Download to read offline
![Pre-AP English 10 // Moulton
WEEK$3$(SEPTEMBER$8TH$–$12TH)$
!
MONDAY,!9/8!–!A!DAY!
! "!Grammar!REVIEW:!Italics!vs.!Quotations!Handout/discussion!
! "!!MLA!Formatting!
! "!In"text!Citations!
! "!Thesis!Statements![Lesson]!:!Redefining!the!traditional!thesis!statement.!
! !!!!"!Looked!at!sample!paper/thesis!""!Pocahontas!!!
"!Plus:!PSAT!practice!booklet!+!questions!
! ! !
EXTRAS:"BHS"open"house"
!
"!HW:!create!and!email!a!thesis!statement!on!summer!reading!to!be!workshopped!
(due!Friday!bc!of!TLI!testing)!
!
**HANDOUTS:!ITALICS!VS.!QUOTATIONS!!
! !
TUESDAY,!9/9!–!B!DAY!
! "!MLA!Formatting!
! "!In"text!Citations!
! "!Thesis!Statements![Lesson]:!Redefining!the!traditional!thesis!statement.!!!
!!!!"!Looked!at!sample!paper/thesis!""!Pocahontas!
"!Extras:!PSAT!practice!booklet!+!questions!
!
"!HW:!create!and!email!a!thesis!statement!on!summer!reading!to!be!workshopped!
(due!Friday!bc!of!TLI!testing)!
! !
WEDNESDAY,!9/10!–!A!DAY!
AND!THURSDAY,!9/11!–!B!DAY!
**!1st!Block!B"Day!attended!the!Rachel’s!Challenge!assembly!on!9/11.!!Therefore,!they!had!
to!take!their!TLI!test!on!Monday!(9/15)!
"!TLI!Testing!
! !"EXTRAS:"CAP"day"–"Rachel’s"Challenge"discussion/activities!
!
**HANDOUTS!:!STRONG!VERBS,!TONE!WORDS,!IN-TEXT!CITATIONS/QUOTATIONS!
!
FRIDAY,!9/12!–!A!DAY!
-!THESIS!WORKSHOP!
-!Lesson!Peer!Review!of!Thesis!Statements!and!Possible!Arguments:!Look!at!all!the!
students’!summer!essay!thesis!statements!under!the!document!camera.!!Discuss!
what!they!believe!the!author’s!claim!is,!as!well!as!what!they!believe!each!author!did!
right!and!which!parts!need!improvement.!!Requiring!the!students!to!generate!
feedback!for!their!classmates!forces!them!to!conceptualize!what!a!“proper!thesis”!is!
in!order!to!identify!positive!and!negative!characteristics!of!the!presented!thesis!
statements.!!!
!
**HANDOUTS!:!STRONG!VERBS,!TONE!WORDS,!IN-TEXT!CITATIONS/QUOTATIONS!](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-3-2048.jpg)
![Pre-‐AP
English
10
//
Moulton
//
1
GUIDELINES
AND
GRADING
RUBRIC
SUMMER
ESSAY
ASSIGNMENT
BASIC
REQUIREMENTS:
! Your
essay
must
be
printed,
stapled,
and
ready
to
hand
in
when
the
tardy
bell
rings
on
Tuesday,
September
23nd.
NO
ESSAYS
WILL
BE
ACCEPTED
LATE.
! LENGTH:
Your
essay
must
be
3
(minimum)
–
4
pages
long.
The
3-‐page
minimum
means
you
must
reach
the
bottom
of
the
third
page
(NOT
including
your
works
cited/citation).
! FORMATTING:
All
papers
must
be
written
in
12
pt.
Times
New
Roman
and
must
be
double-‐spaced
with
1”
margins
on
all
sides
(Left,
Right,
Top,
and
Bottom).
Additionally,
MLA
formatting
guidelines
must
be
followed
regarding
headers,
headings,
titles,
etc.
The
only
exception
to
this
rule
will
involve
the
Works
Cited
page:
MLA
guidelines
state
that
the
Works
Cited
page
must
begin
on
a
separate
page
at
the
end
of
your
paper.
Because
the
only
source
you
will
use
in
your
paper
is
the
book
you
are
analyzing,
you
will
only
have
one
citation.
So,
simply
skip
a
few
lines
at
the
end
of
your
paper
and
write
your
Works
Cited
heading
and
properly
formatted
MLA
citation
(a
guideline
for
formatting
can
be
found
at
the
end
of
pg.
2
below
the
“Grading
Procedures”
section.)
GRADING
CATEGORIES:
The
essay
will
be
worth
a
total
of
75
points.
! QUALITY
OF
CONTENT
[85%]
General
Expectations:
The
bulk
of
your
grade
will
be
based
upon
your
demonstrated
ability
to
apply
the
concepts
of
analysis
we’ve
discussed
in
class,
including:
the
formation
of
a
strong,
precise
thesis
statement,
the
logical
organization
of
your
argument
through
linked
topic
sentences
and
the
recognition
of
thematic
patterns,
and
the
defense
of
your
claim
through
presentation
of
thoughtful
evidence
obtained
by
various
and
complex
strategies
of
close
reading.
*
Specific
subcategories
that
will
be
evaluated:
o THESIS
STATEMENT
:
your
thesis
statement
must
be
your
original
claim
about
a
certain
ASPECT
of
the
text
you
wish
to
analyze
[thesis
statements
that
attempt
to
address
the
entire
book
as
a
whole
end
up
sounding
a
lot
like
a
book
review].
Must
contain
essential
pieces
such
as
title,
author,
and
a
strong
verb.
Feedback
received
during
thesis
workshop
should
be
incorporated.
o STRENGTH
OF
EVIDENCE
:
author
should
present
multiple,
strong
pieces
of
evidence
for
each
claim
made
in
the
topic
sentences
[strong
evidence
includes
tools
of
analysis
previously
discussed
in
class,
such
as
diction,
structure,
literary
devices
[which
must
be
properly
named]
and
imagery.
Plot
details
can
be
used
but
should
merely
reinforce
the
ideas
of
other,
stronger
evidence.
It
should
always
be
clear
as
to
HOW
the
presented
evidence
provides
support
for
your
thesis.
Close
reading
strategies
should
be
obvious
from
the
type
of
evidence
presented
and
the
depth
of
analysis
required
to
interpret
this
evidence
from
the
text.
[Think
Hills
Like
White
Elephants
Discussion/Close
Reading]
" In-‐text
quotations/citations
[Minimum
of
4]
:
citations
should
be
properly
formatted,
significantly
analyzed
and
interpreted
(i.e.
not
simply
included
without
a
relevant
discussion),
and
clearly
tied
back
to
your
thesis
o ORGANIZATION
OF
ARGUMENT:
author
should
use
transitions
and
clear
connections
to
organize
complex
ideas,
and
it
should
be
easy
to
follow
from
one
thought
to
the
next
and
know
how
each
thought
relates
to
the
topic
sentence
and
thesis
overall.](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-35-2048.jpg)
![Pre-‐AP
English
10
//
Moulton
//
2
" TOPIC
SENTENCES:
each
topic
sentence
should
be
a
piece
of
your
argument
that
categorizes
the
evidence
that
will
be
presented
in
the
paragraph.
Each
topic
sentence
should
clearly
connect
back
to
the
original
thesis
statement.
! GRAMMAR,
MECHANICS,
AND
FORMATTING
[15%]
*
Specific
Subcategories
that
will
be
evaluated:
o MLA
FORMATTING:
9
=
no
errors
o MECHANICS
(SPELLING,
CAPITALIZATION,
PUNCTUATION,
AND
USAGE)
" 9
=
<
5
errors
" 5
=
distracting
amount
of
errors
" 1
=
where
are
you
from?
" Exception:
Italics
and
quotations
(as
these
have
been
discussed
in
class):
9
=
no
errors
GRADING
PROCEDURE:
-‐
Your
grade
will
be
assigned
using
the
0-‐9
scale
of
the
AP
English
grading
rubric
(seen
on
next
pg.).
-‐
To
remain
as
unbiased
as
possible,
before
I
begin
grading
I
will
assign
each
of
your
papers
an
ID
number
so
I
do
not
know
whose
paper
I’m
grading
until
after
a
point
value
grade
is
assigned.
-‐
I
will
assign
each
subcategory
listed
above
a
score
on
the
1-‐9
scale.
The
scores
on
the
subcategories
of
Thesis
Statement,
Evidence,
and
Organization
will
be
averaged
to
get
a
score
(still
on
the
1-‐9
scale)
for
the
Quality
of
Content
category.
The
same
method
will
be
used
to
get
a
score
for
the
Grammar,
Mechanics,
and
Formatting
category.
The
paper’s
overall
score
will
be
the
weighted
average
of
these
two
scores
(calculated
using
the
formula
at
the
bottom
of
this
section):
-‐
The
obtained
percentage
will
be
multiplied
by
75
to
determine
your
score
out
of
75.
-‐
SO,
when
you
get
your
papers
back,
there
will
be
these
3
numbers
across
the
top:
1.
Your
paper’s
overall
score
on
the
1-‐9
scale
2.
Your
percentage
earned
3.
Your
earned
points
out
of
75
**I
will
also
have
the
subcategory
scores
available
if
you
want
to
come
talk
to
me
at
any
point
about
your
grade.
Weighted
Average
Formula:
(Average
score
on
Content
x
0.85)
+
(Average
score
on
Grammar
x
0.15)
TOTAL
(out
of
9)
__________________________________________________________________________________________________________________
MLA
CITATION
FORMAT
(FOR
A
BOOK):
Works
Cited
Author
last
name,
Author
first
name.
Title
of
Book.
City
of
Publication:
Publisher,
Year
of
Publication.
Medium
of
Publication.](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-36-2048.jpg)
![Pre-‐AP
English
10
//
Moulton
//
1
GATHERING
AND
INTERPRETING
EVIDENCE
ANALYTICAL
ESSAYS
Remember
M&Ms
:
METHOD
and
MEANING
_______________________________________________________________
-‐-‐
METHOD
OR
EVIDENCE:
(1)
Identify
the
specific
tool/device
of
analysis
AND
(2)
provide
a
textual
example
of
this
tool.
Tools/Devices
of
analysis
include
(but
are
not
limited
to):
-
DICTION
-‐
connotations
of
words
chosen
(may
establish
tone
or
be
a
method
of
characterization)
-‐
formal
vs.
informal
-‐
dialogue
(ex:
colloquial
language)
-
JUXTAPOSITION
-‐May
compare/contrast
characters,
setting,
events,
conflict,
images,
etc.
(includes
simile,
metaphor,
analogy)
(jux.
of
opposite
characters:
foil)
-
IMAGERY
(Sensory
details)
-
FIGURATIVE
LANGUAGE/FIGURES
OF
SPEECH
-‐
Personification,
idiom,
oxymoron,
onomatopoeia,
hyperbole/understatement,
etc.
-
IRONY
(verbal,
situational,
dramatic)
-
FORESHADOWING
-
SETTING
-
SYMBOLISM
-
ALLUSION
-
REPETITION
(of
sound
:
alliteration,
assonance,
consonance)
(of
theme,
character,
image,
metaphor,
or
other
verbal
element:
motif)
(of
words
[beginning
sentences]:
anaphora)
-‐
Point-‐of-‐View
(1st
,
2nd
,
3rd
limited,
3rd
omniscient)
-
CHARACTERIZATION
-‐
Direct
vs.
indirect
(ex.
:
Archetypes)
-
STRUCTURE
/
SYNTAX
(ex.
of
narrative
structure:
fragmentation
[flashbacks],
vignettes,
frame
story,
parallel
narratives)
(ex.
of
sentence
structure:
parallelism,
run-‐on
&
fragments,
asyndeton
[omitting
conjunctions
in
a
list]
&
polysyndeton
[use
of
several
conjunctions
in
the
place
of
commas])
-‐-‐
rhetorical
questions
-
TONE
(AND
TONE
SHIFTs)
-
THEME
(ALWAYS
ABSTRACT)
-‐-‐
MEANING
OR
COMMENTARY:
(1)
interpret
of
the
method/evidence
[what
effect
does
it
have
in
the
immediate
moment?]
AND
(2)
explain
how
this
interpreted
method
contributes
to
your
understanding
of
the
narrative
as
a
whole.
The
two
levels
of
your
commentary
are
PRIMARY
and
ULITIMATE
interpretations.
(what
does
it
all
mean??)
PRIMARY
[IMMEDIATE]:
the
immediate
meaning
of
a
presented
method
in
the
specific
moment
it
occurs
[i.e.
how
does
this
device
function?].](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-38-2048.jpg)
![Pre-‐AP
English
10
//
Moulton
//
2
SECONDARY
[ULTIMATE]:
the
ultimate
meaning
of
a
presented
method
after
consideration
of
the
primary
commentary.
[i.e.
considering
the
primary
function
of
the
device/pattern,
what
is
this
telling
us
about
the
character
or
the
story
as
a
whole?].
-‐
Your
primary
interpretation
serves
as
the
logical
connection
between
your
method
to
your
ultimate
effect.
There
has
to
be
a
clearly
defined
process
of
drawing
a
conclusion
based
on
a
method.
By
walking
your
reader
through
this
process,
you
transition
from
TELLING
the
reader
your
*opinions*
about
the
text
to
SHOWING
the
reader
that
the
text
itself
establishes
a
relationship
between
your
ideas.
______________________________________________________________
EXAMPLE:
In
“Birthday
Party”
by
Katharine
Bush,
the
description
of
the
husband’s
severe
reaction
to
his
wife’s
surprise
is
a
“punishing
[comment],
quick
and
curt
and
unkind”
[textual
example],
a
description
characterized
by
both
consonance
[specific
device]
and
polysyndeton
[specific
device].
The
repetition
of
the
harsh
“kuh”
sound
at
the
end
of
“quick”,
the
beginning
of
“curt”,
and
in
the
middle
of
“unkind”
mimic
the
severity
of
the
husband’s
unknown
comment
[primary/immediate].
The
recurrence
of
the
conjunction
“and”
allows
for
an
increase
in
the
rhythm
of
the
story
[primary/immediate],
as
these
harsh,
sharp
sounds
of
the
consonance
are
piled
overwhelmingly
on
top
of
one
another.
Essentially,
the
structure
imitates
the
husband’s
unkindness
for
the
reader
and
creates
a
parallelism
between
the
readers’
and
the
wife’s
experiences
of
unjustifiable
cruelty
[secondary/ultimate].
______________________________________________________________
REMEMBER:
-‐
Your
evidence
must
ALWAYS
occur
in
method/meaning
pairs:
analytically
speaking,
they
cannot
function
without
one
another.
-‐
Your
evidence
to
commentary
ratio
should
be
~
1:2
(if
not
more).
So,
you
should
have
TWICE
AS
MUCH
meaning/commentary
as
you
do
evidence/method.](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-39-2048.jpg)
![Pre-‐AP
English
10
//
Moulton
//
2
GRAMMAR
PRETEST
2
1
–
2.
