Read chapter fourteen of Tess of the D'Urbervilles. 
In class we watched part one of the four-part miniseries.

If you missed class, you need to watch part one before Wednesday's class. You will need an hour.

Prepare the three poems for Friday. Be ready. I expect that you will extensively annotate

1. "He Wishes for Cloths of Heaven"

2. "Funeral Blues"

I expect that you will prepare copious Cornell notes for "do not go gentle into that good night."

Seriously.

Come and restore your grade!!!

Practice (again) writing about a poem!

 

Make sure you are prepared to write to one of the two prompts you were given last week. You make use your text during the test. You may use notes. You may prepare opening sentences. 

 

Prompt #1:

In Shakespeare’s The Tempest, Prospero claims that Caliban is “A devil, a born devil, on whose nature/ Nurture can never stick” (IV, i). Through Prospero’s utterance, Shakespeare is addressing the tension between the belief that innate traits construct a person’s character and the idea that a person’s experiences shape his/her character and thus his/her responses to the world. 

Consider a text which you addresses this question of Nature/Nurture. Then write a well-organized essay in which you analyze how the author presents this issue and how the author’s argument illuminates the meaning of the work as a whole.  Do not merely summarize the plot.

Prompt #2:
The concept of the “Other” is a useful device that allows the reader to explore how a character responds to an other who seems to be different from himself. How a character responds to or defines the “Other” often reveals more about the character than the “Other” he is attempting to describe or identify. Perceived as lacking essential characteristics possessed by the group, the “Other” is almost always seen as a lesser or inferior being and is treated accordingly. The “Other” in a society may have few or no legal rights, may be characterized as less intelligent or as immoral, and may even be regarded as sub-human. 

Select a novel or play and, focusing on the idea of the “Other,” write an essay analyzing how the “Other” functions in the work and what it reveals about the characters or themes of the work as a whole. Do not merely summarize the plot.

Read the excerpt about Frankenstein from The Madwoman in the Attic. Also, please read these additional artciles. Takes notes and/or annotate. Be prepared for a test grade Socratic Seminar. Be bale to speak thoughtfully and fluently about both these texts and Frankenstein. 

 

 Frankenstein: 10 possible meanings

By Tom GeogheganBBC News Magazine

http://www.bbc.com/news/magazine-12711091

 Legacy of Frankenstein: The Monster Is the One in the White Lab Coat

http://www.americanscientist.org/bookshelf/pub/legacy-of-frankenstein-the-monster-is-the-one-in-the-white-lab-coat

 Was ‘Frankenstein’ Really About Childbirth?

http://www.newrepublic.com/article/books-and-arts/101435/mary-shelley-frankenstein-godwin-bodleian-oxford

Read chapters 21-23 in Frankenstein.

Make sure you prepare your assigned passage. Be ready....don't be like Victor Frankenstein.

There is supposed to be a massive update and fix tonight....stay tuned...so don't get wiggly if your grades don't reflect recent work...

 

1. Read chapters 18-20 in Frankenstein.

2. Prepare the passages from "What are our responsibilities?" and "Self-Education" for Socratic Seminar on Friday.

Why sleep in late when you could spend time in English class.....seats are limited to 320...so don't be late!

 

Read chapters 1-4 in Frankenstein.

Expect a reading quiz.

Check out Frankenstein from the library. 

Read the author's introduction, the preface, and letters 1-3 in Frankenstein.

Expect a reading quiz.

In class on Monday you will write two-on demand essays in eight minutes--exactly the same amount of time you would have one the AP Exam.

 

Yet in this case, you have received both of the texts ahead of time. Come ready to write!

Prepare the AP On-Demand Prompt which uses Soliloquy #4 as its textual source.

 

1. Read chapter seven in The Discovery of Poetry -- specifically pages 267-287.

 

2. Read and annotate and untangle the poem, "Elegy of Fortinbras."

 

3. If you do not finish watching the Shakespeare Uncovered “Hamlet with David Tennant”—you must finish watching for homework. Here is the link:

 http://www.pbs.org/wnet/shakespeare-uncovered/uncategorized/hamlet-with-david-tennant/

 

Remember--I expect at least two sides of a page of Cornell notes.

There will be NO EXTRA CREDIT session on Tuesday, 17 March 2015.

No homework.

But make sure you come to class on Friday.

1. Complete the Reading Quiz for Act V, scene i Hamlet.

2. Complete pages 1-3 (not four) of the Act V Hamlet notes.

 

 

 

 #2        What is a man,
If his chief good and market of his time
Be but to sleep and feed? a beast, no more.

