If you weren't in class yesterday, please complete the final draft of your essay. Use this 26-lined page rather than numbering 1-26 on a lined sheet of paper.
Remember to shoot for a score point 3 or higher. Revisit this blog post for the criteria.
Saturday, September 29, 2012
Wednesday, September 26, 2012
All Pre-AP English Students: EOC-Style Expository Essay Prompt
If you weren't in class today, please write an expository essay responding to the following prompt:
Write an essay explaining the importance receiving a good education has in today's society.Please number the lines on your paper 1-26. This is about the space you'll have available for your final draft on Friday. Feel free to go beyond the 26th line on your draft. You'll need to revise it anyway.
Tuesday, September 25, 2012
All Pre-AP English Students: EOC Essay Rubric
In class today we looked at the End-of-Course (EOC) rubric for the Expository Essay. Good times.
If you missed class or would like a complete rubric of your own, please download a copy.
We looked at the information for Score Point 3 and considered the "Big Ideas" of each bullet point as follows:
If you missed class or would like a complete rubric of your own, please download a copy.
We looked at the information for Score Point 3 and considered the "Big Ideas" of each bullet point as follows:
- You must write an expository essay!
- You must have a clear thesis statement that is focused on the topic of the prompt.
- Your essay must "flow."
- You support your thesis with "specific and appropriate" details.
- Your response is "original" rather than "what everyone else is going to write about."
- Your essay has a "sophisticated" tone and demonstrates an advanced vocabulary.
- You use a variety of sentence types appropriately.
- Spelling, grammar, punctuation, usage, and other mechanics/conventions are all employed properly.
Monday, September 24, 2012
Pre-AP English II: Audio File of Fahrenheit 451
If you have a copy of Fahrenheit 451 and would like to listen to a recording of the book as you read, please bring me a USB drive so I can pass the file(s) along.
This offer only available to students who have acquired a copy of the book. You still have to read the story.
This offer only available to students who have acquired a copy of the book. You still have to read the story.
Pre-AP English I: The Four Obstacles to Achieving Your Dream
In class today, many of us looked at the central idea of the introduction to The Alchemist. If you missed the opportunity to critique Coelho's claim, here's your chance to make up the assignment.
Coelho claims that there are four things that prevent people from achieving their dreams (aka "personal legend"):
Coelho claims that there are four things that prevent people from achieving their dreams (aka "personal legend"):
- Being told the dream is impossible
- Fear of abandoning those who love them in order to achieve their dream
- Fear of difficult obstacles/set-backs along the way
- Fear of success
Pre-AP English II: Pleasure and Burning in Fahrenheit 451
In class today we looked at the opening line of Bradbury's novel Fahrenheit 451
Please make a T-Chart and label the left-hand column "Pleasure" and the right-hand column "Burn." Anything (diction, imagery, detail, figurative language, etc.) that has a connotation of either pleasure or burning should be placed in the appropriate column (or both columns, if it has connotations for both).
At the bottom of the T-Chart, please complete the following sentence and add one or two more sentences of your own; embed material quoted from the story to help support your response:
It was a pleasure to burn.If you missed your opportunity to construct a T-Chart of "pleasure" and "burning" references in the opening scene of the novel, here's your chance.
Please make a T-Chart and label the left-hand column "Pleasure" and the right-hand column "Burn." Anything (diction, imagery, detail, figurative language, etc.) that has a connotation of either pleasure or burning should be placed in the appropriate column (or both columns, if it has connotations for both).
At the bottom of the T-Chart, please complete the following sentence and add one or two more sentences of your own; embed material quoted from the story to help support your response:
In addition to drawing the reader into the novel, Bradbury opens with a paradox because it is likely that by the end of the novel...(Bear in mind that Flannery O'Connor employed a similar paradox at the end of "A Good Man Is Hard to Find" when The Misfit said, "No pleasure but meanness." How does the appearance of the paradox at the beginning of the story versus the end allow the reader to make different inferences about the outcome of the novel?)
Friday, September 21, 2012
Pre-AP English I: Timed Writing (Destiny)
Read the information below.
Write an essay explaining whether people should take what life gives them as their destiny or work toward their dreams.
