despite their head being bloody.
3. Though the world is a cruel and sad place, and death looms ahead, the speaker faces the menace of the years without fear and takes responsibility for their own fate.
This document outlines a lesson plan for teaching poetry writing to high school students. The objectives are for students to recall elements of poetry, examine techniques in sample poems, and demonstrate genre knowledge in their own poems. Activities include identifying elements in a "snake" game, analyzing techniques in poems, and creating seed, erasure, ekphrasis and personification poems. Tips are provided on studying genre, being sensitive to language, thinking divergently, making writing time, and using a poetic journal. Groups will present and critique poems using a rubric. The follow up assignment uses a "poetry pentad" process to observe, describe and experiment with a subject in different poetic forms.
The document provides learning objectives and vocabulary for studying poetry. It includes intentions to develop an enjoyment of different poetry forms, skills in analyzing poetry, and recognizing cultural influences. It also lists various poetry terms and structures. Activities include writing acrostic, color, and shape poems using techniques like metaphor, simile, and alliteration.
The document provides background information and assignments for a literature class studying Night by Elie Wiesel. The objectives are for students to analyze themes of justice and injustice in the memoir through journal entries, discussions, and a major project. Students will make predictions, identify themes and conflicts, and demonstrate comprehension of the text and universal moral issues examined. Assignments include creating found poetry from passages, keeping a reader's response journal, and answering reading guide questions for each section.
The story follows an 8-year-old boy who goes on a camping trip with his father after his parents' separation. The trip takes place on the dangerous and foreboding moors. Though the boy is excited to spend time with his father and be like him, the experience leaves a deep and lasting impact. Years later, the boy is still haunted by memories of the trip and what occurred between him and his father on the moors.
This document provides guidance on writing effective essays, including interpreting prompts correctly, thinking before writing, connecting ideas, introducing topics, developing a clear thesis, using plot effectively through brief references rather than summaries, employing analysis over passive descriptions, conveying significance subtly, and targeting revisions to essential elements like the introduction, thesis, topic sentences, and conclusion.
This document defines and provides examples of various types of figurative language. It discusses figurative language categories such as simile, metaphor, personification, onomatopoeia, hyperbole, litotes, metonymy, synecdoche, epithet, allegory, symbol, irony, oxymoron, and puns. Examples are provided for each type to illustrate how figurative language utilizes creative comparisons and non-literal meanings to enrich writing.
This document outlines the learning objectives and expectations for an English class. It introduces the topics that will be covered - understanding classroom expectations, why people write poetry, and what a Haiku is. It defines a Haiku as a 3-line Japanese poem with a 5-7-5 syllable structure that creates a picture using nature imagery. Students are instructed to write their own Haiku describing themselves and will share them to introduce each other. The document provides examples of Haikus and questions for students to discuss in pairs about poetry.
The document provides definitions and examples of various literary terms including imagery, simile, metaphor, personification, hyperbole, symbolism, irony, allusion, paradox, oxymoron, allegory, satire, and point of view. It includes prompts for the reader to provide their own examples using the different literary devices.
This document provides guidance on using pronouns and presents examples of the object pronouns "me" and "myself" and subject pronouns "I" and "me". It explains that "me" is an object pronoun that refers to the recipient of an action, while "myself" is a reflexive pronoun used with the subject "I", not in place of "me". It also discusses when to use "I" versus "me" in sentences with multiple subjects. The document includes an agenda for an EWRT 1A class that covers essay reviews, group work on analyzing comparisons in writing, and an in-class writing exercise on similes, verb tenses, and integrating quotations.
The document contains revision questions about two literary works: the short story anthology "Sunlight on Grass" and the novel "Of Mice and Men" by John Steinbeck. The questions are categorized into sections about characters, themes, structure, writer's craft, and historical context. There are 15 questions in each section, asking students to analyze various elements of the works such as how characters are portrayed and developed, what themes are explored, how writers employ literary techniques, and how the context of its time period shapes readers' responses.
The document provides definitions and examples for various literary terms including: satire, structure, ambiguity, connotation, denotation, parable, parody, rhetorical question, epigram, archetype, foil, caricature, extended metaphor, juxtaposition, theme, tragedy, epic, pastoral, fable, hero's journey, series, contrast, repetition, scene/chapter, act/stanza, and scene. Each term is defined concisely in 1-2 sentences and an example is provided.
This document defines and provides examples of various literary devices used in literature. It discusses devices such as metaphor, simile, imagery, irony, symbolism, alliteration, onomatopoeia, puns, personification and more. Examples are given from well-known works like Romeo and Juliet, The Great Gatsby, and poems by Edgar Allan Poe and William Wordsworth to illustrate how each device is used. The document serves as a guide for understanding common literary techniques employed by authors.