PRONOUN/ANTECEDENT
AGREEMENT
Antecedent:
a
noun
or
pronoun
(subject)
that
another
pronoun
refers
to
Pronoun
(Definite):
used
in
place
of
one
or
more
nouns/pronouns
(ex.
he,
she,
they)
-‐
Indefinite
pronoun:
refers
to
a
person,
place,
thing,
or
an
idea
that
may
or
may
not
be
specifically
named.
(ex.
most,
some,
everybody,
etc.)
A
pronoun
must
agree
in
both
gender
and
number
with
the
antecedent
it
is
being
used
to
replace.
3
–
4.
OBSCURE
PRONOUNS
Avoid
an
ambiguous
reference
(i.e.
ambiguous
pronoun).
A
pronoun
should
be
clearly
associated
with
ONLY
one
antecedent;
if
a
pronoun
could
potentially
replace
more
than
one
subject.
5
-
6.
IRREGULAR
VERBS
AND
STANDARD
ENGLISH
5.
Many
verbs
in
English
(and
other
languages)
take
a
different
form
when
changed
to
the
past
or
future
tense.
Example:
sing
=
sang
or
sung
ring
=
rang
or
rung
bring
=
brang
or
brung?
The
verb
bring
has
an
irregular
conjugation
in
the
past
tense.
Instead
of
following
the
“ing
rule”
of
other
verbs
(where
I
simply
changes
to
a
in
the
past
tense]
demonstrated
by
the
two
previous
verbs,
the
past
tense
of
bring
takes
a
new
stem,
bring
=
brought
seek
=
sought
(not
seeked)
freeze
=
froze
(not
freezed)
6.
Do
not
use
of
in
place
of
the
word
have
after
verbs
such
as
could,
would,
should,
might,
must,
and
ought.
Wrong:
would
of
Right:
would
have
7
-
8.
Tone
–
Identification
and
Consistency
7.
The
tone
of
the
first
three
sentences
is
formal
and
informative;
the
word
“awesome”
clashes
with
this
established
tone,
and
it
is
less
of
a
statement
of
fact
(how
can
we
be
sure
that
there
“wouldn’t
have
[been]
any
awesome
national
parks”
without
John?
That
is
speculation).
8.
The
tone
of
this
passage
is
one
of
passion
and
excitement,
with
an
air
of
informality
(use
of
“make-‐or-‐break”
and
use
of
exclamation
point
in
sentence
3).
The
last
sentence
is
an
abrupt
tone
shift
–
from
passionate
to
detached,
from
informal
to
formal.
9
-
10.
VERB
TENSE
CONSISTENCY
Keep
verb
tenses
(past,
present,
future)
consistent
within
sentences
and
paragraphs.
Don’t
change
the
tenses
unnecessarily
and
when
there
is
no
indication
of
time
change
for
the
action.
9.
Sentence
3
switches
to
present
tense;
other
sentences
had
been
in
future
tense.
10.
Sentence
3
switches
to
present
tense;
other
sentences
had
been
in
past
tense.](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-42-2048.jpg)
![Pre$AP&English&10&//&Moulton&//&2&
b.&&Homophones&(4"questions)&
&&&&&Ex.&&Which&of&the&following&correctly&completes&the&sentence&above?&&&
&&&&&&&__________&shoes&are&sitting&_______&the&door?&&
&&&&&&&&&&&&A.&Whose….buy&
&&&&&&&&&&&&B.&Who’s….by&
&&&&&&&&&&&&C.&Who’s….bye&
&&&&&&&&&&&&D.&&Whose….by&
&&&&&&&&&&&&&&&&(Answer&:&D)&
&
Resources&to&Study:&
$$&Pronoun/antecedent&agreement¬es&(from&class,&will&be&discussed&Wednesday,&Sep.&24th)&
$$&Beware&of&Homophones&handout&(to&be&handed&out&Monday,&Sep.&22nd)&
___________________________________________&
%
III.%FILL>IN>THE>BLANK%(10%QUESTIONS%TOTAL)%
%
TOPICS:&&
a.&&Verb&Tense&(4"questions)&
&&&&&Ex.&&Write&the&correct&form&of&the&verb&in&parentheses&that&would&maintain&consistent&verb&tense.&&&
& Clarissa&(bring)&________________&the&cupcakes&to&tomorrow’s&meeting.&&&
[Answer:&will"bring&{future&tense}]&
& Clarissa&(bring)&________________&the&cupcakes&to&yesterday’s&meeting.&&
[Answer:&brought&{past&tense}]&
&&&&&&& &
b.&&Literary&Devices&(6"questions)&
&&&&&Ex.&&Write&the&correct&literary&term/device&for&the&given&definition.&&
&&&&&_______________________________&&A&kind&of&metaphor&in&which&a&nonhuman&thing&or&quality&is&talked&about&as&if&it&
were&human.&&(Answer:&personification)&
&
Resources&to&Study:&
$$&Verb&Tense¬es&(from&class,&will&be&discussed&on&Wed.,&September&24th)&
$$&Literary&Terms&and&Devices&packet,&Literary&Terms&Quiz&&
&](https://image.slidesharecdn.com/00628b8f-bbe8-4e11-9a39-605d977ec09f-170203232252/75/Total-Long-Term-Sub-47-2048.jpg)
Total - Long Term Sub
- 1. Pre-AP English 10// Moulton WEEK$1$(AUGUST$25TH $–$29TH )$ ! ! MONDAY,!8/25!!--!B!DAY! ! "!Grammar!exercises!Italics!and!Quotation!Marks!(hangover!from!A"day!on!Friday)! ! "!!Syllabus! ! "!Student!Info!Sheets! ! "!Name!Game! ! "!HW:!Emoji!assignment! ! **HANDOUTS:!SYLLABUS! ! TUESDAY,!8/26!–!A!DAY! ! "!Aristotle’s!Topics! Lesson!On!Organizing!One’s!Argument:!Various!methods!of!organizing!an!argument! and!how!these!may!be!applied!to!different!prompts,!stories,!or!essays.!!! ! **HANDOUTS:!ARISTOTLE’S!TOPICS! ! WEDNESDAY,!8/27!–!B!DAY! ! "!Emojis!Assignment!game!–!can!you!guess!the!movie/book! ! !!!!Educational!Goal:!Introduce!memes!and!symbols! "!Aristotle’s!Topics! Lesson!On!Organizing!One’s!Argument:!Various!methods!of!organizing!an!argument! and!how!these!may!be!applied!!!to!different!prompts,!stories,!or!essays.! ! !"EXTRAs:"CAP"day"–"Introductions"and"handbook"questions" " **HANDOUTS:!ARISTOTLE’S!TOPICS! ! THURSDAY,!8/28!–!A!DAY! ! "!Syllabus!! ! "!Student!Info!Sheets! "!!Aristotle’s!Topics!Classwork!:!Generate!own!examples!for!each!type!of!argument! ! "!Literary!Terms!and!Devices!Review!and!Handout! ! "!HW:!Read!Hills!like!White!Elephants!and!STUDY!for!literary!terms!quiz! ! **HANDOUTS:!SYLLABUS,!LITERARY!TERMS!AND!DEVICES!TO!KNOW,!LITERARY!TERMS!AND!DEVICES! DEFINITION!PACKET,!“HILLS!LIKE!WHITE!ELEPHANTS”!PDF! ! FRIDAY,!8/29!–!B!DAY! ! -!GRAMMAR!REVIEW!–!Italics!vs.!Quotations!Handout/discussion! ! "!Aristotle’s!Topics!Classwork:!Generate!own!examples!for!each!type!of!argument! ! "!Literary!Terms!and!Devices!Review!and!Handout! ! "!HW:!Read!“Hills!Like!White!Elephants”!and!STUDY!for!literary!terms!quiz! ! **HANDOUTS:!ITALICS!VS.!QUOTATIONS,!LITERARY!TERMS!AND!DEVICES!TO!KNOW,!LITERARY!TERMS! AND!DEVICES!DEFINITION!PACKET,!HILLS!LIKE!WHITE!ELEPHANTS!PDF!
- 2. Pre-AP English 10// Moulton WEEK$2$(SEPTEMBER$2ND$–$5TH)$ ! MONDAY,!9/1!–!LABOR!DAY!(NO!SCHOOL)! ! TUESDAY,!9/2!–!A!DAY! ! "!Literary!terms!and!devices!Quiz! ! "!Hills!Like!White!Elephants!Close!Reading! ! ! Lesson:!Method!and!Meaning! ! "!HW!assignment:!1!pg.!close!reading!of!Hills!or!Birthday!Party! ! **HANDOUTS:!LITERARY!TERMS!QUIZ,!BIRTHDAY!PARTY!PDF! ! WEDNESDAY,!9/3!–!B!DAY! "!Literary!terms!and!devices!Quiz! ! "!Hills!Like!White!Elephants!Close!Reading! ! ! Lesson:!Method!and!Meaning! ! "!HW!assignment:!1!pg.!close!reading!of!Hills!or!Birthday!Party! ! !"EXTRAs:"CAP"day"–"College"Option"Surveys"(returned"to"Ms."Oury)" ! **HANDOUTS:!LITERARY!TERMS!QUIZ,!BIRTHDAY!PARTY!PDF! ! THURSDAY,!9/5!(A!DAY)!! AND!FRIDAY!9/6!(B!DAY)! ! -!Picture!Day/BMI!Testing! $ $
- 3. Pre-AP English 10// Moulton WEEK$3$(SEPTEMBER$8TH$–$12TH)$ ! MONDAY,!9/8!–!A!DAY! ! "!Grammar!REVIEW:!Italics!vs.!Quotations!Handout/discussion! ! "!!MLA!Formatting! ! "!In"text!Citations! ! "!Thesis!Statements![Lesson]!:!Redefining!the!traditional!thesis!statement.! ! !!!!"!Looked!at!sample!paper/thesis!""!Pocahontas!!! "!Plus:!PSAT!practice!booklet!+!questions! ! ! ! EXTRAS:"BHS"open"house" ! "!HW:!create!and!email!a!thesis!statement!on!summer!reading!to!be!workshopped! (due!Friday!bc!of!TLI!testing)! ! **HANDOUTS:!ITALICS!VS.!QUOTATIONS!! ! ! TUESDAY,!9/9!–!B!DAY! ! "!MLA!Formatting! ! "!In"text!Citations! ! "!Thesis!Statements![Lesson]:!Redefining!the!traditional!thesis!statement.!!! !!!!"!Looked!at!sample!paper/thesis!""!Pocahontas! "!Extras:!PSAT!practice!booklet!+!questions! ! "!HW:!create!and!email!a!thesis!statement!on!summer!reading!to!be!workshopped! (due!Friday!bc!of!TLI!testing)! ! ! WEDNESDAY,!9/10!–!A!DAY! AND!THURSDAY,!9/11!–!B!DAY! **!1st!Block!B"Day!attended!the!Rachel’s!Challenge!assembly!on!9/11.!!Therefore,!they!had! to!take!their!TLI!test!on!Monday!(9/15)! "!TLI!Testing! ! !"EXTRAS:"CAP"day"–"Rachel’s"Challenge"discussion/activities! ! **HANDOUTS!:!STRONG!VERBS,!TONE!WORDS,!IN-TEXT!CITATIONS/QUOTATIONS! ! FRIDAY,!9/12!–!A!DAY! -!THESIS!WORKSHOP! -!Lesson!Peer!Review!of!Thesis!Statements!and!Possible!Arguments:!Look!at!all!the! students’!summer!essay!thesis!statements!under!the!document!camera.!!Discuss! what!they!believe!the!author’s!claim!is,!as!well!as!what!they!believe!each!author!did! right!and!which!parts!need!improvement.!!Requiring!the!students!to!generate! feedback!for!their!classmates!forces!them!to!conceptualize!what!a!“proper!thesis”!is! in!order!to!identify!positive!and!negative!characteristics!of!the!presented!thesis! statements.!!! ! **HANDOUTS!:!STRONG!VERBS,!TONE!WORDS,!IN-TEXT!CITATIONS/QUOTATIONS!
- 4. Pre-AP English 10// Moulton WEEK$4$(SEPTEMBER$15TH$–$19TH)! ! MONDAY,!9/15!–!B!DAY!! **!1st!Block!ONLY!:!TLI!testing!! !!-!THESIS!WORKSHOP!! -!Lesson!Peer!Review!of!Thesis!Statements!and!Possible!Arguments:!Look!at!all!the! students’!summer!essay!thesis!statements!under!the!document!camera.!!Discuss! what!they!believe!the!author’s!claim!is,!as!well!as!what!they!believe!each!author!did! right!and!which!parts!need!improvement.!!Requiring!the!students!to!generate! feedback!for!their!classmates!forces!them!to!conceptualize!what!a!“proper!thesis”!is! in!order!to!identify!positive!and!negative!characteristics!of!the!presented!thesis! statements.!!! ! **HANDOUTS!:!STRONG!VERBS,!TONE!WORDS,!IN-TEXT!CITATIONS/QUOTATIONS! ! ! TUESDAY,!9/16!–!A!DAY!!!&!!!WEDNESDAY,!9/17!–!B!DAY! AND!THURSDAY,!9/18!–!A!DAY!!&!!!FRIDAY,!9/19!–!B!DAY! ! "!Distribute!and!discuss!essay!guidelines!and!rubric! "!In!class!writing:!Summer!Essay!Assignment! ! ! "!HW!(Thursday,!A!day!&!Friday,!B!day):!!Complete!Summer!Essay!Assignment! ! !!!!!!**!Summer!Essay!Due:!! ! A!DAY;!Monday,!September!22nd!! ! B!DAY:!Tuesday,!September!23rd!! ! ! **HANDOUTS!:!! (TUESDAY!&!THURSDAY)!:!SUMMER!ESSAY!RUBRIC! (THURSDAY!&!FRIDAY):!EVIDENCE!HANDOUT
- 5. Pre-AP English 10// Moulton WEEK$5$(SEPTEMBER$22ND$–$26TH)$$ ! MONDAY,!9/22!–!A!DAY!! SUMMER!ESSAY!DUE! ! "!Summer!Essay!Reflections/Thoughts! ! "!Grade!Updates! "!GRAMMAR!Lesson! "!Grammar!Pre"Test!Review! ! ! "!Grammar!“Codes”!handout! ! ! "!Homophones!handout! ! ! "!HW:!Read!and!annotate!The!Yellow!Wallpaper!–!annotations!will!be!collected!at!! the!beginning!of!class! ! **HANDOUTS:!GRAMMAR!CODES!(PRE-TEST!CORRECTIONS),!BEWARE!OF!HOMOPHONES,!GRAMMAR! EXAM!FORMAT!AND!CONTENT,!THE!YELLOW!WALLPAPER!PDF! ! TUESDAY,!9/23!–!B!DAY!! SUMMER!ESSAY!DUE! ! "!Summer!Essay!Reflections/Thoughts! ! "!Grade!Updates!! "!GRAMMAR!Lesson! "!Grammar!Pre"Test!Review! ! ! "!Grammar!“Codes”!handout! ! ! "!Homophones!handout! ! ! "!HW:!Read!and!annotate!The!Yellow!Wallpaper!–!annotations!will!be!collected!at!! the!beginning!of!class! ! **HANDOUTS:!GRAMMAR!CODES!(PRE-TEST!CORRECTIONS),!BEWARE!OF!HOMOPHONES,!GRAMMAR! EXAM!FORMAT!AND!CONTENT,!THE!YELLOW!WALLPAPER!PDF! ! WEDNESDAY,!9/24!–!A!DAY! ! "!Close!Reading/Class!Discussion!–!The!Yellow!Wallpaper! Lesson:!Unreliable!narration,!feminist!theory!in!literature,!the!power!of!imagery,! additional!close!reading/analysis!practice! ! "!GRAMMAR!Lesson! !!!!"!Colons!vs.!Semicolons! EXTRAS:"CAP"day"–"Individual"student"conferences" ! "!HW:!START!STUDING!for!grammar!exam! +!Prepare!for!“The!Yellow!Wallpaper”!reading!quiz! ! **HANDOUTS:!SEMICOLONS!&!COLONS! !