 #10     O, from this time forth,
My thoughts be bloody, or be nothing worth!

 In #10 Shakspeare seems to be using imagery.....

Complete the notes for Hamlet for Act IV--there are two sets of notes.

Read Act V, scene i.

1. Read Act III in Hamlet-- pages 51-56; pages 60-61; pages 64-78

2. Complete the notes for Hamlet Act III.

3. Complete the "to be or not to be" claim work "notes."

1. Read Act II in Hamlet --pages 29-44 and 49-50

2. Complete the notes for Act I, scene v-- I want three claims.

Shakespeare uses a _____________  to ___________

3. Complete the Act II Hamlet notes.

Period Four Only: Rewrite your poem response. This rewrite must be typed.

 

 

EVERYONE:  Read Act I of Hamlet. 
Complete the notes for Act I.

 

Link for the audiotape of Hamlet on youtube.

 

Complete all three of the sets of Hamlet notes which you were given.

I expect thorough, rich, detailed annotations.

 

1. Complete the "typed" notes on Shakespeare's sonnet.

2. Write (you may hand-write) one body paragraph on one of the poems using the official prompt to provide context.

1. Prepare the three poems: I will be able to tell that you are adequately prepared, because the three poems will be covered with your annotations.

2. Complete the notes titled "The End--What is the writer arguing?" about Sense and Sensibility and Jane Eyre.

Read chapter three in The Discovery of Poetry -- but only read pages 66-108.
Annotate or take notes.
Moreover, do not read pages 77-89 or page 99.

Read chapters one and two in The Discovery of Poetry.
Annotate or take notes.
Chapter One: Sources and Approaches--poems section --pages 15-24
**Choose two poems to know well.

Chapter Two: Words--Texture and Sound--poems section pages 51-65

 

1. Read "Invitations" in The Discovery of Poetry pages ix-xviii.
2. Prepare the prompt for Riders to the Sea that was passed out in class.

 

Doing this work will help you prepare for the essay on Tuesday! You will work more of your ideas out....

1. Prepare for the on-demand essay you will write in class--you will have exactly 40 minutes.

 

2. Prepare your "page" from Riders to the Sea. If you forgot what page you are responsible for, come and see me.

Students who were absent:

Sarah page 61
Vanessa C. page 65

For Thursday's class, complete all the notes for Pygmalion. You should have four sets of notes.
In class on Thursday we will have Socratic Seminar on Pygmalion. This seminar will count as a writing/text grade. SONY Star Class students will need to make this assignment up with a semi-formal, typed, writing piece.

Reread Act IV in Pygmalion. Be prepared for a writing quiz on Act IV.

Complete the class stratification handout.

YOU DON'T HAVE TO READ THE "WEIRD" AFTERWORD...ALL THOSE PAGES AT THE END....in Pygmalion

 

1. Read Pygmalion. This text is a play. If you would like to watch and read...https://www.youtube.com/watch?v=tmdPj_XbF30

 

2. Read Riders to the Sea. This text is a play. If you would like to watch some actors speak about how they understand the play check out this video.

If you are in period four, your final draft of the Jane Eyre paper is due at the very beginning of class on Wednesday--exam day.

A typed, almost final draft of your Jane Eyre monstrosity paper is due at the beginning of class. 

As you work on this almost final draft, hold this question in mind: would I be okay with Ms. Bronwyn deciding to use this draft as the final? With giving this draft a final grade?

 

Some Guidelines:

1. pages must be numbered in the bottom right corner
2. you will need a title page with only this information: your name, title of the class, date, and your title for the paper which should be centered and no larger than 14-point
3. your first page will start at the top of the first page—no heading
4. your paper should be 12-point times-roman fount with inch margins at all sides
5. you may not use “this” by itself or I might give you an “F” just out of pique (don’t use “it” too much either!)

In class on Tuesday, we will discuss how to write a conclusion.

1. Prepare the one of the three prompts that you were given in class.

Choose one. You must use Jane Eyre as your text. 

1. Writers spend long months, even years, carefully crafting the texts which they write. Every decision that they make about their writing is intentional. Consider the ending of the text which you read. (By ending, I mean the last five to ten pages.) Please offer an argument about what the author may be trying to achieve through the specific ending he/she chose to write. Make sure that you include specific examples and/or direct textual evidence in your essay.
2. Injustice, either social or personal, is a common theme in literature. Choose a novel or a play in which injustice is important. Write an essay in which you define clearly the nature of the injustice and discuss the techniques the author employs to elicit sympathy for its victim or victims. 
3. Writers often highlight the values of a culture or a society by using characters who are alienated from that culture or society because of gender, race, class, or creed.
   Choose a play or a novel in which such a character plays a significant role and show how that character’s alienation reveals the surrounding society’s assumptions and moral values.