This document provides an overview of poetry, including its key elements and different types. It discusses lyric poetry such as sonnets, odes, and elegies. It also covers narrative poetry like ballads and epics, as well as dramatic poetry. The core elements of poetry discussed are shape, sounds, meter, imagery, and tone. Examples are provided to illustrate different forms like the sonnet and haiku.
The document discusses different types of figurative language including simile, metaphor, personification, hyperbole, idioms, imagery, alliteration and onomatopoeia. It provides examples for each type and a short description of what each figurative language technique means. It also includes a quiz with sentences to identify the figurative language being used. Finally, it lists some lesson plan and resource links for teaching these different figurative language techniques.
This document provides an agenda for an EWRT 1C class on figurative language, poetry analysis, and new criticism. It includes:
1. A reading of the poem "My Papa's Waltz" and a critical essay analyzing it from a new critical lens.
2. A discussion of common figurative language techniques like metaphor, simile, imagery and how new criticism focuses on understanding these formal elements.
3. Homework instructions asking students to analyze "My Papa's Waltz" using new critical techniques, and discuss their agreement or disagreement with the provided critical essay's interpretation.
This document defines and provides examples of common literary devices including simile, metaphor, personification, hyperbole, symbol, and alliteration. Similes compare two things using like or as, metaphors state one thing is another, personification gives human traits to non-humans, hyperboles exaggerate for effect, symbols represent other ideas, and alliteration repeats initial consonant sounds. Examples are given for each device to illustrate their usage.
A-Level English Breathless: An American Girl in Paris by Nancy Miller Kayleigh Robinson
Analysis on the A Level text on the following headings: Phonology, Lexis, Grammar, Pragmatics, Discourse and Graphology. Examples and quotes included. Idea inspirational - helps you come up with more ideas and ways to analyse texts and specifically, the Nancy Miller text - Breathless: An American Girl in Paris.
ENG 4034AHamlet Final AssessmentDUE DATE WEDNESDAY, 1220, 1.docxchristinemaritza
ENG 403/4A
Hamlet Final Assessment
DUE DATE: WEDNESDAY, 12/20, 11:30 PM
At the end of the Hamlet unit, you will have two choices to earn 100 points. These choices replace the final essay test that was in the course originally. You can choose only ONE of the following options, and the due date remains the same. These activities will be graded just like the test would have been, meaning there is no chance to redo or revise the assignment. However, this will be taken into consideration when I grade them.
No matter what option you choose, it must be completed in a Word document and labeled or titled so that it is clear to your teacher which option you chose. On your document, write it as a heading, like this:
Your first and last name
Date
Name of the option you chose
Models of each assignment can be found in class announcements.
Option #1: RAFT
A RAFT is a writing assignment that encourages you to uncover your own voice and formats for presenting your ideas about the content you are studying. In this design, you have a lot of freedom to choose what interests you.
· R = Role of the writer: Who are you as the writer?
· A = Audience: To whom are you writing?
· F = Format: In what format are you writing?
· T = Topic: What are you writing about?
The process:
1. Use the chart below to choose two characters from the ROLE column. Your goal is to write in the voice (Role) of YOUR CHARACTER.
2. Using the knowledge and understanding that you have gained throughout the reading and viewing of Hamlet, choose a related Audience, Format, and Topic from the chart below.
3. As you craft your creative writing assignment, be sure the character’s personality and motivations are evident. For instance, you could choose Ophelia (role), Hamlet (audience), blog entry (format) and betrayal (theme). Then you will write a blog entry from Ophelia’s point of view with Hamlet as the intended audience focused on the theme of betrayal.
4. Next, repeat this process for a different role, audience, format and theme.
5. Please see the model below (pg. 8) to understand what to do.
6. If you are unsure of what a particular format is, the best thing to do is look up examples online.
· YOU MUST CHOOSE TWO CHARACTERS FROM THE ROLE LIST AND COMPLETE TWO DIFFERENT RAFTS. THEY WILL BE WORTH 50 POINTS EACH AND MUST BE AT LEAST 200 WORDS EACH.
· To clarify, this means two different roles, two different audiences, two different formats and two different themes.
· You may use some words from the play, but if you do they MUST be exact and put in quotation marks. The goal, however, is to use your own words. No outside sources are to be used for this assignment.
· You can choose to write about a particular scene or event, or the play as a whole.
· You are in the voice of the character, so if you choose the role of Ophelia, then you will become her (first person POV) and reflect her personality and motivations in your writing.
Role
Audience
Format
Theme
Choose the role that you .
This document provides an agenda and lecture materials for an English writing class. The agenda includes a discussion on labels, a lecture on eliminating passive voice, the seven basic genres of stories, and the seven basic plot structures. It then provides guidance for an in-class writing exercise applying the active voice to the seven genres and seven plots. The lecture materials define and provide examples of the passive voice and strategies for eliminating it. It also defines and provides examples of the seven common genres of stories and the seven basic plot structures according to Christopher Booker.
