HUMN 142 Studies in LiteratureModule 3 Study QuestionsEdgar .docxadampcarr67227
HUMN 142 Studies in Literature
Module 3 Study Questions
Edgar Allan Poe, “The Tell-Tale Heart”
1. Poe claims that the writer of short fiction should strive to offer only those details and incidents that lend to a "certain unique or single effect," an impression or emotional/psychological impact upon the reader and that if the writer's "initial sentence tend not to the outbringing of this effect, then he has failed in his first step." Consider the first sentence of "The Tell-Tale Heart"—what does the author immediately establish?
2. What effect is the opening line designed to have on the reader?
3. Why does the narrator wish to kill the old man?
4. What is the narrator's nightly ritual, and what do his precautions suggest about him?
5. In paragraph 10 the narrator asks, ". . . have I not told you that what you mistake for madness is but over acuteness of the senses?" How do these "overly-acute" senses lead to the demise of the narrator and his victim?
6. What is the intended effect of the Poe's narrative, and what details especially establish this effect?
Jack London, “To Build a Fire”
1. Why does London give so much attention to describing the setting?
2. Why is it significant that this man is a newcomer to the area, that this is his first winter here?
3. Why does the author place the man in the company of a dog, rather than describe him as entirely alone?
4. At what point does the story reach its greatest tension and suspense?
5. How might the mood of this story be described?
6. What effect is the narrative apparently designed to have on the reader?
Shirley Jackson, “The Lottery”
1. How does Jackson begin to establish the story's mood, and at what point does the mood begin to shift?
2. What is the effect of this change in mood?
3. Consider Kennedy, question 5, p. 269: "What do you make of Old Man Warner's saying, 'Lottery in June, corn be heavy soon' (paragraph 32)?"
4. Consider Kennedy, question 6, p. 269: "What do you think Shirley Jackson is driving at? Consider each of the following interpretations and, looking at the story, see if you can find any evidence for it:
Jackson takes a primitive fertility rite and playfully transfers it to a small town in North America.
Jackson, writing her story after World War II, indirectly expresses her horror at the Holocaust. She assumes that the massacre of Jews was carried out by unwitting, obedient people, like these villagers.
Jackson is satirizing our own society, in which men are selected for the army by lottery.
Jackson is just writing a memorable story that signifies nothing at all."
The Elements of Humor
1. Name and define four comic genres.
2. “Theme” in a work of literature is the central or controlling idea, one which often deals with human nature or life itself. (You will be studying “theme” in Module 4.) Vonnegut’s theme deals with society, for example, while O’Connor writes about human nature and hypocrisy. On one level, Atwood is writing about writing, about stereotypical pl.
HUMN 142 Studies in LiteratureModule 3 Study QuestionsEdgar .docxadampcarr67227
HUMN 142 Studies in Literature
Module 3 Study Questions
Edgar Allan Poe, “The Tell-Tale Heart”
1. Poe claims that the writer of short fiction should strive to offer only those details and incidents that lend to a "certain unique or single effect," an impression or emotional/psychological impact upon the reader and that if the writer's "initial sentence tend not to the outbringing of this effect, then he has failed in his first step." Consider the first sentence of "The Tell-Tale Heart"—what does the author immediately establish?
2. What effect is the opening line designed to have on the reader?
3. Why does the narrator wish to kill the old man?
4. What is the narrator's nightly ritual, and what do his precautions suggest about him?
5. In paragraph 10 the narrator asks, ". . . have I not told you that what you mistake for madness is but over acuteness of the senses?" How do these "overly-acute" senses lead to the demise of the narrator and his victim?
6. What is the intended effect of the Poe's narrative, and what details especially establish this effect?
Jack London, “To Build a Fire”
1. Why does London give so much attention to describing the setting?
2. Why is it significant that this man is a newcomer to the area, that this is his first winter here?
3. Why does the author place the man in the company of a dog, rather than describe him as entirely alone?
4. At what point does the story reach its greatest tension and suspense?
5. How might the mood of this story be described?
6. What effect is the narrative apparently designed to have on the reader?
Shirley Jackson, “The Lottery”
1. How does Jackson begin to establish the story's mood, and at what point does the mood begin to shift?
2. What is the effect of this change in mood?
3. Consider Kennedy, question 5, p. 269: "What do you make of Old Man Warner's saying, 'Lottery in June, corn be heavy soon' (paragraph 32)?"
4. Consider Kennedy, question 6, p. 269: "What do you think Shirley Jackson is driving at? Consider each of the following interpretations and, looking at the story, see if you can find any evidence for it:
Jackson takes a primitive fertility rite and playfully transfers it to a small town in North America.
Jackson, writing her story after World War II, indirectly expresses her horror at the Holocaust. She assumes that the massacre of Jews was carried out by unwitting, obedient people, like these villagers.
Jackson is satirizing our own society, in which men are selected for the army by lottery.
Jackson is just writing a memorable story that signifies nothing at all."
The Elements of Humor
1. Name and define four comic genres.
2. “Theme” in a work of literature is the central or controlling idea, one which often deals with human nature or life itself. (You will be studying “theme” in Module 4.) Vonnegut’s theme deals with society, for example, while O’Connor writes about human nature and hypocrisy. On one level, Atwood is writing about writing, about stereotypical pl.
Nunavut writing workshop 2 decolonizing writingBonnie Stewart
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Nunavut writing workshop 2 decolonizing writingBonnie Stewart
Part II of a workshop for Nunavut graduate students at the University of Prince Edward Island, both outlining and deconstructing the cultural code of academic writing.
Here is a great PPt that will teach your students to create a Haiku and Diamond poem. If your students are ESL I recommend you separate this in two classes.
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3. Pre reading: More Room by. Judith Ortiz Cofer
1) Write a descriptive paragraph, describing your
grandparent’s house.
2) When families meet they love telling stories
about recent experiences and past relatives. Write
a narrative paragraph of one of the stories your
family loves to talk about.
3) Think of your favorite Puerto Rican food and
write a persuasive paragraph convincing someone
else to try it.
4) Write and expository paragraph explaining why
families have less children now than in the past.
Day 1
4.
5. Judith Ortiz Cofer
Judith Ortiz Cofer was born in
1952 in Hormigueros, Puerto
Rico and is a writer. She moved
to Paterson, New Jersey with
her family in 1956. They often
made back-and-forth trips
between Paterson and
Hormigueros. Her work spans a
range of literary genres
including poetry, short stories,
autobiography, essays, and
Young-adult fiction.
6. Reading Comprehension:
More Room by. Judith Ortiz Cofer
1) What type of nonfiction is the story, why?
2) The author in the story is describing “La casa de
Mamá”, what characteristics does she mention in
the story?
3) What does the author think is inside the
chifforobe?
4) How many children does Mamá have?
5) What does Mamá place on her dresser?
Day 2 6) Do you think Mamá is rich or poor, why?
7.
8. Reading Comprehension:
More Room by. Judith Ortiz Cofer
1) What objects did Mamá have on her walls?
2) Does Mamá sleep alone on the bed?
3) The author describes Papá as a benevolent
dictator, what does the author mean?
4) What things did Papá?
like to do
5) How would Papá celebrate births?
6) How does your family celebrate births?
Day 3
9.
10. Reading Comprehension:
More Room by. Judith Ortiz Cofer
1) How did Mamá always tell Papá she was
pregnant?
2) Where did Mamá tell Papá to build the new
room?
3) Why was Papá so excited?
4) What surprise did Papá have after finishing the
room?
5)Do you think Mamá did the right thing?
Day 4