2. Rewrite and redraft your introduction. You will turn in a typed, double spaced single sheet of paper that is your introduction. This introduction will be graded. Refer to the notes you took in class. Remember, a strong introduction has:

1. a claim/an argument
   
2. a discussion of the claim/argument
   
3. background information that is pertinent to the claim/argument
   
4. a discussion of the topic, if the topic referred to is complex

Prepare for the on-demand essay in class on Wednesday!!!

Socratic Seminar in class on Thursday on The Fifth Child. This seminar will be worth 100 points in the test/essay grade.

 

By Friday at 3:00 p.m., you must turn in an introduction and two body paragraphs for your Jane Eyre paper. This work must be typed. This work must be printed out. This work also must be shared with me on google docs.

 

Read The Fifth Child.

Read The Fifth Child. Check this book out from the Orange Glen library.

Pay particular attention to Ben's monstrous qualities. Is there anyone else who is a monster in this text?

 

Work on scholarships: think about the Dell Scholarship http://www.dellscholars.org/ you must have a 2.4 and get free/reduced lunch. If chosen you are awarded, $20,000, a laptop and textbook credit. Think about the Ford Scholarship (San Diego County Salute to Education Scholarship) no GPA or financial requirement ($1,000 plus the 1 in a 100 chance to win a new car).

 

1. Finish restating the evidence for your two favorite pieces of evidence which you collected.

2. Answer this question--type a response--What connects these two pieces of evidence?

1. Complete the "handwritten" notes about "Being Monstrous."

2. Collect direct textual evidence from Jane Eyre that circles around the idea of monstrosity. 

Find at least five pieces.

Type up this evidence in your google drive so that you can share this work with me five (5) pieces of direct textual evidence; include pages numbers. This work will be graded as follows: five points per piece; no two pieces can come from the same page or scene. 

Read to the end of chapter 37 (page 574) in Jane Eyre.

"Do" the notes for chapters 35-38: you must answer questions 1-5 and also "do" your assigned question. 
Please read and highlight the italicized paragraphs on the front...don't just marvel at them...  :)

Read to the end of chapter 35 (page 538) in Jane Eyre.

 

Complete the notes for chapters 33-34.
These notes are also in our shared folder on the google docs drive.

Read to the end of chapter 33 (page 497) in Jane Eyre.

Complete the notes for chapters 30-32 (see below and check the google docs drive as well for extra copy of the notes if you lose yours....).

Read to the end of chapter 30 (page 457) in Jane Eyre.

 

Socratic Seminar was very good on Tuesday!!  Excellent job everyone! We had almost complete participation. Well done!!!

 

Period Six: the rewrites have been read and the grades are entered in the grade book. Period six: your grade is very complete at present.

 

 

If you missed Socratic Seminar on Tuesday, and you would like to earn back some points, you will need to make this grade up with a timed writing assignment. Please make arrangements with me to accomplish this work by Friday at 3:00 p.m.

Read to the end of chapter 25 in Jane Eyre (page 363). 

Make sure you are ready to go with your assigned # for the notes from chapters 20-22.

 

Also: if you are in period six and you plan to rewrite your paper--this rewritten paper in due on Monday., 27 October 2014.

 

 

 

 

 

Check out Jane Eyre from the library.

Read chapters 1-4 in Jane Eyre. 

 

Here is the link for a really solid audio book that you can access on the internet for free.

 

 

Hold on to Heart of Darkness. You will need this text next class and you may need your text if you choose to rewrite your paper.

Bring all your Heart of Darkness notes to the next class to file away in your writing portfolio (for the end of the year).

Socratic Seminar on Monday in class--I will probably use this Socratic Seminar as a test/essay grade. Read the two handouts and be prepared!!!!

Bring ALL your Heart of Darkness notes to class. Besides that there is....

1. Read pages 47-55 in Heart of Darkness.
2. Answer questions 1-3 in the notes for pages 47-55.
3. Prepare your assigned significant passage--check the top of the notes you received--the Arabic number corresponds to your assigned passage. Take copious notes on the 

 

1. Read pages 27-39 in Heart of Darkness (stop in the middle of the page after the word "protecive").

 

2. Complete questions 1-12 on the handout titled "Notes and Significant Passages pages 27-29." These questions are meant to support and guide your comprehension of the text. We will tackle the passages in class together.