Narrative Techniques & Other Literary Devicesaplitper7
Narrative techniques and literary devices are discussed including allusion, attitude, tone, mood, point of view, dialogue, flashback, foreshadowing, apostrophe, aside, stereotypes, turning points, internal monologue, soliloquy, manipulation of time, and in medias res. Examples are provided to illustrate each technique or device.
This document provides instructions and examples for 8 types of poems students must include in their 7th grade poetry portfolio: acrostic, haiku, cinquain, limerick, free verse, diamante, ode, and sonnet. It defines each type of poem and its structural requirements. Examples are provided for each poem type. A rubric is also included for grading the portfolio based on completeness, accuracy, presentation, and language/mechanics.
1. The poem Invictus by William Ernest Henley is about overcoming obstacles and persevering through hardship and pain.
2. The speaker has endured a harsh life full of dire circumstances and poor luck, yet has never winced or cried out despite their head being bloody.
3. Though the world is a cruel and sad place, and death looms ahead, the speaker faces the menace of the years without fear and takes responsibility for their own fate.
This document outlines a lesson plan for teaching poetry writing to high school students. The objectives are for students to recall elements of poetry, examine techniques in sample poems, and demonstrate genre knowledge in their own poems. Activities include identifying elements in a "snake" game, analyzing techniques in poems, and creating seed, erasure, ekphrasis and personification poems. Tips are provided on studying genre, being sensitive to language, thinking divergently, making writing time, and using a poetic journal. Groups will present and critique poems using a rubric. The follow up assignment uses a "poetry pentad" process to observe, describe and experiment with a subject in different poetic forms.
The document provides learning objectives and vocabulary for studying poetry. It includes intentions to develop an enjoyment of different poetry forms, skills in analyzing poetry, and recognizing cultural influences. It also lists various poetry terms and structures. Activities include writing acrostic, color, and shape poems using techniques like metaphor, simile, and alliteration.
The document provides background information and assignments for a literature class studying Night by Elie Wiesel. The objectives are for students to analyze themes of justice and injustice in the memoir through journal entries, discussions, and a major project. Students will make predictions, identify themes and conflicts, and demonstrate comprehension of the text and universal moral issues examined. Assignments include creating found poetry from passages, keeping a reader's response journal, and answering reading guide questions for each section.
The story follows an 8-year-old boy who goes on a camping trip with his father after his parents' separation. The trip takes place on the dangerous and foreboding moors. Though the boy is excited to spend time with his father and be like him, the experience leaves a deep and lasting impact. Years later, the boy is still haunted by memories of the trip and what occurred between him and his father on the moors.
This document provides guidance on writing effective essays, including interpreting prompts correctly, thinking before writing, connecting ideas, introducing topics, developing a clear thesis, using plot effectively through brief references rather than summaries, employing analysis over passive descriptions, conveying significance subtly, and targeting revisions to essential elements like the introduction, thesis, topic sentences, and conclusion.
This document defines and provides examples of various types of figurative language. It discusses figurative language categories such as simile, metaphor, personification, onomatopoeia, hyperbole, litotes, metonymy, synecdoche, epithet, allegory, symbol, irony, oxymoron, and puns. Examples are provided for each type to illustrate how figurative language utilizes creative comparisons and non-literal meanings to enrich writing.
This document outlines the learning objectives and expectations for an English class. It introduces the topics that will be covered - understanding classroom expectations, why people write poetry, and what a Haiku is. It defines a Haiku as a 3-line Japanese poem with a 5-7-5 syllable structure that creates a picture using nature imagery. Students are instructed to write their own Haiku describing themselves and will share them to introduce each other. The document provides examples of Haikus and questions for students to discuss in pairs about poetry.
The document provides definitions and examples of various literary terms including imagery, simile, metaphor, personification, hyperbole, symbolism, irony, allusion, paradox, oxymoron, allegory, satire, and point of view. It includes prompts for the reader to provide their own examples using the different literary devices.
This document provides guidance on using pronouns and presents examples of the object pronouns "me" and "myself" and subject pronouns "I" and "me". It explains that "me" is an object pronoun that refers to the recipient of an action, while "myself" is a reflexive pronoun used with the subject "I", not in place of "me". It also discusses when to use "I" versus "me" in sentences with multiple subjects. The document includes an agenda for an EWRT 1A class that covers essay reviews, group work on analyzing comparisons in writing, and an in-class writing exercise on similes, verb tenses, and integrating quotations.
The document contains revision questions about two literary works: the short story anthology "Sunlight on Grass" and the novel "Of Mice and Men" by John Steinbeck. The questions are categorized into sections about characters, themes, structure, writer's craft, and historical context. There are 15 questions in each section, asking students to analyze various elements of the works such as how characters are portrayed and developed, what themes are explored, how writers employ literary techniques, and how the context of its time period shapes readers' responses.