- 6. Pre-AP English 10// Moulton THURSDAY,!9/25!–!B!DAY! ! "!Close!Reading/Class!Discussion!–!The!Yellow!Wallpaper! Lesson:!Unreliable!narration,!feminist!theory!in!literature,!the!power!of!imagery,!! additional!close!reading/analysis!practice! ! "!GRAMMAR!Lesson! !!!!"!Colons!vs.!Semicolons! ! "!HW:!START!STUDING!for!grammar!exam! ! +!Prepare!for!“The!Yellow!Wallpaper”!reading!quiz! ! **HANDOUTS:!SEMICOLONS!&!COLONS! ! FRIDAY,!9/26!–!A!DAY! ! "!Reading!Quiz!:!“The!Yellow!Wallpaper”! "!The!Yellow!Wallpaper!cont’d!+!conclusions! ! "!Review!for!Grammar!Exam! ! ! "!Pronoun/Antecedent!agreement!! ! ! "!Verb!Tense!:!Consistency!and!Irregular!Verbs! ! ! (Review!from!Grammar!Textbook:!take!notes!to!study!for!exam)! ! "!HW:!STUDY!for!exam!on!Tuesday!9/30!! ! **HANDOUTS!:!READING!QUIZ! !
- 7. Pre-AP English 10// Moulton WEEK$6$(SEPTEMBER$29TH$–$OCTOBER$3RD)$$ ! MONDAY,!9/29!–!B!DAY! "!Reading!Quiz!:!“The!Yellow!Wallpaper”! "!The!Yellow!Wallpaper!cont’d!+!conclusions! ! "!Review!for!Grammar!Exam! ! ! "!Pronoun/Antecedent!agreement! ! ! "!Verb!Tense!:!Consistency!and!Irregular!Verbs! ! ! (Review!from!Grammar!Textbook:!take!notes!to!study!for!exam)! ! ! "!HW:!STUDY!for!exam!on!Wednesday!10/1!! ! **HANDOUTS!:!READING!QUIZ! ! TUESDAY,!9/30!–!A!DAY! ! -!GRAMMAR!EXAM! ! "!Silent!Reading!! ! HANDOUTS:!GRAMMAR!EXAM!! ! WEDNESDAY,!10/1!–!B!DAY! ! -!GRAMMAR!EXAM! ! "!Silent!Reading!! EXTRAS:"CAP"day"–"Continue"individual"student"conferences" ! HANDOUTS:!GRAMMAR!EXAM!! ! THURSDAY,!10/2!–!A!DAY! ! "!Make"up!Grammar!Exams! ! "!Wrap"up! ! FRIDAY,!10/3!–!B!DAY! "!Make"up!Grammar!Exams! ! "!Wrap"up! !
- 8. Pre-AP English 10Syllabus // 1 PRE-AP ENGLISH 10 BRYANT HIGH SCHOOL 2014-15 “The English language is like London: proudly barbaric yet deeply civilized, too, common yet royal, vulgar yet processional, sacred yet profane.” -- Steven Fry INSTRUCTOR(S): Ms. Jennifer Moulton & Mrs. Megan Calvillo E-MAIL: mcalvillo@bryantchools.org The best way to contact me is through e-mail; I check it almost compulsively. PLEASE email me with any questions or concerns about assignments or classroom policies. However, please be aware that if you are trying to get information regarding an assignment that is due the next day, I will NOT guarantee an answer to e-mails sent after 8 p.m. Therefore, my advice is: E-MAIL EARLY AND OFTEN. ☺ COURSE DESCRIPTION: Pre-AP English 10 is a course meant to help students add depth and finesse to their analytical and writing skills. You already know how to read for plot. Success in this course will mean that you learn to analyze how the author crafted a text and the effect of the author’s stylistic choices. Your writing will explain your analysis and mimic the effective techniques that you encounter in great writing. COURSE MATERIALS: You are responsible for bringing all of these supplies to each class meeting. Coming to class without the required materials will be viewed as lack of class preparation and may result in a reduction of participation credit points. " (1) composition or spiral notebook " (2) packages of loose leaf paper " Blue or black ink pens " Pencils " (3) different color highlighters " (1) two-pocket folder COURSE POLICIES AND PROCEDURES: " RECIPROCAL RESPECT: The Golden Rule: Simply: act like a mature adult and I will treat you as such. Show respect to your fellow classmates, other students, all teachers, and your school in general. You will NEVER laugh at or mock another student in my class for a question or comment that they bring up during discussion. I will view this as a form of bullying. If this occurs, you will be given EMD on your first offense, and sent to the office if it happens a second time. Together, we WILL create a safe and nurturing learning environment for every single student who walks through the door, and who is courageous enough to share their thoughts and opinions. Additionally, there will be ZERO tolerance for disruptive behavior. It is obnoxious and unacceptable to interfere when others are trying to gain knowledge. Disruptive behavior includes (but is not limited to): talking at inappropriate times, cell phone use during class, unsolicited and irrelevant comments, and being the instigator of unwarranted commotion. Keep the attention on the subjects being taught and not yourself: we are all more interested in the books than in you, trust me. Finally, don’t cheat and don’t lie. I will find out and your grade will suffer a catastrophic blow. " Make-Up Work Procedures: Make-up work is the student's responsibility. You must contact me within two class days of the date you missed in order to receive make up work.
- 9. Pre-AP English 10Syllabus // 2 " Late Work: Late work will be accepted one day late for 50% credit. Consistently late work will result in a parent conference and may result in disciplinary action. Work is considered late if it is not ready when the tardy bell rings on the day that the assignment is due. " Tardiness/Discipline: You should be in your seat with all materials when the bell rings. Otherwise, you are tardy. Per the handbook, upon receiving 3 tardies you will be assigned Early Morning Detention. If you are more than 5 minutes late to class without a valid excuse, you will be marked absent. With all other discipline issues, the handbook will be followed. GRADING: At the end of the school year, grades will be assigned as follows: A = 90 – 100% B = 80 – 89% C = 70 – 79% D = 60 – 69% F = 0 – 59% *Note: You must meet the following requirements to be eligible for final exam exemption: - “A” average, 4 or less absences, “B” average, 3 or less absences, “C” average, 2 or less absences Participation: On some days our lessons may include a certain activity or a class discussion about a certain reading. In order to encourage sincere effort towards these activities, participation points may be given for that particular day of class. Participation grades will count as a class assignments and deductions may be given for behaviors such as talking during silent reading, arriving to class without required materials, or inattention towards class discussion (evident in me calling on you and you saying, “Huh? What are we talking about again?”). Constant vigilance everyone! Class Assignments: -- Some class assignments will need to be completed and turned in before the end of class, and require students to work diligently during the class time allotted for that particular assignment. If class work is not completed before the bell rings, you will not be allowed to finish the assignment for homework, and will lose points for incomplete work. -- Homework assignments are due before the tardy bell rings at the beginning of the class period on the appointed due date. -- Pop quizzes are fair game. If I can tell that a majority of the class is not keeping up with the reading (and I promise I will be able to tell), I will institute reading quizzes. Do the reading and everything will be absolutely lovely. Essays: Most essays will be written during class time. I will be providing you with the grading rubric that I will use when evaluating each of your essays. If you are having problems selecting a topic, creating a thesis, formatting in-text citations, or even something as small as a grammar question, PLEASE ASK ME. I am here to help you become the writers you wish to be. Grading Grumbles: I am quite aware that grades are *super* important to Pre-AP students (my obsession with my grades in high school teetered closely towards madness). If you are unhappy with your grade, come talk to me about how to improve your work for next time. If you disagree with the grade you have been given, express your dissatisfaction in a clear, logical manner in writing within 48 hours of receiving the grade. A written explanation helps me to evaluate your concern in an objective manner. Then, we can meet to discuss your grade.
- 10. Pre-‐AP English 10 // Ms. Moulton List of Literary Terms to Know Pre-‐AP English 10 Ms. Moulton DON’T FORGET: quiz over literary terms on Wednesday, September 3nd 1. Alliteration 2. Analogy 3. Archetype 4. Assonance/Consonance 5. Characterization 6. Diction 7. Foil 8. Foreshadowing 9. Hyperbole 10. Idiom 11. Imagery 12. Irony 13. Metaphor 14. Metonomy 15. Onomatopoeia 16. Oxymoron 17. Paradox 18. Parallelism 19. Personification 20. Point of View – 3rd person omniscient, 3rd person singular, 1st person 21. Simile 22. Symbol 23. Synecdoche 24. Theme 25. Tone
- 11. Abstract: Used asa noun, the term refers to a short summary or outline of a longer work. As an adjective applied to writing or literary works, abstract refers to words or phrases that name things not knowable through the five senses. Allegory: A narrative technique in which characters representing objects or abstract ideas are used to convey a message or teach a lesson. Allegory is typically used to teach moral, ethical, or religious lessons but is sometimes used for satiric or political purposes. Examples of allegorical works include Edmund Spenser's The Faerie Queene, John Bunyan's The Pilgrim's Progress and George Orwell’s Animal Farm Alliteration: The repetition of a speech sound in a sequence of nearby words. The term is usually applied only to consonants, and only when the recurrent sound begins a word or a stressed syllable in a word. An example from Coleridge’s Rime of the Ancient Mariner: The fair breeze blew, the white foam flew, The furrow followed free. Allusion: A passing reference, without explicit identification, to a literary or historical person, place or event, or to another literary work or passage. Most allusions serve to illustrate or expand upon or enhance a subject, but some are used in order to undercut it ironically by the discrepancy between the subject and the allusion. Since allusions are not explicitly identified, they imply a fund of knowledge that is shared by an author and the audience for whom the author writes. Analogy: A comparison of two things made to explain something unfamiliar through its similarities to something familiar, or to prove a point about one thing based upon its similarity to another. Similes and metaphors are types of analogies. Antagonist: The major character in a narrative or drama who works against the hero or protagonist. An example of an evil antagonist is Grendel in Beowulf while a virtuous antagonist is Macduff in William Shakespeare's Macbeth. Anthropomorphism: Where animals or inanimate objects are portrayed in a story as people, such as by walking, talking, or being given arms, legs and/or facial features. Anti-hero: A central character in a work of literature who lacks traditional heroic qualities Literary Terms and Devices such as courage, physical prowess, and fortitude. Anti-heroes typically distrust conventional values and are unable to commit themselves to any ideals. They generally feel helpless in a world over which they have no control. Anti-heroes usually accept, and often celebrate, their positions as social outcasts. A well-known anti-hero is Holden Caulfield in J.D. Salinger’s The Catcher in the Rye. Apostrophe: A statement, question, or request addressed to an inanimate object or concept or to a nonexistent or absent person. An example is William Wordsworth’s lines: “Milton! Thou should be living at this hour: England hath need of thee…” Archetype: An image, a descriptive detail, a plot pattern, or a character type that occurs frequently in literature, myth, religion, or folklore and is, therefore, believed to evoke profound emotions because it touches the unconscious memory and thus calls into play illogical but strong responses. This term was introduced to literary criticism from the psychology of Carl Jung. It expresses Jung's theory that behind every person's "unconscious," or repressed memories of the past, lies the "collective unconscious" of the human race: memories of the countless typical experiences of our ancestors. These memories are said to prompt illogical associations that trigger powerful emotions in the reader. Examples of literary archetypes include subjects or motifs such as birth, death and the search for the father and characters such as the Earth Mother, the trickster, the scapegoat and the rebel hero. Aside: A comment made by a stage performer that is intended to be heard by the audience or by select other characters, but not by the characters that are present. Assonance: The same or similar vowel sounds in stressed syllables that end with different consonants. Assonance differs from rhyme in that rhyme is a similarity of vowel and consonant. An example from Edgar Allan Poe’s The Bells is “molten golden notes” Atmosphere: The prevailing tone or mood of a literary work, particularly, but not exclusively, when that mood is established in part by setting or landscape. It is, however, not simply setting but rather an emotional aura that helps to establish the reader’s expectations and attitudes. Pre-AP English 10 Moulton
- 12. An example appearsat the beginning of Shakespeare’s Macbeth when thunder and lightening set the atmosphere for the entrance of the witches and the evil in the play. Bildungsroman: (Also known as Coming of Age Novel) A German word meaning "novel of development." A type of novel in which the protagonist is initiated into adulthood through knowledge, experience, or both, often by a process of disillusionment. Understanding comes after the dropping of preconceptions, a destruction of a false sense of security, or in some way the loss of innocence. Some of the shifts that take place are ignorance to knowledge, innocence to experience, false world view to correct view, idealism to realism and immature responses to mature responses. Well-known bildungsromans include J. D. Salinger's The Catcher in the Rye, James Joyce’s A Portrait of the Artist as a Young Man, and S. E. Hinton's The Outsiders. Blank Verse: Unrhymed iambic pentameter. Blank verse has been used by poets since the Renaissance for its flexibility, its graceful, dignified tone and resemblance to common speech rhythms. Burlesque: A work designed to ridicule a style, literary form, or subject matter either by treating the exalted in a trivial way or by discussing the trivial in exalted terms (that is, with mock dignity). Burlesque concentrates on derisive imitation, usually in exaggerated terms. Cacophony: A harsh, unpleasant combination of sounds. This is also known as dissonance and is the opposite of euphony. An example from Winston Churchill is “We want no parlay with you and your grisly gang who work your wicked will.” Caesura: A pause in a line of poetry, usually occurring near the middle. It typically corresponds to a break in the natural rhythm or sense of the line but is sometimes shifted to create special meanings or rhythmic effects. The pause may or may not be typographically indicated. The opening line of Edgar Allan Poe's "The Raven" contains a caesura following "dreary": "Once upon a midnight dreary, while I pondered weak and weary...." Carpe Diem: A Latin term meaning "seize the day." This is a traditional theme of poetry, especially lyrics. A carpe diem poem advises the reader or the person it addresses to live for today and enjoy the pleasures of the moment. Two celebrated carpe diem poems are Andrew Marvell's "To His Coy Mistress" and Robert Herrick's poem beginning "Gather ye rosebuds while ye may...." Catharsis: The release or purging of unwanted emotions brought about when the hero reaches an epiphany. A famous example of catharsis is realized in Sophocles' Oedipus Rex, when Oedipus discovers that his wife, Jocasta, is his own mother and that the stranger he killed on the road was his own father. Characterization: The author’s means of conveying to the reader a character’s personality, life history, values, physical attributes, etc. Also refers directly to a description thereof. Climax: The turning point in a narrative, the moment when the conflict is at its most intense. Typically, the structure of stories, novels, and plays is one of rising action, in which tension builds to the climax, followed by falling action, in which tension lessens as the story moves to its conclusion. Colloquialism: A word, phrase, or form of pronunciation that is acceptable in casual conversation but not in formal, written communication. It is considered more acceptable than slang. Contractions are examples of colloquialism. Comic Relief: The use of humor to lighten the mood of a serious or tragic story, especially in plays. The technique is very common in Elizabethan works, and can be an integral part of the plot or simply a brief event designed to break the tension of the scene. The Gravediggers' scene in William Shakespeare's Hamlet is a frequently cited example of comic relief. Conceit: A clever and fanciful metaphor, usually expressed through elaborate and extended comparison, which presents a striking parallel between two seemingly dissimilar things, for example, elaborately comparing a beautiful woman to an object like a garden or the sun. The conceit figures prominently in the works of John Donne, Emily Dickinson, and T. S. Eliot. Conflict: The conflict in a work of fiction is the issue to be resolved in the story. It usually occurs between two characters, the protagonist and the antagonist, or between the protagonist and society (external conflicts) or the protagonist and himself or