Read to the top of page 20 in Heart of Darkness (Dover Thrift edition). Stop at the beginning of the first full paragraph that begins, "'Oh these months!'" (20).

1. Read and annotate "King Leopold's Ghost." All of it.

2. Prepare the notes (that I passed out and that were typed by me) on pages 1-9 of Heart of Darkness. Be able to write about the significance of each passage--be able to offer a claim about why the passage is important or what the passage reveals. Also--make sure you can identify and discuss the "key" words or phrases that are crucial in terms of the entire passage's significance. For example, in passage #1--doesn't the fact that Marlow sits "cross-legged" with "the palms of his hands outwards" suggest that he has been influenced by a non-Western culture. Isn't the word "idol" very significant? The narrator explains that Marlow resembles an "idol" which again links Marlow to non-Western cultures outside the Judeo-Christian tradition.

1. Make sure you get a copy of Heart of Darkness from the library. Please ask for the DOVER THRIFT version.

 

2. Read and annotate the handout--pages 1-8--Hear of Darkness in notes form.

 

Read "We and They" by Rudyard Kipling.

Annotate.

Prepare. 

Take Cornell notes if so moved (and I may in return by so moved as to grant extra credit points....)

Think about all the "things" you should pay attention to in a poem: punctuation, diction, capitalization, line breaks, stanza "breaks," the speaker's tone, the poet's argument, and finally deliberate confusion.

See below for an electronic copy of the poem you were given in class. 

Prepare for Socratic Seminar on Kafka's "Metamorphosis."

If you are properly prepared your text will be annotated and you will be able to show me (your teacher--one Ms. Bronwyn) one side of a page of thoughtfully, carefully recorded Cornell notes. (Yes, of course I will check.)

The grade you earn in this Socratic Seminar will go in the paper/test grade portion of your grade. In other words, Socratic Seminar on Friday is a test.

 

 

Please write a finely-crafted paragraph about the piece of text which you choose--the passage which you chose as significant.

I expect this work to be typed, double-spaced, Times-Roman font with one-inch margins. 

In this finely-crafted paragraph you will answer the following questions:

5.      How does your claim connect to the text as a whole?

 

What is your claim about this piece of textual evidence?
What is the context?
What does the language communicate? What does this language “speak” to the reader?
What words or phrases are most essential? Why are they so important in terms of communicating the meaning of this piece of text?
How does your claim connect to the text as a whole?

 

Here is a model of what your paper will "look like." But please 

 

 

 

 

Rachel Bronwyn
25 August 2014
AP Lit: Period XX

 

 

 

The Syntax Embodies the Suspended Moment

 

 

 

“He took all his pain and what was left of his strength and his long gone pride and he put it against the fish’s agony and the fish came over onto his side and swam gently on his side, his bill almost touching the planking of the skiff and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water” (93).

               

                In this overlong sentence, which marks the precise moment before Santiago fatally harpoons the marlin, Hemingway intentionally embodies the suspended moment of uncertainty and exhaustion with his syntax. Hemingway has extended the sentence, which describes the few seconds before Santiago is able to successfully harpoon the marlin, into a sentence that seems as long and “interminable” as the battle against the marlin and even the length of the marlin itself. By lengthening this sentence beyond what seems possible, Hemingway embodies—with his language—the impossibly long struggle which Santiago waged, which is matched only by the impossibly long length of the marlin. Santiago struggled to bring the marlin in for…….

 

 

 

Assignment #2

 Period Six—you already did this work—you don’t have to…hooray!!!!

 

 

Be able to answer this question for “Relic” by Rachel Richardson

 

1.     What is the poet’s argument?
2.     How do you know?

 

 

Assignment #3

Be prepared to discuss Kafka’s “Metamorphosis.”

1. Prepare the poem: Relic by Rachel Richardson
Preparing will look like lots and lots of annotations; if you prepare properly, you will have "figured out" what the poem is about and you will understand the poet's argument. (Hint: read and re-read the poem.)

 

2. Based on our Socratic Seminar discussion revisit The Old Man and the Sea. Choose a new "most important passage." Copy it out. Take notes on the context. Think about the significance. Develop a claim. Be ready.....

Read The Old Man and the Sea.

Read Kafka's short story: "Metamorphosis" -- http://www.gutenberg.org/files/5200/5200-h/5200-h.htm

 

Both these texts were provided in May of last year. Make sure you are prepared for the first day of class. I expect that you will have thoughtfully annotated both texts.