The document provides definitions and examples for various literary terms including: satire, structure, ambiguity, connotation, denotation, parable, parody, rhetorical question, epigram, archetype, foil, caricature, extended metaphor, juxtaposition, theme, tragedy, epic, pastoral, fable, hero's journey, series, contrast, repetition, scene/chapter, act/stanza, and scene. Each term is defined concisely in 1-2 sentences and an example is provided.
This document defines and provides examples of various literary devices used in literature. It discusses devices such as metaphor, simile, imagery, irony, symbolism, alliteration, onomatopoeia, puns, personification and more. Examples are given from well-known works like Romeo and Juliet, The Great Gatsby, and poems by Edgar Allan Poe and William Wordsworth to illustrate how each device is used. The document serves as a guide for understanding common literary techniques employed by authors.
This document provides an overview of poetry, including its key elements and different types. It discusses lyric poetry such as sonnets, odes, and elegies. It also covers narrative poetry like ballads and epics, as well as dramatic poetry. The core elements of poetry discussed are shape, sounds, meter, imagery, and tone. Examples are provided to illustrate different forms like the sonnet and haiku.
The document discusses different types of figurative language including simile, metaphor, personification, hyperbole, idioms, imagery, alliteration and onomatopoeia. It provides examples for each type and a short description of what each figurative language technique means. It also includes a quiz with sentences to identify the figurative language being used. Finally, it lists some lesson plan and resource links for teaching these different figurative language techniques.
This document provides an agenda for an EWRT 1C class on figurative language, poetry analysis, and new criticism. It includes:
1. A reading of the poem "My Papa's Waltz" and a critical essay analyzing it from a new critical lens.
2. A discussion of common figurative language techniques like metaphor, simile, imagery and how new criticism focuses on understanding these formal elements.
3. Homework instructions asking students to analyze "My Papa's Waltz" using new critical techniques, and discuss their agreement or disagreement with the provided critical essay's interpretation.
This document defines and provides examples of common literary devices including simile, metaphor, personification, hyperbole, symbol, and alliteration. Similes compare two things using like or as, metaphors state one thing is another, personification gives human traits to non-humans, hyperboles exaggerate for effect, symbols represent other ideas, and alliteration repeats initial consonant sounds. Examples are given for each device to illustrate their usage.
A-Level English Breathless: An American Girl in Paris by Nancy Miller Kayleigh Robinson
Analysis on the A Level text on the following headings: Phonology, Lexis, Grammar, Pragmatics, Discourse and Graphology. Examples and quotes included. Idea inspirational - helps you come up with more ideas and ways to analyse texts and specifically, the Nancy Miller text - Breathless: An American Girl in Paris.
ENG 4034AHamlet Final AssessmentDUE DATE WEDNESDAY, 1220, 1.docxchristinemaritza
ENG 403/4A
Hamlet Final Assessment
DUE DATE: WEDNESDAY, 12/20, 11:30 PM
At the end of the Hamlet unit, you will have two choices to earn 100 points. These choices replace the final essay test that was in the course originally. You can choose only ONE of the following options, and the due date remains the same. These activities will be graded just like the test would have been, meaning there is no chance to redo or revise the assignment. However, this will be taken into consideration when I grade them.
No matter what option you choose, it must be completed in a Word document and labeled or titled so that it is clear to your teacher which option you chose. On your document, write it as a heading, like this:
Your first and last name
Date
Name of the option you chose
Models of each assignment can be found in class announcements.
Option #1: RAFT
A RAFT is a writing assignment that encourages you to uncover your own voice and formats for presenting your ideas about the content you are studying. In this design, you have a lot of freedom to choose what interests you.
· R = Role of the writer: Who are you as the writer?
· A = Audience: To whom are you writing?
· F = Format: In what format are you writing?
· T = Topic: What are you writing about?
The process:
1. Use the chart below to choose two characters from the ROLE column. Your goal is to write in the voice (Role) of YOUR CHARACTER.
2. Using the knowledge and understanding that you have gained throughout the reading and viewing of Hamlet, choose a related Audience, Format, and Topic from the chart below.
3. As you craft your creative writing assignment, be sure the character’s personality and motivations are evident. For instance, you could choose Ophelia (role), Hamlet (audience), blog entry (format) and betrayal (theme). Then you will write a blog entry from Ophelia’s point of view with Hamlet as the intended audience focused on the theme of betrayal.
4. Next, repeat this process for a different role, audience, format and theme.
5. Please see the model below (pg. 8) to understand what to do.
6. If you are unsure of what a particular format is, the best thing to do is look up examples online.
· YOU MUST CHOOSE TWO CHARACTERS FROM THE ROLE LIST AND COMPLETE TWO DIFFERENT RAFTS. THEY WILL BE WORTH 50 POINTS EACH AND MUST BE AT LEAST 200 WORDS EACH.