- 13. herself (internal conflict). Connotation:The impression that a word gives beyond its defined meaning. Connotations may be universally understood or may be significant only to a certain group. Both "horse" and "steed" denote the same animal, but "steed" has a different connotation, deriving from the chivalrous or romantic narratives in which the word was once often used. Consonance: (Also known as half rhyme or slant rhyme.) A repetition of a sequence of two or more consonants, but with a change in the intervening vowel: live-love; lean –alone; pitter-patter. Some scholars have refined the word to mean shared consonants whether in sequence (bud-bad) or reversed (bud –dab). Couplet: Two consecutive lines of poetry with the same end rhyme and meter, often expressing a complete and self-contained thought. Shakespeare’s lines “Be not self-will’d, for thou art much too fair/ To be death’s conquest and make worms thine heir.” Criticism: The systematic study and evaluation of literary works, usually based on a specific method or set of principles. An important part of literary studies since ancient times, the practice of criticism has given rise to numerous theories, methods, and "schools," sometimes producing conflicting, even contradictory, interpretations of literature in general, as well as of individual works. Contemporary schools of criticism include deconstruction, feminist, psychoanalytic, new historicist, post colonialist, new critical, Marxist, cultural studies, and reader- response. Dialogue: Where characters speak to one another; may often be used to substitute for exposition. Denotation: The definition of a word, apart from the impressions or feelings it creates in the reader. The word "apartheid" denotes a political and economic policy of segregation by race, but its connotations (oppression, slavery, inequality) are numerous. Denouement: A French word meaning "the unknotting." In literary criticism, it denotes the resolution of conflict in fiction or drama. The denouement follows the climax and provides an outcome to the primary plot situation as well as an explanation of secondary plot complications. The denouement often involves a character's recognition of his or her state of mind or moral condition. A well-known example of denouement is the last scene of the play The Importance of Being Earnest by Oscar Wilde, in which the true identity of Algernon Moncrieff is revealed and the love conflicts are resolved happily. The denouement is not necessarily happy. Diction: The selection and arrangement of words in a literary work. Either or both may vary depending on the desired effect. There are four general types of diction: "formal," used in scholarly or lofty writing; "informal," used in relaxed but educated conversation; "colloquial," used in everyday speech; and "slang," containing newly coined words and other terms not accepted in formal usage. Doppelganger: (Also known as The Double.) A literary technique by which a character is duplicated (usually in the form of an alter ego, though sometimes as a ghostly counterpart) or divided into two distinct, usually opposite personalities. The use of this character device is widespread in nineteenth- and twentieth-century literature, and indicates a growing awareness among authors that the "self" is really a composite of many "selves." A well-known story containing a doppelganger character is Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, which dramatizes an internal struggle between good and evil. Dramatic Irony: Occurs when the audience of a play or the reader of a work of literature knows something that a character in the work itself does not know. The irony is in the contrast between the intended meaning of the statements or actions of a character and the additional information understood by the audience. Dystopian novel: An anti-utopian novel in which, instead of a paradise, everything has gone wrong in the attempt to create a perfect society. Examples include George Orwell’s, Nineteen Eighty-Four, Aldous Huxley’s, Brave New World and Margaret Atwood's Handmaid's Tale. Elegy: A lyric poem that laments the death of a person or the eventual death of all people. In a conventional elegy, set in a classical world, the poet and subject are spoken of as shepherds. In modern criticism, the word elegy is often used to refer to a poem that is melancholy or mournfully contemplative. An example is The Seafarer.
- 14. End-stopped: A lineof poetry that has a natural pause at the end (period, comma, etc.). For example, these lines from William Shakespeare are end stopped: My mistress' eyes are nothing like the sun. Coral is far more red than her lips red. Enjambment: In poetry, the continuation of the sense and grammatical construction of a line onto the next line or stanza. For example, these lines are enjambed: Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds Or bends with the remover to remove. Shakespeare Epic: A long narrative poem about the adventures of a hero of great historic or legendary importance. The setting is vast and the action is often given cosmic significance through the intervention of supernatural forces such as gods, angels, or demons. Epics are typically written in a classical style of grand simplicity with elaborate metaphors and allusions that enhance the symbolic importance of a hero's adventures. Some well-known epics are Beowulf, Homer's The Odyssey, and John Milton's Paradise Lost and Gilgamesh. Characteristics of the classical epic include these: The main character or protagonist is heroically larger than life, often the source and subject of legend or a national hero The action, often in battle, reveals the more- than-human strength of the heroes as they engage in acts of heroism and courage The setting covers several nations, the whole world, or even the universe The episodes, even though they may be fictional, provide an explanation for some of the circumstances or events in the history of a nation or people The gods and lesser divinities play an active role in the outcome of actions All of the various adventures form an organic whole, where each event relates in some way to the central theme Epiphany: An intuitive grasp of reality achieved in a quick flash of recognition in which something, usually simple and commonplace is seen in a new light. Epithet: A combination of a descriptive phrase and a noun. An epithet presents a miniature portrait that identifies a person or thing by highlighting a prominent characteristic of that person or thing. In English, the Homeric epithet usually consists of a noun modified by a compound adjective, such as the following: fleet-footed Achilles, rosy-fingered dawn, wine-dark sea, earth-shaking Poseidon, and gray- eyed Athena. The Homeric epithet is an ancient relative of such later epithets as Richard the Lion- Hearted, Ivan the Terrible, and America the Beautiful. Epistolary novel: A novel consisting of letters written by a character or several characters. The form allows for the use of multiple points of view toward the story and the ability to dispense with an omniscient narrator. Examples are Mary Shelley’s Frankenstein and Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. Euphemism: The substitution of a mild or less negative word or phrase for a harsh or blunt one, as in the use of "pass away" instead of "die." The basic psychology of euphemistic language is the desire to put something bad or embarrassing in a positive (or at least neutral light). Thus many terms referring to death, sex, crime, and excremental functions are euphemisms. Since the euphemism is often chosen to disguise something horrifying, it can be exploited by the satirist through the use of irony and exaggeration. Euphony: A combination of sounds that creates a harmony pleasing to the ear. Most often used in poetry, this quality is achieved through the use of poetic devices such as alliteration, assonance, consonance, etc. Explication de texte: An approach to literary criticism involving close examination, analysis, and exposition of the text of a work, and concentrating on language, style, content, and the interrelations of the parts to the whole in regard to meaning and symbolism. Exposition: Where an author interrupts a story in order to explain something, usually to provide important background information. In drama, the presentation of essential information regarding what has occurred prior to the beginning of the play. Falling Action: The series of events which take place after the climax. In drama, falling action leads to the conclusion. Figurative Language and Figures of Speech: A technique in writing in which the author temporarily interrupts the order, construction, or meaning of the
- 15. writing for aparticular effect. This interruption takes the form of one or more figures of speech such as hyperbole, irony, or simile. Figurative language is the opposite of literal language, in which every word is truthful, accurate, and free of exaggeration or embellishment. Examples of figurative language are tropes such as metaphor and rhetorical figures such as apostrophe. Flashback: A device that allows the writer to present events that happened before the time of the current narration or the current events in the fiction. Flashbacks entail detailed reconstruction of past events. Flashback is useful for exposition, to fill in the reader about a character or place, or about the background to a conflict. Foil: A character in a work of literature whose physical or psychological qualities contrast strongly with, and therefore highlight, the corresponding qualities of another character. In his Sherlock Holmes stories, Arthur Conan Doyle portrayed Dr. Watson as a man of normal habits and intelligence, making him a foil for the eccentric and wonderfully perceptive Sherlock Holmes. In Hamlet, Laertes and Fortinbras serve as foils for Hamlet. Foreshadowing: Clues that hint at what is going to happen later in the plot. Frame story: A narrative structure that provides a setting and exposition for the main narrative in a novel. Often, a narrator will describe where he found the manuscript of the novel or where he heard someone tell the story he is about to relate. The frame helps control the reader's perception of the work, and has been used in the past to help give credibility to the main section of the novel. Examples of novels with frame stories include: Mary Shelley’s Frankenstein, Nathaniel Hawthorne’s The Scarlet Letter, and J. D. Salinger’s The Catcher in the Rye. Free verse: Verse that has neither regular rhyme nor regular meter. Free verse often uses cadences rather than uniform metrical feet. Genre: A category of literary work. In critical theory, genre may refer to both the content of a given work (tragedy, comedy, pastoral) and to its form, such as poetry, novel, or drama. This term also refers to types of popular literature, as in the genres of science fiction or the detective story. Gothic novel: A novel in which supernatural horrors and an atmosphere of unknown terror pervade the action. The setting is often a dark, mysterious castle, where ghosts and sinister humans roam menacingly. Gothic elements include: Ancient prophecy, especially mysterious, obscure, or hard to understand. Mystery and suspense High emotion, sentimentalism, but also pronounced anger, surprise, and especially terror Supernatural events Omens, portents, dream visions Fainting, frightened, screaming women Women threatened by a powerful, impetuous male Setting in a castle, especially with secret passages The metonymy of gloom and horror (wind, rain, doors grating on rusty hinges, howls in the distance, distant sighs, footsteps approaching, lights in abandoned rooms, lights suddenly blowing out, characters trapped in rooms or imprisoned) The vocabulary of the gothic (use of words indicating fear, mystery, etc.: apparition, devil, ghost, haunted, terror, fright) Example: Mary Shelley, Frankenstein Humours: In medieval physiology, four liquids in the human body affecting behavior. Each humour was associated with one of the four elements of nature. In a balanced personality, no humour predominated. When a humour did predominate, it caused a particular personality. blood...air...hot and moist: sanguine, kind, happy, romantic phlegm...water...cold and moist: phlegmatic, sedentary, sickly, fearful yellow bile...fire...hot and dry: choleric, ill-tempered, impatient, stubborn black bile...earth...cold and dry: melancholy, gluttonous, lazy, contemplative The Renaissance took the doctrine of humours quite seriously--it was their model of psychology--so knowing that can help us understand the characters in the literature. Falstaff, for example, has a dominance of blood, while Hamlet seems to have an excess of black bile. Hyperbole: A literary device that is a deliberate exaggeration used to achieve an effect. In William Shakespeare's Macbeth, Lady Macbeth hyperbolizes when she says, "All the perfumes of Arabia could not sweeten this little hand."