· To clarify, this means two different roles, two different audiences, two different formats and two different themes.
· You may use some words from the play, but if you do they MUST be exact and put in quotation marks. The goal, however, is to use your own words. No outside sources are to be used for this assignment.
· You can choose to write about a particular scene or event, or the play as a whole.
· You are in the voice of the character, so if you choose the role of Ophelia, then you will become her (first person POV) and reflect her personality and motivations in your writing.
Role
Audience
Format
Theme
Choose the role that you .
This document provides an agenda and lecture materials for an English writing class. The agenda includes a discussion on labels, a lecture on eliminating passive voice, the seven basic genres of stories, and the seven basic plot structures. It then provides guidance for an in-class writing exercise applying the active voice to the seven genres and seven plots. The lecture materials define and provide examples of the passive voice and strategies for eliminating it. It also defines and provides examples of the seven common genres of stories and the seven basic plot structures according to Christopher Booker.
This document provides guidance on how to structure paragraphs effectively. It recommends paragraphing whenever changing to a new major point, time period, location, step in a process, or speaker in dialogue. Paragraphs should have a unified topic developed through examples and details. Transitional words and phrases between sentences and paragraphs improve coherence. Proper organization methods include spatial, chronological, and logical order.
This document provides an overview of metaphysical poetry, including its key characteristics and notable poets from the 17th century in England. Metaphysical poetry is defined by its use of wit, unconventional or surprising imagery, and argumentative structure. Poets like John Donne, George Herbert, and Andrew Marvell wrote poems on spiritual or intellectual topics using devices like paradoxes, puns, and extended metaphors known as conceits.
Ajanta and Ellora are famous sites in India containing ancient rock cut cave temples and monasteries from the 2nd century BCE to 10th century CE. Ajanta contains 30 caves and was a center of Buddhist art and teachings, with elaborate carvings and frescoes depicting Buddhist stories. Ellora contains over 100 caves displaying Hindu, Jain and Buddhist monuments, carved out of rock faces and cliffs. Both sites illustrate the advanced architectural and artistic skills of ancient Indian craftsmen and are major tourist attractions showcasing Indian cultural and religious history.
The document discusses the key elements of literature including emotional appeal, intellectual appeal, and humanistic value. It provides examples of works that illustrate these different elements, such as poems by Elizabeth Browning and Amado Hernandez. The document also covers different types of literature such as escape and interpretative literature. Additionally, it discusses elements of various genres including short stories, poetry, and their usage for purposes like moralizing, propaganda, and therapy. Key components of different genres are outlined, such as plot, character, theme, and language in short stories and imagery, metaphor, rhythm and meter in poetry.
This document outlines the goals and content of a literature course. The two major goals are to analyze literary elements like setting, conflict, and symbolism across American short stories and novels, and to apply techniques of analysis, criticism, and evaluation in critical essays. The course will examine stories from different cultures, including seven short stories and a novel by Toni Morrison. Literary elements like setting, character, plot, theme, and figurative language will be analyzed for each work. Students will complete weekly reading responses and discussion board posts to engage with the material.
Elements of Literature and the combined arts (Chapter 7)Marygrace Cagungun
This document discusses the key elements of literature, including emotional appeal, intellectual appeal, and humanistic value. It provides examples of works that demonstrate these elements, such as poems by Elizabeth Browning and Jose Rizal's novels. The document also covers classifications of literature such as escape and interpretative works, as well as uses of literature like moralizing works and therapeutic poems. Additionally, it outlines elements of poetry like imagery, figurative language, and the use of metaphors and similes.
This document provides context and objectives for studying William Shakespeare's play Othello. It discusses Shakespeare's portrayal of love and tragedy in the play. It introduces themes like the roles of women and marriage in Elizabethan times. It includes activities like analyzing passages from the play and sonnets, and discussing characters. The document aims to have students closely read and discuss the play to understand its themes, characters, and Shakespeare's presentation of love.
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The document provides activities and instructions related to analyzing literary works. Activity 1 asks students to assess their own reading habits over time. Activity 2 involves analyzing a sonnet by William Shakespeare by answering questions about imagery, structure, themes and speaker. Activity 3 requires identifying figures of speech in lines from the sonnet. Further activities involve forming groups to complete stories using figures of speech, grouping literary approaches, matching critical approaches to story synopses, and analyzing short stories using feminist, Marxist, psychological and reader-response frameworks.
The document discusses two main types of language: literal language and figurative language. Literal language states things directly, while figurative language uses imagery and techniques like metaphor and simile to infer or suggest meanings. The document then defines and provides examples of common types of figurative language including imagery, metaphor, simile, personification, hyperbole, and idioms. It explains that figurative language can make writing more rich and vivid.
This document provides an agenda and information for Class 13 of an EWRT 30 course. The agenda includes a discussion on "Labels", a lecture on eliminating the passive voice and writing in 7 genres, and a guided writing exercise using the active voice in genres. The document then provides information on creating suspense, discussion topics, strategies for eliminating the passive voice, definitions and examples of 7 fiction genres, and guided writing prompts for students to practice genres. It concludes with homework assignments.
This document provides an agenda and information for an English writing class. The agenda includes a discussion on labels, a lecture on eliminating passive voice and different writing genres, and a guided writing exercise using active voice across genres. The document then provides information on creating suspense, defines and discusses 7 different fiction genres, and gives students a guided writing exercise where they choose genres and words to include in a short story. It concludes with assigning reading and homework.
Assignment 1 Symbolism and Metaphor in PoetryComplete and post .docxsherni1
Assignment 1: Symbolism and Metaphor in Poetry
Complete and post your assignment to the Discussion Area.
By the end of the week, comment on at least two of your classmates’ submissions. Remember that your replies should help your classmates expand, clarify, defend, and/or refine their work. You can ask questions and use declarative sentences to express your thoughts. Be sure to be honest, clear, and concise, referring to specific words and passages from your classmates’ work. Always use constructive language, and avoid negative language; work toward using a tone and spirit of intellectual curiosity and discovery. Your responses to your peers' writing should include specifics if you are attempting to make a point.
Question
Choose one poem from among those you were assigned this week. Post a response of 150 words.
· Discuss how symbols or metaphors are used in the poem you chose for this assignment.
· Identify the key symbol(s) or metaphor(s) within the work.
· Explain the meanings they convey to readers.
· How do these elements enrich the poem and deepen your understanding of its themes?
Remember that claims in all parts of the assignment should be substantiated by excerpts from appropriate sources. Use APA rules of style for quotations, paraphrases, and summaries as well as in-text citations and references. Quoted material should not exceed 25% of your response.
Use this APA Citation Helper as a convenient reference for properly citing resources.
Post your response in the Discussion Area below.
When you are responding to the posts of your classmates:
· Discuss any similarities or differences you have with their interpretations.
· Did their conclusions help you to see the poem any differently than your first impression of the work?
· Elaborate on any key points.
Week 2 poems
Poem 1
William Carlos Williams: THIS IS JUST TO SAY
1934
I have eaten
the plums
that were in
the icebox
and which
5
you were probably
saving
for breakfast
Forgive me
they were delicious
10
so sweet
and so cold
Poem 2
Gwendolyn Brooks: WE REAL COOL
1960
The Pool Players.
Seven at the Golden Shovel.
We real cool. We
Left school. We
Lurk late. We
Strike straight. We
Sing sin. We
5
Thin gin. We
Jazz June.
We Die soon.
Poem 3
Wallace Stevens: ANECDOTE OF THE JAR
1923
I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.
The wilderness rose up to it,
5
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.
It took dominion everywhere.
The jar was gray and bare.
10
It did not give of bird or bush,
Like nothing else in Tennessee.
Poem 4
Archibald MacLeish: ARS POETICA
1926
A poem should be palpable and mute
As a globed fruit,
Dumb
As old medallions to the thumb,
Silent as the sleeve-worn stone
5
Of casement ledges where the moss has grown—
A poem should be wordless
As the flight of birds.
* *
A poem should be motionless in time
As the moon climbs,
10
Leaving, ...
Sample writing assignment: Baudelairean
Irony.
The writing assignments have improved significantly in the past couple of modules: the arguments
are clearer and are, in general, well supported by evidence from the texts. I’m still seeing too many,
however, where the main argument emerges in the final sentence or two. When you find that
happening (i.e. when the final sentence or so makes a very different claim from the opening
sentence), you need to start again, using that last sentence as your new opening sentence. Usually
this happens when your argument develops during the course of writing the piece. This is a good
thing as it shows your ideas are developing, but it does mean that you need to rewrite your
assignment to make sure it supports your new or revised argument. As always, I will be looking for
a clear argument, strong textual evidence, and a well-formatted and written response.
Please be sure to provide a Works Cited. This can be in any form you are most comfortable with
(AP, MLA, Chicago, Oxford, etc.), but should make it clear what is being referred to and where that
item can be found.
Please note: the 250-word limit (plus or minus 10%) applies only to the text of your argument. It
does not include the works cited or the heading information.
Sample question: What attitude does Baudelaire adopt to the poor in “Let’s beat up the poor”?
A. Student
Writing Assignment, Module 4
Although the violence depicted in Charles Baudelaire’s “Let’s beat up the poor” might appear to
reflect a negative attitude toward the poor, the prose poem itself resists articulating a clear
position, choosing instead to highlight the shortcomings in contemporary responses to the poor.