- 16. Idiom: a constructionor expression in one language that cannot be matched or directly translated word- for-word in another language. For example, calling an easy task a “piece of cake” would be using an idiom. Imagery: Imagery is writing that appeals to the senses whether by literal description, by allusion or in the vehicles of its similes and metaphors. Types of imagery include visual (sight), auditory (hearing), tactile (touch), gustatory (taste) olfactory (smell), thermal (heat and cold) and kinesthetic (movement). Inference: A judgement based on reasoning rather than on direct or explicit statement. In medias res: A Latin term meaning "in the middle of things." It refers to the technique of beginning a story at its midpoint and then using various flashback devices to reveal previous action. This technique is used in Homer’s Odyssey. Inversion: The placing of a sentence element out of its normal position. Inversion changes the usual syntax of a sentence. An example appears in Coleridge: “A damsel with a dulcimer In a vision once I saw.” This might more usually be written, “I saw a vision of a damsel with a dulcimer.” Irony. A mode of expression, through words (verbal irony) or events (situational irony), conveying a reality different from and usually opposite to appearance or expectation. Verbal irony is a figure of speech in which the actual intent is expressed in words that carry the opposite meaning. Characteristically, it speaks words of praise to imply blame and words of blame to imply praise. Situational irony is a figure of speech in which an outcome or event is the opposite of that which is expected. The irony is generated by the surprise recognition by the audience of a reality in contrast with expectation or appearance. The surprise recognition by the audience often produces a comic effect, making irony often funny. Irony is the most common and most efficient technique of the satirist, because it is an instrument of truth, provides wit and humor, and is usually at least obliquely critical, in that it deflates, scorns, or attacks. An example of this is Jonathan Swift's "Modest Proposal.” (See also Dramatic Irony) Kenning: In Anglo-Saxon poetry, a metaphorical phrase or compound word used to name a person, place, thing or event indirectly. Examples abound in Beowulf such as “whale-road” for the sea and “shepherd of evil” for Grendel. Lyric Poetry: A poem expressing the subjective feelings and personal emotions of the poet. Such poetry is melodic, since it was originally accompanied by a lyre in recitals. Most Western poetry in the twentieth century may be classified as lyrical. Examples of lyric poetry include A. E. Housman's elegy "To an Athlete Dying Young," Thomas Gray, the sonnets of Sir Thomas Wyatt and Sir Philip Sidney, Elizabeth Barrett Browning, and a host of other forms in the poetry of William Blake among many others. Malapropism: An inappropriateness of speech resulting from the use of one word for another, which resembles it. Examples abound in Shakespeare’s Much Ado About Nothing such as “Yea, or else it were pity but they should suffer salvation, body and soul.” (He is mistaking salvation for damnation.) Metaphor: A figure of speech comparing two seemingly unlike things, without asserting a comparison. An example from Shelley is, “My soul is an enchanted boat.” An extended metaphor is one that is extended, or developed, over several lines of poetry or even throughout an entire poem. A dead metaphor is one that has become so common that we no longer notice that it is a figure of speech. Everyday language is filled with dead metaphors such as “foot of the bed,” “bone of contention,” and “mouth of the river.” A mixed metaphor is the incongruous mixture of two or more metaphors. Mixed metaphors are often unintentional and often call up ludicrous images: “if you put your money on that horse, you’ll be barking up the wrong tree.” Meter: In literary criticism, the repetition of sound patterns that creates a rhythm in poetry. The patterns are based on the number of syllables and the presence and absence of accents. The unit of rhythm in a line is called a foot. A foot is the basic unit of meter consisting of a group of two or three syllables. Scanning or scansion is the process of determining the prevailing foot in a line of poetry, of determining the types and sequence of different feet. Types of feet: U (unstressed); / (stressed syllable) Iamb: U / Trochee: / U Anapest: U U /
- 17. Dactyl: / UU Spondee: / / Pyrrhic: U U Types of meter are classified according to the number of feet in a line. These are the standard English lines: Monometer, one foot; Dimeter, two feet; Trimeter, three feet; Tetrameter, four feet; Pentameter, five feet; Hexameter, six feet (also called the Alexandrine); Heptameter, seven feet (also called the "Fourteener" when the feet are iambic). The most common English meter is iambic pentameter which consists of five iambic feet per line which when unrhymed is also known as blank verse. Metonomy: A figure of speech in which the poet substitutes a word normally associated with something for the usual term. An example is the use of “The White House” in place of the President or “The crown” in place of the monarch. Mock Epic: Treating a frivolous or minor subject seriously, especially by using the machinery and devices of the epic (invocations, descriptions of armor, battles, extended similes, etc.). An example is Alexander Pope’s Rape of the Lock Mood: The atmosphere or emotional condition created by the piece, within the setting. Motif: (Also known as motiv) A theme, character type, image, metaphor, or other verbal element that recurs throughout a single work of literature or occurs in a number of different works over a period of time. For example, the recurrence of the color red in The Scarlet Letter is a “specific,” while the trials of star-crossed lovers is a "conventional" motif from the literature of all periods. Narrative Poetry: A nondramatic poem in which the author tells a story. Such poems may be of any length or level of complexity. Epics, such as Beowulf, and ballads are forms of narrative poetry. Narrator: The teller of a story. The narrator may be the author or a character in the story through whom the author speaks. Novella: A work of prose fiction longer than a short story but shorter than a novel. There is no standard definition of length, but since rules of thumb are sometimes handy, one might say that the short story ends at about 20,000 words, while the novel begins at about 50,000. Thus, the novella is a fictional work of about 20,000 to 50,000 words. Examples are Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde and John Steinbeck’s Of Mice and Men. Novel of manners: A novel focusing on and describing in detail the social customs and habits of a particular social group. Usually these conventions function as shaping or even stifling controls over the behavior of the characters. An example is Jane Austen’s Pride and Prejudice. Ode: Name given to an extended lyric poem characterized by exalted emotion and dignified style. An ode usually concerns a single, serious theme. Most odes, but not all, are addressed to an object or individual. Odes are distinguished from other lyric poetic forms by their complex rhythmic and stanzaic patterns. An example of this form is John Keats's "Ode to a Nightingale." Onomatopoeia: The use of words whose sounds express or suggest their meaning. In its simplest sense, onomatopoeia may be represented by words that mimic the sounds they denote such as "hiss" or "meow." Ottava Rima: An eight-line stanza of poetry composed in iambic pentameter, following the abababcc rhyme scheme. This form has been prominently used by such important English writers as Lord Byron, Henry Wadsworth Longfellow, and W. B. Yeats. Oxymoron: A phrase combining two contradictory terms. Oxymora may be intentional or unintentional. The following speech from William Shakespeare's Romeo and Juliet uses several oxymora: Why, then, O brawling love! O loving hate! O anything, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! This love feel I, that feel no love in this. Paradox: A statement that appears illogical or contradictory at first, but may actually point to an underlying truth. "Less is more" is an example of a paradox. Literary examples include Francis Bacon's statement, "The most corrected copies are commonly the least correct," and "All animals are equal, but some animals are more equal than others" from George Orwell's Animal Farm.
- 18. Parallelism: Such anarrangement that one element of equal importance to another is similarly developed and phrased. The principle of parallelism dictates that coordinate ideas should have coordinate presentation. Ralph Waldo Emerson's "Civilization" contains this example of parallelism: Raphael paints wisdom; Handel sings it, Phidias carves it, Shakespeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Parody: In literary criticism, this term refers to an imitation of a serious literary work or the signature style of a particular author in a ridiculous manner. A typical parody adopts the style of the original and applies it to an inappropriate subject for humorous effect. Parody is a form of satire and could be considered the literary equivalent of a caricature or cartoon. The Rape of the Lock by Alexander Pope is a parody of more serious poetry of the time. Pastoral: A term derived from the Latin word "pastor," meaning shepherd. A pastoral is a literary composition on a rural theme. In a pastoral, characters and language of a courtly nature are often placed in a simple setting. The term pastoral is also used to classify dramas, elegies, and lyrics that exhibit the use of country settings and shepherd characters. The Passionate Shepherd to his Love by Christopher Marlowe is a pastoral. Personification: A kind of metaphor in which a nonhuman thing or quality is talked about as if it were human. “Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme” is an example of personification from John Keats’ Ode on a Grecian Urn Plagiarism: Claiming another person's written material as one's own. Plagiarism can take the form of direct, word-for-word copying or the theft of the substance or idea of the work. Plot: The structure and relationship of actions and events in a work of fiction. While plot and story line do overlap, plot also involves how the events of the work are organized, depicted and related to each other. Poetic License: Distortions of fact and literary convention, such as departing from normal order, diction, rhyme, or pronunciation, made by a writer (not always a poet) for the sake of the effect gained. In a broader sense poetic license is applied not only to language, but also to all the ways in which poets and other literary authors are held to be free to violate, for special effect, the ordinary norms not only of common discourse but also of literal and historical truth. Point of View: The narrative perspective from which a literary work is presented to the reader. There are four traditional points of view. The "third person omniscient" gives the reader a "godlike" perspective, unrestricted by time or place, from which to see actions and look into the minds of characters. This allows the author to comment openly on characters and events in the work. The "third person" point of view presents the events of the story from outside of any single character's perception, much like the omniscient point of view, but the reader must understand the action as it takes place. This type excludes special insight into characters' minds or motivations. The "first person" or "personal" point of view relates events as they are perceived by a single character. The main character "tells" the story and may offer opinions about the action and characters which differ from those of the author. Much less common than omniscient, third person, and first person is the "second person" point of view, wherein the author tells the story as if it is happening to the reader. James Thurber employs the omniscient point of view in his short story "The Secret Life of Walter Mitty." Ernest Hemingway's "A Clean, Well-Lighted Place" is a short story told from the third person point of view. Mark Twain's novel Huck Finn is presented from the first person viewpoint. Jay McInerney's Bright Lights, Big City is an example of a novel which uses the second person point of view Protagonist: Considered to be the main character or lead figure in a novel, story, play or poem. Pun: A play on words that have similar sounds but different meanings. “They went and told the sexton, and the sexton tolled the bell.” John Donne Refrain: A phrase repeated at intervals throughout a poem. A refrain may appear at the end of each stanza or at less regular intervals. It may be altered slightly at each appearance. Some refrains are nonsense expressions, as with "Nevermore" in Edgar Allan Poe's “The Raven,” that seem to take on a different significance with each use. Another example is “Do not go gentle into that good night. Rage, rage against the dying of the
- 19. light.” From DylanThomas’ Do Not Go Gentle into that Good Night. Regional novel: A novel faithful to a particular geographic region and its people, including behavior, customs, speech, and history. Examples are Harper Lee’s To Kill a Mockingbird, and Mark Twain’s Huckleberry Finn. Rhyme: The similarity between syllable sounds at the end of two or more lines. Some kinds of rhyme (also spelled rime) include End rhyme: rhyme occurring at the end of lines of poetry Couplet: a pair of lines rhyming consecutively Eye rhyme: (also Sight rhyme) words whose spellings would lead one to think that they rhymed (slough, tough, cough, bough, though, hiccough; love, move, prove; daughter, laughter.) Slant/Off/Approximate Rhyme: when words sound similar but do not rhyme exactly (lark, lurk) Internal Rhyme: rhyme that occurs within a single line of poetry. An example is in the opening line of Edgar Allan Poe's "The Raven": "Once upon a midnight dreary, while I pondered weak and weary." Here, "dreary" and "weary" make an internal rhyme. Rhythm: A regular pattern of sound, time intervals, or events occurring in writing, most often and most discernibly in poetry. Regular, reliable rhythm is known to be soothing to humans, while interrupted, unpredictable, or rapidly changing rhythm is disturbing. These effects are known to authors, who use them to produce a desired reaction in the reader. Romance: An extended fictional prose narrative about improbable events involving characters who are quite different from ordinary people. Knights on a quest for a magic sword and aided by characters like fairies and trolls would be examples of elements found in romance fiction. An example is Jane Austen’s Pride and Prejudice. Rising Action: The events in a story that move the plot forward. Rising action involves conflicts and complications, and builds toward the climax of the story. Saga: A story of the exploits of a hero, or the story of a family told through several generations. Satire: A kind of writing that ridicules human weakness, vices, or folly in order to bring about social reform. Ridicule, irony, exaggeration, and several other techniques are almost always present. Examples of satire are both Gulliver’s Travels and A Modest Proposal by Jonathan Swift. Setting: The total environment for the action of a fictional work. Setting includes time period (such as the 1890's), the place (such as downtown Warsaw), the historical milieu (such as during the Crimean War), as well as the social, political, and perhaps even spiritual realities. The setting is usually established primarily through description, though narration is used also. Simile: A common figure of speech that makes an explicit comparison between two unlike things by using words such as like, as, than, appears, and seems. Soliloquy: In drama, a moment when a character is alone and speaks his or her thoughts aloud. Sonnet: A fourteen-line poem, usually in iambic pentameter, with a varied rhyme scheme. The two main types of sonnet are the Petrarchan (or Italian) and the Shakespearean. The Petrarchan sonnet is divided into two main sections, the octave (first eight lines) and the sestet (last six lines). The octave presents a problem or situation that is then resolved or commented on in the sestet. The most common rhyme scheme is A-B-B-A A-B-B-A C-D-E C-D-E, though there is flexibility in the sestet, such as C-D- C D-C-D. The Shakespearean sonnet, (perfected though not invented by Shakespeare), contains three quatrains and a couplet, with more rhymes (because of the greater difficulty finding rhymes in English). The most common rhyme scheme is A-B-A-B C-D-C-D E-F-E-F G-G. In Shakespeare, the couplet often undercuts the thought created in the rest of the poem. Stream of consciousness: A narrative technique developed by modernist writers to present the flow of a character’s seemingly unconnected thoughts, responses, and sensations. Instead of being arranged in chronological order, the events of the story are presented from a character’s point of view, mixed in with the character’s feelings and memories just as they might spontaneously occur in a real person’s mind. Katherine Anne Porter and James Joyce are two authors who use this technique. Style: The manner of expression of a particular writer, produced by choice of words, grammatical structures, use of literary devices, and all the possible parts of language use. Some general styles might include scientific, ornate, plain, or emotive. Most writers have their own particular styles.
- 20. Subplot: A subordinateor minor collection of events in a novel or drama. Most subplots have some connection with the main plot, acting as foils to, commentary on, complications of, or support to the theme of, the main plot. Sometimes two opening subplots merge into a main plot. Symbol: Something that on the surface is its literal self but which also has another meaning or even several meanings. For example, a sword may be a sword and also symbolize justice. A symbol may be said to embody an idea. There are two general types of symbols: universal symbols that embody universally recognizable meanings wherever used, such as light to symbolize knowledge, and a skull to symbolize death and constructed symbols that are given symbolic meaning by the way an author uses them in a literary work, as the white whale becomes a symbol of evil in Moby Dick. Synecdoche: A literary device in which a part is used to represent the whole or the whole to represent a part. “Give me a hand” or “I just got a new set of wheels” are examples using a part to represent the whole. Terza Rima: A three line stanza with the rhyme scheme aba bcb cdc ded and so forth. One rhyme sound is used for the first and third lines of each stanza, and a new rhyme introduced for the second line, this new rhyme, in turn being used for the first and third line of the next stanza. Theme: The central idea or insight of a work of literature. The theme is not the same as the subject of a work, which can usually be expressed by a word or two: love, death or old age. Theme is the idea the writer wishes to convey about the subject. Tone: The writer's attitude toward his readers and his subject; his mood or moral view. A writer can be formal, informal, playful, ironic, and especially, optimistic or pessimistic. While both Swift and Pope are satirizing much the same subjects, there is a profound difference in their tone. Understatement: A description of a person, an event, or an idea from a perspective that greatly plays down the importance of the subject, often to add humor or to make a point ironically. Utopian novel: A novel that presents an ideal society in which the problems of poverty, greed, crime, and so forth have been eliminated. An example is Thomas More’s Utopia.
- 21. “Hills Like WhiteElephants” by Ernest Hemingway from Charters, Ann, Ed. The Story and its Writer: An Introduction to Short Fiction. 6th Ed. Boston: Bedford/St. Martin’s, 2003.
- 25. Pre-‐AP English // Ms. Moulton Name ________________________________________________ Block ________________ LITERARY DEVICES AND TERMS QUIZ 1. ____________________________________ : a construction or expression in one language that cannot be matched or directly translated word-‐ for-‐word in another language. 2. ____________________________________ : The selection and arrangement of words in a literary work. 3. ____________________________________ : A phrase combining two contradictory terms. 4. ____________________________________ : A common figure of speech that makes an explicit comparison between two unlike things by using words such as like, as, than, appears, and seems. 5. ____________________________________ : The central idea or insight of a work of literature. The idea the writer wishes to convey about the subject. 6. ____________________________________ : A character in a work of literature whose physical or psychological qualities contrast strongly with, and therefore highlight, the corresponding qualities of another character. 7. ____________________________________ : The writer's attitude toward his readers and his subject; his mood or moral view. 8. ____________________________________ : A literary device that is a deliberate exaggeration used to achieve an effect. 9. ____________________________________ : A kind of metaphor in which a nonhuman thing or quality is talked about as if it were human. 10. ____________________________________ : A statement that appears illogical or contradictory at first, but may actually point to an underlying truth. BONUS (Note: this answer is a SPECIFIC TYPE of one of the terms you were asked to study. To receive credit, you must include BOTH the general term and the specific type. You will not be able to receive partial credit for simply knowing the general term.) ____________________________________ : a figure of speech in which the actual intent is expressed in words that carry the opposite meaning.