The speaker in fact draws attention early in the piece to the debates about economic and social
policy that took place in France in the period by noting that he had consumed books “dealing with
the art of making nations happy, wise, and rich” (37), but the poem’s multiple ironies mean that the
reader is left uncertain about its attitude toward the poor.
The speaker aligns himself with Socrates through a reference to his “Demon” (37), but rather
than engaging in a philosophical conversation, he decides that the best response to the pleading
gaze of a beggar is to beat him up, presumably to show him who has the power and who doesn’t.
This is not, however, an act of bravery in any way: the speaker carefully checks that there are no
policemen in the area. The beggar is initially beaten down, but then rises up to attack the speaker,
thereby asserting the political power of the proletariat. The speaker claims to be thrilled that the
beggar—the representative of the poor—has learnt that he must take responsibility for his own
future and rise up against the bourgeoisie in order to achieve equality, but the reader is left
wondering whether such lessons are to be taken seriously in any way. The focus, in.
This document provides a presentation on taking care of readers through community, access, response, and engagement (C.A.R.E.). It discusses creating reading communities both in person and online to share reading lives. It emphasizes providing physical, intellectual, moral, and emotional access to reading materials. It also discusses eliciting personal, interpretive, critical, and evaluative responses from readers and how to engage readers through choice and interest.
This document provides an agenda and materials for an English writing class. The agenda includes discussing labels in a short story, a lecture on eliminating passive voice, and guided writing practice using active voice in different genres. It then provides information on creating suspense, discussion questions, and strategies for eliminating passive voice. Finally, it outlines different fiction genres like mystery, romance, science fiction, and their defining characteristics. Students are given prompts to choose genres and words to include in a short guided writing exercise practicing active voice.
This document discusses factors to consider when selecting texts for students. It outlines three main factors: potential for engagement, levels of meaning, and features of the text.
For potential engagement, teachers should consider if the text offers opportunities for knowledge building, personal connection, and meaning-making. For levels of meaning, teachers should evaluate if the text presents multiple depths of meaning as readers progress from simple to more complex understanding. For features of the text, the document discusses quantitative measures of complexity from various programs and how certain textual features could help or hinder comprehension. It emphasizes that quantitative measures are useful but imperfect, and all three factors should be weighed when choosing texts.
These are the slides from my Year 12 Standard English class. Module C: texts and society. Elective 1: Into the World. prescribed text: poetry of William Blake
Similar to Better Reading Through Shakespeare (20)
1. Better Reading through Shakespeare
National Council of Teachers of English (NCTE)
November 19, 2010
2. Shakespeare – Who Cares?
Traditionally, we introduce Shakespeare into the curriculum
as an end- product to which students must be exposed
although most won’t be able to read or understand it outside
of class.
Given that Shakespearean language will only become more
challenging to future English classes as fluency and literacy
levels shift, I believe our only option is to consider changing
using Shakespeare as a product and instead using his writing
as part of a process.
In other words, instead of teaching students to read
Shakespeare, I believe we should use Shakespeare to teach
students how to read.
3. But Wait! Shakespeare’s Hard!
When reading Shakespeare is carefully introduced, properly
scaffolded, and painstakingly modeled, not only does the text
become more meaningful, but the class creates a pathway
into academic discourse which empowers students well
beyond the last quatrain.
4. Why Bother?
The skills required to parse Shakespeare’s language are
immediately transferable and applicable to decoding any
academic text across the curriculum as well as unfamiliar
texts outside the university.
5. Who’s Boring Now?
And no one would argue that spending time parsing
Shakespeare’s writings on love, jealously, hatred, fantasy,
sex and murder is time wasted, especially when compared
with the usual texts of the reading and composition
classroom, which tend to focus on social issues like
immigration, euthanasia or global warming.
6. Pre-Reading
Using your work email, you were trying to forward an email
with an attachment from LOL Cats when a horrible error
occurred and student records were lost.
Compose an email to the parents of student Liam Stephens
explaining that his records are now irretrievable, although
your friend did receive the email and is ROTFL.
8. Hamlet, Act 1, Scene ii
KING CLAUDIUS
Though yet of Hamlet our dear brother's death
The memory be green, and that it us befitted
To bear our hearts in grief and our whole kingdom
To be contracted in one brow of woe,
Yet so far hath discretion fought with nature
That we with wisest sorrow think on him,
Together with remembrance of ourselves.
Therefore our sometime sister, now our queen,
The imperial jointress to this warlike state,
Have we, as 'twere with a defeated joy,--
With an auspicious and a dropping eye,
With mirth in funeral and with dirge in marriage,
In equal scale weighing delight and dole,--
Taken to wife: nor have we herein barr'd
Your better wisdoms, which have freely gone
With this affair along. For all, our thanks.
9. Now follows, that you know, young Fortinbras,
Holding a weak supposal of our worth,
Or thinking by our late dear brother's death
Our state to be disjoint and out of frame,
Colleagued with the dream of his advantage,
He hath not fail'd to pester us with message,
Importing the surrender of those lands
Lost by his father, with all bonds of law,
To our most valiant brother. So much for him.
Now for ourself and for this time of meeting:
Thus much the business is: we have here writ
To Norway, uncle of young Fortinbras,--
Who, impotent and bed-rid, scarcely hears
Of this his nephew's purpose,--to suppress
His further gait herein; in that the levies,
The lists and full proportions, are all made
Out of his subject: and we here dispatch
You, good Cornelius, and you, Voltimand,
For bearers of this greeting to old Norway;
Giving to you no further personal power
To business with the king, more than the scope
Of these delated articles allow.
Farewell, and let your haste commend your duty.
10. Close Reading
Group 1 – How many times does Claudius use the pronouns
we, our or us
Group 2 – How many times does Claudius use the pronouns
he, him, or his?
Group 3 – How many times does Claudius use the pronouns
you and I?
11. Discussion
How is Claudius’ language similar to your freewrite? What
strategies did you share?
Why does Shakespeare have Claudius use this language?
What does Shakespeare want the audience to know, think
and/or feel about Claudius?
What do you think is going to happen to Claudius? Why?
12. What the heck just happened?
pre-reading exercise
an active and engaged reading activity
discussion of grammar, rhetorical choice, and character
low-stakes reflective writing
13. Daily Lesson Plan
Activity: “Throwing ‘To Be or Not to Be”
T hands out Hamlet’s famous soliloquy: Class reads
Class reads soliloquy again, but this time, class stands up when they hit
a punctuation mark. Class continues to read and when they see
another punctuation mark, they sit. Repeat until soliloquy is finished.
T divides class into two lines
Each line faces the other
One side reads the first line and then other side reads the second line.
Repeat until end.
T divides class into groups
Groups mark speech every time Hamlet’s thoughts change.
14. Hamlet, Act 3, Scene i
HAMLET
To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
15. For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.--Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.
16. Lesson Plan - continued
Class Discussion: When did the groups in the last
activity stand/sit together? When did they stand/sit
separately? When do the thoughts change?
T asks “How do we know when thoughts change?”
T reviews punctuation: commas and colons
Class reads “To Be or Not to Be” Again
Class discussion: What changed from the first reading to
the last? Why? What do we know now that we didn’t
know at the beginning of class?
Homework:
Finish reading Act 3
Character Journal
17. Character Journal
Directions: On the second day of this unit, you will be assigned a character you will pay special
attention to and follow throughout the course of the play. Each week, you will find your character
in the acts and scenes assigned for reading, and identify and discuss a personality trait that this
character displays in the scenes. Use the dialogue spoken by that character or by other characters in
the same scene to support your findings. Your response should follow the form of the example
below.
Student Example:
Act and Scene: Act 1, Scene 1
Character: Horatio
Character Trait: Loyalty and Bravery
Illustrating Evidence: In this scene, Horatio sees the ghost of Hamlet’s Father. Although he is
afraid of ghosts, Horatio tries to get it to speak to him so he can find out how the King really died so
he can tell Hamlet.
Quote: “Let us impart what we have seen tonight/Unto young Hamlet, for upon my life/This
spirit, dumb to us, will speak to him.”
Summary of Quote: Horatio tells Marcellus they must let Hamlet know the ghost of his father
is haunting the castle and that the ghost will speak to Hamlet.
Requirements: You will be required to turn in your character journals every Thursday. If your
character is not in the scenes we read, please hand in a journal with your name, the numbers of the
scenes we read, and the reason WHY your character is not in those scenes. For instance, your
character may have been sent on a mission by the king, returned to the spirit world, or have been
killed. You are responsible for excusing your character from the journal, and must provide a true
and compelling reason for your character’s absence drawn from the play.
18. The Point
Ultimately, we as English teachers have to follow Darwin’s dictum and
“adapt or die,” especially when using 400-year-old texts in a classroom
where students communicate more quickly and copiously and with less
thought, reflection, grammar and complete sentences than ever before.
Changing the product, or text, has been our approach in the past, which
frustrates teachers, and bores students (at best) and disrespects them (at
worst). A new adaptation is required, one which gives students the tools
to attack the text we feel they should examine in the first place. We
complain they can’t read, so let’s teach them to. Let’s accept them for
who they are and meet them at their texting, IM-ing, tweeting levels.
Let’s show them that “though this be madness, yet there is method in it.”
And let’s explain that these methods lead not only to an understanding
of Shakespeare but of all substantial texts themselves. Then we will
really have taught them something.
19. Handouts and Contact Info
All my documents, plus this presentation, will be online at
NCTE’s connected community under the posting “Better
Reading Through Shakespeare.”
Email me whenever with questions or request for more info
Anne Trumbore
trumbore@epgy.stanford.edu