- 26. Mr. Blaber Essay/Exposition Printed belowis the complete text of a short story written in 1946 by Katharine Brush. Read the story carefully. Then write a 1-page response in which you identify the writer’s purpose and show how the author uses literary devices to achieve this purpose. Specifically, consider the following: tone, point of view, diction, sensory details. Birthday Party They were a couple in their late thirties, and they looked unmistakably married. They sat on the banquette opposite us in a little narrow restaurant, having dinner. The man had a round, self-satisfied face, with glasses on it; the woman was fadingly pretty, in a big hat. There was nothing conspicuous about them, nothing particularly noticeable, until the end of their meal, when it suddenly became obvious that this was an Occasion—in fact, the husband’s birthday, and the wife had planned a little surprise for him. It arrived, in the form of a small but glossy birthday cake, with one pink candle burning in the center. The headwaiter brought it in and placed it before the husband, and meanwhile the violin-and-piano orchestra played “Happy Birthday to You,” and the wife beamed with shy pride over her little surprise, and such few people as there were in the restaurant tried to help out with a pattering of applause. It became clear at once that help was needed, because the husband was not pleased. Instead, he was hotly embarrassed, and indignant at his wife for embarrassing him. You looked at him and you saw this and you thought, “Oh, now, don’t be like that!” But he was like that, and as soon as the little cake had been deposited on the table, and the orchestra had finished the birthday piece, and the general attention had shifted from the man and the woman, I saw him say something to her under his breath—some punishing thing, quick and curt and unkind. I couldn’t bear to look at the woman then, so I stared at my plate and waited for quite a long time. Not long enough, though. She was still crying when I finally glanced over there again. Crying quietly and heartbrokenly and hopelessly, all to herself, under the gay big brim of her best hat. Copyright © 1946 The New Yorker. All rights reserved. Originally published in The New Yorker. Ms. Moulton Pre-AP English 10
- 27. Pre-‐AP English 10 // Ms. Moulton Italics vs. “Quotation Marks” Rule of Thumb ☺ ~ If you put it on a shelf = italics ~ If you can hang it on the fridge with a magnet = quotation marks Italics: Rule 1: Use italics (underlining) for titles and subtitles of books, plays, long poems, periodicals, works of art, movies, TV series, and long musical works and recordings. Rule 2: Use italics (underlining) for the names of ships, trains, aircraft, and spacecraft. Rule 3: Use italics for words, letters, symbols, and numerals referred to as such. ~ The first o in zoology is pronounced with a long o sound. ~ In math, what does the % mean? Rule 4: Use italics for foreign words that have not been adopted into English. ~Examples: hors d’oeurve (French), tae kwon do (Korean) Quotation Marks: Rule 1: Use quotation marks to enclose titles (including subtitles) of short works such as short stories, poems, essays, articles, songs, episodes of TV series, and chapters and other parts of books and periodicals. Rule 2: Use quotation marks to enclose a direct quotation – a person’s exact words. ~ Joan said, “My legs are sore from jogging.” a. A directly quoted sentence begins with a capital letter. ~ Bianca asked, “When do we get our uniforms?” b. When an interrupting expression divides the quoted sentence into two parts, the second part begins with a lowercase letter. ~ “I hope,” said Diego, “that it doesn’t rain during the fiesta.” Rule 3: Use single quotation marks to enclose a quotation or title within a quotation. ~ Val asked, “Did you like my rendition of ‘America the Beautiful’?” Rule 4: Use quotation marks to enclose slang words, technical terms, and unusual uses of words. ~ My oldest brother said my new shoes look very “fly.” Rule 5: When used with quotation marks, other marks of punctuation are placed according to the following rules: a. Commas and periods are placed inside the close quotation marks. ~ Mary said, “I had really hoped to go to the concert.” b. Colons and semicolons are placed outside the closing quotation marks. ~ Paka quoted a Cameroonian proverb, “By trying often, the monkey learns to jump from the tree”; it reminded me of the expression “If at first you don’t succeed, try, try again.”
- 28. Pre-AP English 10// Moulton // 1 Strong Verbs for Writing From Tara Seale’s “General Writing and Analysis Resources” A accelerate accept accomplish account for accumulate achieve acknowledge acquire activate adapt add address adjust admit affect agree aid align alleviate allow alter amplify analyze answer anticipate appear apply appreciate approach approximate argue ascertain assert assess associate assume attain attract attribute avoid B become begin behave believe benefit bound break broaden build C calculate capture cause challenge characterize claim clarify combine compare complicate compress concentrate conclude conjecture constitute construct contradict contrast contribute convey convince create critique D decide declare decrease defend define demonstrate deny depict describe design destroy detect determine develop deviate differentiate disagree discover discuss dismiss distinguish duplicate E edit effect elaborate eliminate emphasize encompass enhance ensure establish examine exclude exemplify exhibit explain explore F fabricate falsify feature finalize find flow focus formulate G-H gain generalize guide hamper handle hypothesize
- 29. Pre-AP English 10// Moulton // 2 I identify illuminate illustrate imagine implement include incorporate increase indicate induce infer influence initiate inquire interpret introduce involve isolate J-L justify limit localize locate M-O maintain manifest manipulate maximize modify negate observe obtain omit optimize organize outline overstate P-Q perceive possess predict prepare produce prove provide qualify quantify question R realize recognize recommend reconstruct redefine reference reflect refute relate represent resemble reveal review S seek separate serve shape show signal simplify solidify solve specify state stimulate submit substantiate suggest summarize support sustain synthesize T-V taint target terminate testify theorize transform translate transmit trigger undermine understand understate unify update use utilize validate vary verify view W-Z withstand yield
- 30. Pre-AP English 10//Moulton// 1 Tone Words from Tara Seale’s “General Writing and Analysis Resources” Note: If you are unsure of a tone word’s definition, look it up before using it! Positive Tone Words Negative Tone Words Amiable Friendly Accusing Disinterested Amused Happy Aggravated Facetious Appreciative Hopeful Agitated Furious Authoritative Impassioned Angry Harsh Benevolent Jovial Apathetic Haughty Brave Joyful Arrogant Hateful Calm Jubilant Artificial Hurtful Cheerful Lighthearted Audacious Indignant Cheery Loving Belligerent Inflammatory Compassionate Optimistic Bitter Insulting Complimentary Passionate Boring Irritated Confident Peaceful Brash Manipulative Consoling Playful Childish Obnoxious Content Pleasant Choleric Outraged Dreamy Proud Coarse Passive Ecstatic Relaxed Cold Quarrelsome Elated Reverent Condemnatory Shameful Elevated Romantic Condescending Smooth Encouraging Soothing Contradictory Snooty Energetic Surprised Critical Superficial Enthusiastic Sweet Desperate Surly Excited Sympathetic Disappointed Testy Exuberant Vibrant Disgruntled Threatening Fanciful Whimsical Disgusted Tired Humorous/Ironic/Sarcastic Tone Words Amused Droll Mock (heroic) Sardonic Bantering Facetious Mock (serious) Satiric Bitter Flippant Mocking Scornful Caustic Giddy Patronizing Sharp Comical Humorous Pompous Silly Condescending Insolent Quizzical Taunting Contemptuous Ironic Ribald Teasing Critical Irreverent Ridiculing Whimsical Cynical Joking Sad Wry Disdainful Malicious Sarcastic
- 31. Pre-AP English 10//Moulton// 2 Sorrow/Fear/Worry Tone Words Aggravated Embarrassed Morose Resigned Agitated Fearful Mournful Sad Anxious Foreboding Nervous Serious Apologetic Gloomy Numb Sober Apprehensive Grave Ominous Solemn Concerned Hollow Paranoid Somber Confused Hopeless Pessimistic Staid Dejected Horrific Pitiful Upset Depressed Horror Poignant Despairing Melancholy Regretful Disturbed Miserable Remorseful Neutral Tone Words Admonitory Dramatic Intimate Questioning Allusive Earnest Judgmental Reflective Apathetic Expectant Learned Reminiscent Authoritative Factual Loud Resigned Baffled Fervent Lyrical Restrained Callous Formal Matter-of-Fact Seductive Candid Forthright Meditative Sentimental Ceremonial Frivolous Nostalgic Serious Cynical Haughty Objective Shocking Consoling Historic Obsequious Sincere Contemplative Humble Patriotic Unemotional Conventional Incredulous Persuasive Urgent Detached Informative Pleading Vexed Didactic Inquisitive Pretentious Wistful Disbelieving Instructive Provocative Zealous
- 32. Pre-AP English 10// Moulton // 1 Embedding and Citing Quotes From Tara Seale’s “General Writing and Analysis Resources” A quotation, or quote, is a phrase or passage taken directly (word for word) from a book, poem, play, etc. When you quote an author, you must put his or her words in quotation marks (“ ”) and give him or her credit for having written them by citing the source, or adding an in-text citation (the author’s last name and the page number in parentheses at the end of the sentence). Citing your sources ensures that you are not plagiarizing, or stealing someone else’s work or ideas without permission or acknowledgement. In-Text Citation When you use the author’s name in your sentence, you only put the page number in parentheses. Collins explains that the ultimate punishment for the people of Panem includes “taking the kids from our districts, forcing them to kill one another while we watch” (18). When you do not use the author’s name in your sentence, you put the author and the page number in parentheses. The annual Hunger Games competition is “the Capitol’s way of reminding us how totally we are at their mercy” (Collins 18). Embedding Quotes When you include a quote in your essays, you cannot just stick it in between two of your sentences; you must embed it into one of your sentences. This means that you start writing a sentence in your own words and use a quote to fill in the blanks. One of the muttations in The Hunger Games is the jabberjay, a bird with “the ability to memorize and repeat whole human conversations” (Collins 43). If you want to include a quote that is difficult to fit into one of your sentences, write a sentence that introduces the idea the quote explains and connect the quote with a colon (:). Do not do this more than once or twice in an essay. Katniss explains that the Hunger Games is a powerful tool the Capitol uses to control the people: “Taking the kids from our districts, forcing them to kill one another while we watch―—this is the Capitol’s way of reminding us how
- 33. Pre-AP English 10// Moulton // 2 totally we are at their mercy” (Collins 18). Correct MLA Format for Quotations Do not put the comma or period that ends your quote in the quotation marks. (See examples above.) If your quote ends in a question mark or an explanation mark, include those in your quotations marks. Do not put a period before the citation. Thinking back to times at home before the Hunger Games, Katniss wonders, “How long have I been gone?” (Collins 310). If you add more to your sentence after the quote is finished, punctuate how you normally would. Put the punctuation that should come after the quote inside of the quotation marks. Do not put a period before the citation. Rue heals Katniss by pressing “a gloppy green wad of chewed leaves and spit” on her tracker jacker stings (Collins 200). This sentence would not normally need a comma after the quote, so there is no need to add one here. When Rue and Katniss cook dinner together, Rue shares “a big handful of some sort of starchy root,” and Katniss shares some of the animals she has killed (Collins 201). This sentence would need a comma there even if it were not a quote, so one is added inside of the quotation marks. If your quote is more than one sentence long, punctuate all the sentences that come before the last one like they are in the book. Only remove the end punctuation from the last sentence of the quote. When Katniss sees the weapons pile in her training session, she thinks, “Oh, the weapons! I’ve been itching to get my hands on them for days!” (Collins 101). Whether the sentence ends with a quote or not, put the period outside of the parentheses and never before the citation. Quoting Dialogue You can quote dialogue (what characters say in the story, signaled by having quotation marks in the text) two different ways: ● The easiest way is to include only the part spoken out loud by the character. When Katniss and Peeta are talking about how the Games might end, Peeta says, “But this means we’re one step closer to District Twelve” (Collins 308).
- 34. Pre-AP English 10// Moulton // 3 ● If you also want to include words that are not said aloud, you need to change the quotation marks in the book to single quotation marks. When Peeta and Katniss are waiting for their private training sessions with the Gamemakers, Katniss says, “‘Remember what Haymitch said about being sure to throw the weights.’ The words came out of my mouth without permission” (Collins 100). Put a comma before a quote that tells what a character is thinking or saying in his or her words. (See examples above.) Words like “says,” “exclaims,” “asks,” and “thinks” are hints. On a cold night when she is feeling particularly miserable, Katniss thinks to herself, “Just accept it will be a bad night” (Collins 279). Other Things to Know About Quoting ● Never begin a paragraph with a quote. A quote is not an introductory sentence. (The hook can be an exception.) ● Never end a paragraph with a quote. You must explain all of your quotes after you embed them. ● You must embed all of your quotes. That means you lead in a quote with your own words. (See examples above.)
- 35. Pre-‐AP English 10 // Moulton // 1 GUIDELINES AND GRADING RUBRIC SUMMER ESSAY ASSIGNMENT BASIC REQUIREMENTS: ! Your essay must be printed, stapled, and ready to hand in when the tardy bell rings on Tuesday, September 23nd. NO ESSAYS WILL BE ACCEPTED LATE. ! LENGTH: Your essay must be 3 (minimum) – 4 pages long. The 3-‐page minimum means you must reach the bottom of the third page (NOT including your works cited/citation). ! FORMATTING: All papers must be written in 12 pt. Times New Roman and must be double-‐spaced with 1” margins on all sides (Left, Right, Top, and Bottom). Additionally, MLA formatting guidelines must be followed regarding headers, headings, titles, etc. The only exception to this rule will involve the Works Cited page: MLA guidelines state that the Works Cited page must begin on a separate page at the end of your paper. Because the only source you will use in your paper is the book you are analyzing, you will only have one citation. So, simply skip a few lines at the end of your paper and write your Works Cited heading and properly formatted MLA citation (a guideline for formatting can be found at the end of pg. 2 below the “Grading Procedures” section.) GRADING CATEGORIES: The essay will be worth a total of 75 points. ! QUALITY OF CONTENT [85%] General Expectations: The bulk of your grade will be based upon your demonstrated ability to apply the concepts of analysis we’ve discussed in class, including: the formation of a strong, precise thesis statement, the logical organization of your argument through linked topic sentences and the recognition of thematic patterns, and the defense of your claim through presentation of thoughtful evidence obtained by various and complex strategies of close reading. * Specific subcategories that will be evaluated: o THESIS STATEMENT : your thesis statement must be your original claim about a certain ASPECT of the text you wish to analyze [thesis statements that attempt to address the entire book as a whole end up sounding a lot like a book review]. Must contain essential pieces such as title, author, and a strong verb. Feedback received during thesis workshop should be incorporated. o STRENGTH OF EVIDENCE : author should present multiple, strong pieces of evidence for each claim made in the topic sentences [strong evidence includes tools of analysis previously discussed in class, such as diction, structure, literary devices [which must be properly named] and imagery. Plot details can be used but should merely reinforce the ideas of other, stronger evidence. It should always be clear as to HOW the presented evidence provides support for your thesis. Close reading strategies should be obvious from the type of evidence presented and the depth of analysis required to interpret this evidence from the text. [Think Hills Like White Elephants Discussion/Close Reading] " In-‐text quotations/citations [Minimum of 4] : citations should be properly formatted, significantly analyzed and interpreted (i.e. not simply included without a relevant discussion), and clearly tied back to your thesis o ORGANIZATION OF ARGUMENT: author should use transitions and clear connections to organize complex ideas, and it should be easy to follow from one thought to the next and know how each thought relates to the topic sentence and thesis overall.
- 36. Pre-‐AP English 10 // Moulton // 2 " TOPIC SENTENCES: each topic sentence should be a piece of your argument that categorizes the evidence that will be presented in the paragraph. Each topic sentence should clearly connect back to the original thesis statement. ! GRAMMAR, MECHANICS, AND FORMATTING [15%] * Specific Subcategories that will be evaluated: o MLA FORMATTING: 9 = no errors o MECHANICS (SPELLING, CAPITALIZATION, PUNCTUATION, AND USAGE) " 9 = < 5 errors " 5 = distracting amount of errors " 1 = where are you from? " Exception: Italics and quotations (as these have been discussed in class): 9 = no errors GRADING PROCEDURE: -‐ Your grade will be assigned using the 0-‐9 scale of the AP English grading rubric (seen on next pg.). -‐ To remain as unbiased as possible, before I begin grading I will assign each of your papers an ID number so I do not know whose paper I’m grading until after a point value grade is assigned. -‐ I will assign each subcategory listed above a score on the 1-‐9 scale. The scores on the subcategories of Thesis Statement, Evidence, and Organization will be averaged to get a score (still on the 1-‐9 scale) for the Quality of Content category. The same method will be used to get a score for the Grammar, Mechanics, and Formatting category. The paper’s overall score will be the weighted average of these two scores (calculated using the formula at the bottom of this section): -‐ The obtained percentage will be multiplied by 75 to determine your score out of 75. -‐ SO, when you get your papers back, there will be these 3 numbers across the top: 1. Your paper’s overall score on the 1-‐9 scale 2. Your percentage earned 3. Your earned points out of 75 **I will also have the subcategory scores available if you want to come talk to me at any point about your grade. Weighted Average Formula: (Average score on Content x 0.85) + (Average score on Grammar x 0.15) TOTAL (out of 9) __________________________________________________________________________________________________________________ MLA CITATION FORMAT (FOR A BOOK): Works Cited Author last name, Author first name. Title of Book. City of Publication: Publisher, Year of Publication. Medium of Publication.
- 37. Pre-‐AP English 10 // Moulton // 3 GENERAL AP ENGLISH GRADING RUBRIC: ! 9 (95 -100 PERCENT) The completed assignment demonstrates sophisticated thinking and dedicated effort. The student's skill, knowledge, and effort are immediately apparent. It is well-‐written, thoughtful, and insightful. Impressive "A" level work all around, with maybe a couple minor slip-‐ups. ! 8 (90 - 95 PERCENT) The completed assignment demonstrates understanding and effort. It lacks the consistency and sophistication of those graded as a 9, but is still well-‐written, thoughtful, and obviously shows that the student took the time to present quality work. ! 7 (85 - 90 PERCENT) The assignment is complete, yet lacks full understanding or effort. It is accurate yet fails to provide consistent and thoughtful analysis. ! 6 (80 - 85 PERCENT) The submitted assignment reflects some understanding, comprehension, and skill, but it is too brief to demonstrate insightful thinking. The assignment represents a passable level of grade-‐level knowledge and skill. ! 5 (75 - 80 PERCENT) The submitted assignment demonstrates that some areas are not written at grade-‐level knowledge or skill, or the assignment is missing a key aspect of the assigned work. Although this assignment reflects some level of understanding and skill, it is not consistent enough to represent grade-‐level work. ! 4 (70 - 75 PERCENT) The submitted assignment demonstrates more inconsistencies than a 5 assignment, and/or it demonstrates a questionable student effort, which means that the student occasionally performs at grade-‐appropriate knowledge or skill with questionable effort. ! 3 (65 - 70 PERCENT) The submitted assignment demonstrates that the student did not fully comprehend the assignment directions. The assignment is incomplete in some areas, even though it does demonstrate some effort towards completion. The assignment is below expectations, and it demonstrates a lack of knowledge and skills. ! 2 (60 - 65 PERCENT) The submitted assignment demonstrates that the student tried. It is significantly below expectations and has numerous errors, although something stands out to score the assignment higher than a 1. ! 1 (50-60 PERCENT) The student attempted the assignment. ! 0 (NOT SUBMITTED) A grade of “0” will be given if the student fails to submit the assignment or if the majority of the assignment was incomplete.
- 38. Pre-‐AP English 10 // Moulton // 1 GATHERING AND INTERPRETING EVIDENCE ANALYTICAL ESSAYS Remember M&Ms : METHOD and MEANING _______________________________________________________________ -‐-‐ METHOD OR EVIDENCE: (1) Identify the specific tool/device of analysis AND (2) provide a textual example of this tool. Tools/Devices of analysis include (but are not limited to): - DICTION -‐ connotations of words chosen (may establish tone or be a method of characterization) -‐ formal vs. informal -‐ dialogue (ex: colloquial language) - JUXTAPOSITION -‐May compare/contrast characters, setting, events, conflict, images, etc. (includes simile, metaphor, analogy) (jux. of opposite characters: foil) - IMAGERY (Sensory details) - FIGURATIVE LANGUAGE/FIGURES OF SPEECH -‐ Personification, idiom, oxymoron, onomatopoeia, hyperbole/understatement, etc. - IRONY (verbal, situational, dramatic) - FORESHADOWING - SETTING - SYMBOLISM - ALLUSION - REPETITION (of sound : alliteration, assonance, consonance) (of theme, character, image, metaphor, or other verbal element: motif) (of words [beginning sentences]: anaphora) -‐ Point-‐of-‐View (1st , 2nd , 3rd limited, 3rd omniscient) - CHARACTERIZATION -‐ Direct vs. indirect (ex. : Archetypes) - STRUCTURE / SYNTAX (ex. of narrative structure: fragmentation [flashbacks], vignettes, frame story, parallel narratives) (ex. of sentence structure: parallelism, run-‐on & fragments, asyndeton [omitting conjunctions in a list] & polysyndeton [use of several conjunctions in the place of commas]) -‐-‐ rhetorical questions - TONE (AND TONE SHIFTs) - THEME (ALWAYS ABSTRACT) -‐-‐ MEANING OR COMMENTARY: (1) interpret of the method/evidence [what effect does it have in the immediate moment?] AND (2) explain how this interpreted method contributes to your understanding of the narrative as a whole. The two levels of your commentary are PRIMARY and ULITIMATE interpretations. (what does it all mean??) PRIMARY [IMMEDIATE]: the immediate meaning of a presented method in the specific moment it occurs [i.e. how does this device function?].
- 39. Pre-‐AP English 10 // Moulton // 2 SECONDARY [ULTIMATE]: the ultimate meaning of a presented method after consideration of the primary commentary. [i.e. considering the primary function of the device/pattern, what is this telling us about the character or the story as a whole?]. -‐ Your primary interpretation serves as the logical connection between your method to your ultimate effect. There has to be a clearly defined process of drawing a conclusion based on a method. By walking your reader through this process, you transition from TELLING the reader your *opinions* about the text to SHOWING the reader that the text itself establishes a relationship between your ideas. ______________________________________________________________ EXAMPLE: In “Birthday Party” by Katharine Bush, the description of the husband’s severe reaction to his wife’s surprise is a “punishing [comment], quick and curt and unkind” [textual example], a description characterized by both consonance [specific device] and polysyndeton [specific device]. The repetition of the harsh “kuh” sound at the end of “quick”, the beginning of “curt”, and in the middle of “unkind” mimic the severity of the husband’s unknown comment [primary/immediate]. The recurrence of the conjunction “and” allows for an increase in the rhythm of the story [primary/immediate], as these harsh, sharp sounds of the consonance are piled overwhelmingly on top of one another. Essentially, the structure imitates the husband’s unkindness for the reader and creates a parallelism between the readers’ and the wife’s experiences of unjustifiable cruelty [secondary/ultimate]. ______________________________________________________________ REMEMBER: -‐ Your evidence must ALWAYS occur in method/meaning pairs: analytically speaking, they cannot function without one another. -‐ Your evidence to commentary ratio should be ~ 1:2 (if not more). So, you should have TWICE AS MUCH meaning/commentary as you do evidence/method.
- 40. Pre-AP English 10// Moulton TOPIC SENTENCE METHOD/EVIDENCE (devices AND textual evidence) MEANING: PRIMARY COMMENTARY SECONDARY COMMENTARY Ms. Moulton 17 September 2014 Close Reading Sample The Power of Choice in Hemingway’s “Hills Like White Elephants” THE SETTING (DEVICE) OF “HILLS LIKE WHITE ELEPHANTS” CONSTRUCTS A PHYSICAL MANIFESTATION OF THE GIRL’S FAITHFUL RESISTANCE AGAINST THE FORCE OF THE AMERICAN’S CONDESCENDING MANIPULATION. Before the reader is introduced to the characters, Hemingway describes the setting as a train “station…between two lines of rails”(textual evidence), which immediately designs an image of confinement. The “two lines of rails”, form a physical enclosure symbolic of the oppressive manner by which the American interacts with the girl. However, a few lines later – following the introduction of the characters – Hemingway says that train would stop at “this junction”, before moving on to its final destination. The word “junction”is a derivative of the word “juncture”, meaning “turning point” or “crosswords”. Considering this allusion to a literal crossroads - established by diction - the significance of the image created by the “two lines of rails” transforms from pitiful confinement to endowed independence . The two tracks become a new symbol for the two options the girl now faces: to have an abortion or to have her baby . By implementing the connotations of a literal and metaphorical “crossroads”, Hemingway undermines the initial, vulnerable characterization of the girl and instead validates her with the ultimate weapon to combat her partner’s manipulation and oppression: the power of choice.
- 41. Pre-‐AP English 10 // Moulton // 1 THE DIVINE GRAMMAR CODES (INTRO) GRAMMAR PRE-‐TEST CORRECTIONS AND EXPLANATIONS GRAMMAR PRETEST 1 1 – 4. COLONS/SEMICOLONS 1. Use a semicolon between independent clauses joined by a conjunctive adverb or a transitional expression. -‐ Conjunctive Adverb Ex: however, nevertheless, moreover, etc. -‐ transitional expression: for example, in fact, in other words, etc. 2. Use a semicolon between independent clauses that are closely related in thought and that are NOT joined by any conjunctions such as and, but, for, nor, or, so, or yet. 3. Use a colon before a list of items especially after expressions such as “the following” and “as follows.” 4. Use a colon before a long, formal statement or quotation. 5 – 6. LITERARY TERMS/DEVICES 5. Autumn represents the last years of the speaker’s life. A synonym for symbol is the phrase “indirect representation” – the word represent is a huge context clue here 6. See assonance in Literary Terms Definitions packet. 7. Punctuation Goofs 7. Both comma splices and fused sentences are types of run-on sentences; in a comma splice, there is only a comma separating two independent clauses, whereas in a fused sentence two independent clauses have been joined together without any punctuation. 8. The sentence contains two independent clauses; therefore, we know we are dealing with semicolons. 9 – 10. BEWARE OF HOMOPHONES.
- 42. Pre-‐AP English 10 // Moulton // 2 GRAMMAR PRETEST 2 1 – 2. PRONOUN/ANTECEDENT AGREEMENT Antecedent: a noun or pronoun (subject) that another pronoun refers to Pronoun (Definite): used in place of one or more nouns/pronouns (ex. he, she, they) -‐ Indefinite pronoun: refers to a person, place, thing, or an idea that may or may not be specifically named. (ex. most, some, everybody, etc.) A pronoun must agree in both gender and number with the antecedent it is being used to replace. 3 – 4. OBSCURE PRONOUNS Avoid an ambiguous reference (i.e. ambiguous pronoun). A pronoun should be clearly associated with ONLY one antecedent; if a pronoun could potentially replace more than one subject. 5 - 6. IRREGULAR VERBS AND STANDARD ENGLISH 5. Many verbs in English (and other languages) take a different form when changed to the past or future tense. Example: sing = sang or sung ring = rang or rung bring = brang or brung? The verb bring has an irregular conjugation in the past tense. Instead of following the “ing rule” of other verbs (where I simply changes to a in the past tense] demonstrated by the two previous verbs, the past tense of bring takes a new stem, bring = brought seek = sought (not seeked) freeze = froze (not freezed) 6. Do not use of in place of the word have after verbs such as could, would, should, might, must, and ought. Wrong: would of Right: would have 7 - 8. Tone – Identification and Consistency 7. The tone of the first three sentences is formal and informative; the word “awesome” clashes with this established tone, and it is less of a statement of fact (how can we be sure that there “wouldn’t have [been] any awesome national parks” without John? That is speculation). 8. The tone of this passage is one of passion and excitement, with an air of informality (use of “make-‐or-‐break” and use of exclamation point in sentence 3). The last sentence is an abrupt tone shift – from passionate to detached, from informal to formal. 9 - 10. VERB TENSE CONSISTENCY Keep verb tenses (past, present, future) consistent within sentences and paragraphs. Don’t change the tenses unnecessarily and when there is no indication of time change for the action. 9. Sentence 3 switches to present tense; other sentences had been in future tense. 10. Sentence 3 switches to present tense; other sentences had been in past tense.
- 43. Pre-AP English 10// Moulton // 1 BEWARE (Be Aware) OF HOMOPHONES Dangerous Double Sounds and Spellings Definitions Homophone: “Same” “Sound” – sound the same One of two or more words pronounced alike, but different in spelling or meaning (e.g. to, too, two). Homonyms and homographs are both types of homophones. Homograph: “Same” “Writing” – look (spelled) the same One of two or more words spelled alike but different in meaning or pronunciation (e.g. the bow of a ship, a bow and arrow). Homonym: “Same” “Name” – look AND sound the same with different meanings One of two or more words spelled and pronounced alike, but different in meaning (e.g. cleave, which can mean to cut and to adhere). ___________________________________________________________________________ Essentials it’s, its It’s is the contraction of “it is.” (ex. It’s mighty cold outside.) Its is the possessive form of “it.” (ex. Give the dog its bone.) their, there, Their is a possessive pronoun indicating ownership. (ex. their house) they’re There is an adverb that tells where. (ex. Your purse is over there.) They’re is the contraction for they are. (ex. They’re best friends.) your, you’re Your is a possessive adjective. It’s always followed by a noun or a pronoun that it belongs to you (ex. your car) or is related to you (ex. your uncle). You’re is a contraction of you are. Always. If you cannot logically expand it to the word you are in your sentence, you’re using it incorrectly. (ex. You’re welcome.) than, then Than is used to make a comparison. (ex. Are you smarter than a 5th grader?) Then describes the time at which something occurs, or the sequence of certain events. (ex. We went to dinner then went to a movie.) by, buy, bye By is a preposition meaning near or not later than. Buy is a verb meaning to purchase. Bye is the position of being automatically advanced to the next round of competition without playing. Bye is also a clipped version of “good-bye.” to, too, two To is the preposition that can mean “in the direction of.” (ex. going to the store) Too means also or is an adverb meaning “very” or “also”. (ex. I love you, too.) Two is the number 2. wear, where, Wear means “to have on or carry on one’s body.” Where asks the question “in what place or in what situation?” who’s, whose Who’s is the contraction of “who is.” (ex. Who’s bringing snacks?) Whose is the possessive form of “who.” (ex. Whose car is this?) vary, very Vary is a verb meaning “to change or alter.” (ex. The weather tends to vary with the seasons.) Very is an adverb meaning “to a high degree.” (ex. I’m very hungry)
- 44. Pre-AP English 10// Moulton // 2 BEWARE (Be Aware) OF HOMOPHONES cont’d ad, add aisle, isle allowed, aloud already, all ready alter, altar ant, aunt bare, bear base, bass . bawl, ball beat, beet blew, blue board, bored bread, bred brake, break capital, capitol cell, sell cent, sent, scent complement, compliment counsel, council course, coarse deer, dear earn, urn eight, ate faint, feint fair, fare feet, feat find, fined fir, fur flair, flare flour, flower flu, flew for, four grate, great groan, grown hair, hare hall, haul hear, here heard, herd heart, hart heal, heel him, hymn hour, our hole, whole idol, idle in, inn jeans, genes knew, new knight, night know, no knot, not lane, lain lead, led . least, leased lone, loan loose, lose made, maid morning, mourning meet, meat naval, navel no, know none, nun not, knot or, ore, oar one, won pair, pare, pear past, passed patience, patients pail, pale
- 45. Pre-AP English 10// Moulton // 3 peace, piece peak, peek, pique pier, peer plane, plain prince, prints poor, pour principal, principle prey, pray profit, prophet rain, reign, rein real, reel read, reed red, read right, rite, write road, rode, rowed rows, rose root, route sale, sail sew, so, sow see, sea seam, seem seen, scene sight, cite, site some, sum sole, soul sun, son stationary, stationery stair, stare steal, steel suite, sweet tail, tale tee, tea tide, tied tow, toe wail, whale warn, worn waste, waist way, weigh we’ll, wheel, weal weather, whether wear, where week, weak weight, wait while, wile which, witch would, wood waist, waste ware, wear, where
- 46. Pre$AP&English&10&//&Moulton&//&1& GRAMMAR%EXAM% FORMAT&AND&CONTENT&TO&BE&ASSESSED& & DATE&OF&EXAM&:&September&30th&(A&day)& POINTS&POSSIBLE&:&50&pts.&(25&questions,&2&points&per&question)& __________________________________________& % I.%%SENTENCE%CORRECTIONS%(7%QUESTIONS%TOTAL)% & TOPICS:&&& a.&&Italics&&&Quotations&(4"questions)& &&&Ex.&Correct&the&following&sentence,&adding&italics&(by&underlining)&and/or"ation&marks&where&necessary.&& Have&you&read&the&poem&Lovesong&of&J.&Alfred&Prufrock&by&T.S.&Eliot?&&asked&Ms.&Moulton.&& (Answer)&“Have&you&read&the&poem&‘Lovesong&of&J.&Alfred&Prufrock’%by&T.S.&Eliot?”&asked&Ms.&Moulton.&&& & b.&&Colons&&&Semicolons&(3"questions)& &&&Ex.&&Correct&the&following&sentence,&adding&colons&and/or&semicolons&where&necessary.&& &&&&&&&&&&&&Ms.&Moulton’s&directions&ended&with&the&warning&“You&better&do&well&on&this&grammar&test.”&& & &&&&&&&&&&&(Answer:&Ms.&Moulton’s&directions&ended&with&the&warning:%“You&better&do&well&on&this&grammar&test.”&&& & Resources&to&Study:&& $$Italics&vs.&Quotations&handout&& $$&Colons&vs.&Semi$Colons&handout&(to&be&handed&out&Monday,&Sep.&22nd)&& & ___________________________________________& % II.%MULTIPLE%CHOICE%(8%QUESTIONS%TOTAL)% & TOPICS:&& a.&&Pronoun/Antecedent&Agreement&(4"questions)& Ex.&&Choose&the&correct&pronoun&that,&when&inserted&in&the&blank,&would&demonstrate&proper& pronoun/antecedent&agreement&for&the&sentence.&& &&&&&&The&teachers&gave&the&students&____________&feedback&on&the&summer&essays.& & A.&His& & B.&Her& & C.&Their& & D.&It.&& & (Answer&:&C)& OR& &&&&&&&&&&&&&&&&Which&of&the&following&demonstrates&correct&pronoun$antecedent&agreement?&&& &&&&& A.&&Neither&the&director&nor&the&actors&knew&just&how&successful&his&stage&production&would&be.&& &&&&& B.&&Everyone&knows&that&they&should&never&dance&around&a&flagpole&in&a&thunderstorm.& &&&& C.&&In&fact,&most&of&the&students&I&surveyed&never&knew&they&were&being&filmed.&& &&&& D.&&Several&of&the&five&men&harbored&fears&that&he&would&buckle&under&pressure.&& & (Answer:&C)&
- 47. Pre$AP&English&10&//&Moulton&//&2& b.&&Homophones&(4"questions)& &&&&&Ex.&&Which&of&the&following&correctly&completes&the&sentence&above?&&& &&&&&&&__________&shoes&are&sitting&_______&the&door?&& &&&&&&&&&&&&A.&Whose….buy& &&&&&&&&&&&&B.&Who’s….by& &&&&&&&&&&&&C.&Who’s….bye& &&&&&&&&&&&&D.&&Whose….by& &&&&&&&&&&&&&&&&(Answer&:&D)& & Resources&to&Study:& $$&Pronoun/antecedent&agreement¬es&(from&class,&will&be&discussed&Wednesday,&Sep.&24th)& $$&Beware&of&Homophones&handout&(to&be&handed&out&Monday,&Sep.&22nd)& ___________________________________________& % III.%FILL>IN>THE>BLANK%(10%QUESTIONS%TOTAL)% % TOPICS:&& a.&&Verb&Tense&(4"questions)& &&&&&Ex.&&Write&the&correct&form&of&the&verb&in&parentheses&that&would&maintain&consistent&verb&tense.&&& & Clarissa&(bring)&________________&the&cupcakes&to&tomorrow’s&meeting.&&& [Answer:&will"bring&{future&tense}]& & Clarissa&(bring)&________________&the&cupcakes&to&yesterday’s&meeting.&& [Answer:&brought&{past&tense}]& &&&&&&&& b.&&Literary&Devices&(6"questions)& &&&&&Ex.&&Write&the&correct&literary&term/device&for&the&given&definition.&& &&&&&_______________________________&&A&kind&of&metaphor&in&which&a&nonhuman&thing&or&quality&is&talked&about&as&if&it& were&human.&&(Answer:&personification)& & Resources&to&Study:& $$&Verb&Tense¬es&(from&class,&will&be&discussed&on&Wed.,&September&24th)& $$&Literary&Terms&and&Devices&packet,&Literary&Terms&Quiz&& &
- 58. Pre-‐AP English 10 // Ms. Moulton Semicolons & Colons SEMICOLONS ; Rule 1: Use a semicolon between independent clauses that are closely related in thought and that are NOT joined by and, but, for, not, or, so, or yet. Example: Everyone else in my family excels in a particular sport; I seem to be the only exception. Rule 2: Use a semicolon between independent clauses joined by a conjunctive adverb or a transitional expression. Example: Only two people registered for the pottery lesson; as a result, the class was cancelled. *The conjunctive adverb and the transitional expression are followed by a comma. COMMONLY USED CONJUNCTIVE ADVERBS accordingly also besides consequently furthermore however indeed instead meanwhile moreover nevertheless next otherwise still then therefore COMMONLY USED TRANSITIONAL EXPRESSIONS as a result for example for instance in conclusion in fact in other word in spite of that is Rule 3: You may need to use a semicolon (rather than a comma) before a coordinating conjunction to join independent clauses that contain commas. Example: ~ Confusing: June sat with Tony, Pat, and me, and Josh sat with Flora, Zack, and Geraldo. ~ Clear: June sat with Tony, Pat, and me; and Josh sat with Flora, Zack, and Geraldo. Rule 4: Use a semicolon between items in a series if the items contain commas. Example: In 2000, the three largest metropolitan areas in the United States were New York, New York; Los Angeles, California; and Chicago, Illinois.
- 59. Pre-‐AP English 10 // Ms. Moulton COLONS : Rule 1: Use a colon before a list of items, especially after expressions such as the following and as follows. Example: In Washington D.C., we visited four important national sites: the White House, the Washington Monument, the Vietnam Veterans Memorial, and the Lincoln Memorial. Rule 2: Use a colon before a long, formal statement or quotation. Example: Thomas Paine’s first pamphlet in the series The American Crisis starts with these famous words: “These are the times that try men’s souls.” Rule 3: Use a colon in certain conventional situations. ~ Use a colon between the hour and the minute. Example: 9:55 tomorrow morning. ~ Use a colon between a title and a subtitle. Example: There and Back Again: A Hobbit’s Tale ~ Use a colon after the salutation of a business letter. Example: Dear Ms. Moulton:
- 60. Name ____________________________ Block ___________ “The Yellow Wallpaper” Quiz 1. Who tends to the house? A. Jennie B. Jane C. John D. Mary 2. “The Yellow Wallpaper” is written as a A. series of notes B. dialogue between the narrator and her husband C. stream of consciousness D. flashback 3. Who is the author? _________________________________________________________________ Answer the following questions in one or two sentences. 4. Why must the narrator write her journal in secret? _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ 5. What is the narrator’s attitude toward her husband and how do you know? _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________
- 61. 1" Name ____________________________________ Block __________ GRAMMAREXAM Pre-AP English 10 I. Sentence Corrections A. Italics and Quotations Add italics (underlining) and quotations marks where they are needed in the following sentences. Circle your quotation marks to make it clear where you are inserting them. 1. You often use the French expression au revoir, said Hannah. 2. There’s an article in this issue of Newsweek that I’d like you to read, said Joan. 3. Did you read the article The Costs of College Today? 4. Susan woke up two hours earlier, she replied, to finish reading the book The Hobbit. B. Semicolons and Colons Add the needed punctuation mark in the following sentences. Circle each punctuation mark to make it clear where you are replacing them. 5. The planning committee meeting is scheduled for 315 this afternoon please don’t be late. 6. The winners in the Douglas Fun Run last Saturday morning were Otis Williams, a sophomore Janice Hicks, a senior and Rodrigo Campas, a junior. 7. American Indians inhabited North American long before any Europeans however, many Native Americans weren’t recognized as citizens of the United States until 1924. ____________________________________________________________________________ II. Multiple Choice Please circle the correct answer and write the letter of the answer in the blank provided. " A. Pronoun/Antecedent Agreement Choose the correct pronoun that, when inserted in the blank, would demonstrate proper pronoun/antecedent agreement for the sentence. 8. _______ Ms. Moulton and her students are putting on a talent show; will you go to ________ performance? A. Her B. The C. My D. Their
- 62. 2" 9. _______ One ofthe students had __________ own secret reason for joining the Kite Club. A. Their B. The C. His D. Its 10. _______ Which of the following demonstrates correct pronoun-antecedent agreement? A. Everyone thought their project was the best in the class. B. My classmates and I planned a party and we brought snacks. C. Several of the students thought he would fail the test. D. At the self-service gas station, drivers must pump gasoline himself. 11. _______ Which of the following demonstrates correct pronoun-antecedent agreement? A. The kids in kindergarten are learning his ABC’s. B. One of the country’s most extraordinary landmarks, known for his natural beauty, is Mount Rushmore. C. Most of the class did well on their summer essays. D. The teacher and her students must submit her work for the contest. B. Homophones Choose the correct homophone or pair of homophones that, when inserted in the blank, would make the sentence make sense. 12. _______ It’s alright if you don’t pass this exam; at least ________ smarter __________ a dog. A. Your…than B. Your…then C. You’re…than D. You’re…then 13. _______ I’m going shopping to ________ something to _________ to Jennifer’s party. A. By…where B. Bye…wear C. Buy… where D. Buy…wear 14. _______ Do you know _________ we have an exam this __________? A. Weather…week B. Whether…week C. Weather…weak D. Whether…weak
- 63. 3" 15. _______ ________ shoesare sitting over ________ by the door. A. They’re…there B. Their…they’re C. Their…there D. They’re…their Verb Tense Choose the sentence that needs to be revised in order to maintain consistent verb tense throughout the following paragraphs. 16. _______ 1 The city council will hold its annual charity ball at the Bald Moose Lodge. 2 The event will also mark the centennial anniversary of Jackson’s founding. 3 Tickets are on sale next week and are available at the civic center downtown. 4 The event will no doubt be one of the most memorable in Jackson’s history. A. Sentence 1 B. Sentence 2 C. Sentence 3 D. Sentence 4 17. _______ 1 The Cleveland Surf Club was formed in 1962 to promote the sport of surfing in the Midwest. 2 Though the club had just four members during its first year, the club’s membership quickly grew to 150 surfers by the mid-1970’s. 3 With the recent death of its founding member, “Flaming Earl” McCafferty, the club’s board is considering shutting its doors. 4 However, members decided that keeping the club open and viable was too important a duty to give up. A. Sentence 1 B. Sentence 2 C. Sentence 3 D. Sentence 4 ____________________________________________________________________________ III. Fill-in-the Blank A. Verb Tense Write the correct form of the verb in parenthesis that would demonstrate consistent verb tense within the context of the sentence. 18. The sun (rise) _______________ at 6:24 a.m. this morning. 19. I can’t remember where I (lay) _______________ the spare key yesterday.
- 64. 4" B. Literary Termsand Devices In the space provided, write the correct literary term/device for the given definition. 20. ______________________________ : clues that hint at what is going to happen later in the plot. 21. ______________________________ : a construction or expression in one language that cannot be matched or directly translated word-for-word in another language. 22. ______________________________ : the central idea or insight of a work of literature. The idea the writer wishes to convey about the subject. 23. ______________________________ : the selection and arrangement of words in a literary work. 24. ______________________________ : a character in a work of literature whose physical or psychological qualities contrast strongly with, and therefore highlight, the corresponding qualities of another character. 25. ______________________________ : the use of words whose sounds express or suggest their meaning.