Be sure to
“Destiny is not a matter of chance; it is a matter of choice. It is not a thing to be waited for, it is a thing to be achieved.”Although many people believe that their destinies will just happen to them by fate, other people believe that their destiny will only happen if they work at it. Think carefully about this statement.― William Jennings Bryan
Write an essay explaining whether people should take what life gives them as their destiny or work toward their dreams.
Be sure to
- clearly state your thesis
- organize and develop your ideas effectively
- choose your words carefully
- edit your writing for grammar, mechanics, and spelling
Pre-AP English II: Timed Writing ("By the Waters of Babylon")
In a well developed essay, identify the tone of the passage (see this post) and analyze how the author establishes the tone using techniques such as diction, imagery, details, figurative language, and point-of-view. Support your answer with evidence from the text.
Time limit: 25 minutes.
Time limit: 25 minutes.
Thursday, September 20, 2012
Pre-AP English II: Text for Tomorrow's Timed Writing
Below is the text from Stephen Vincent Benét's "By the Waters of Babylon" that you will have to analyze for tone in class tomorrow. You will have just under 30 minutes to write, so please use the graphic organizer on the back of your packets to prepare for your essay.
* * * * *
Now I tell what is very strong magic. I woke in the midst of the night. When I woke, the fire had gone out and I was cold. It seemed to me that all around me there were whisperings and voices. I closed my eyes to shut them out. Some will say that I slept again, but I do not think that I slept. I could feel the spirits drawing my spirit out of my body as a fish is drawn on a line.
Why should I lie about it? I am a priest and the son of a priest. If there are spirits, as they say, in the small Dead Places near us, what spirits must there not be in that great Place of the Gods? And would not they wish to speak? After such long years? I know that I felt myself drawn as a fish is drawn on a line. I had stepped out of my body—I could see my body asleep in front of the cold fire, but it was not I. I was drawn to look out upon the city of the gods.
It should have been dark, for it was night, but it was not dark. Everywhere there were lights—lines of light—circles and blurs of light—ten thousand torches would not have been the same. The sky itself was alight—you could barely see the stars for the glow in the sky. I thought to myself "This is strong magic" and trembled. There was a roaring in my ears like the rushing of rivers. Then my eyes grew used to the light and my ears to the sound. I knew that I was seeing the city as it had been when the gods were alive.
That was a sight indeed—yes, that was a sight: I could not have seen it in the body—my body would have died. Everywhere went the gods, on foot and in chariots—there were gods beyond number and counting and their chariots blocked the streets. They had turned night to day for their pleasure-they did not sleep with the sun. The noise of their coming and going was the noise of the many waters. It was magic what they could do—it was magic what they did.
I looked out of another window—the great vines of their bridges were mended and god-roads went east and west. Restless, restless, were the gods and always in motion! They burrowed tunnels under rivers—they flew in the air. With unbelievable tools they did giant works—no part of the earth was safe from them, for, if they wished for a thing, they summoned it from the other side of the world. And always, as they labored and rested, as they feasted and made love, there was a drum in their ears—the pulse of the giant city, beating and beating like a man's heart.
Were they happy? What is happiness to the gods? They were great, they were mighty, they were wonderful and terrible. As I looked upon them and their magic, I felt like a child—but a little more, it seemed to me, and they would pull down the moon from the sky. I saw them with wisdom beyond wisdom and knowledge beyond knowledge. And yet not all they did was well done—even I could see that ? and yet their wisdom could not but grow until all was peace.
Then I saw their fate come upon them and that was terrible past speech. It came upon them as they walked the streets of their city. I have been in the fights with the Forest People—I have seen men die. But this was not like that. When gods war with gods, they use weapons we do not know. It was fire falling out of the sky and a mist that poisoned. It was the time of the Great Burning and the Destruction. They ran about like ants in the streets of their city—poor gods, poor gods! Then the towers began to fall. A few escaped—yes, a few. The legends tell it. But, even after the city had become a Dead Place, for many years the poison was still in the ground. I saw it happen, I saw the last of them die. It was darkness over the broken city and I wept.
All this, I saw. I saw it as I have told it, though not in the body. When I woke in the morning, I was hungry, but I did not think first of my hunger for my heart was perplexed and confused. I knew the reason for the Dead Places but I did not see why it had happened. It seemed to me it should not have happened, with all the magic they had. I went through the house looking for an answer. There was so much in the house I could not understand—and yet I am a priest and the son of a priest. It was like being on one side of the great river, at night, with no light to show the way.
Now I tell what is very strong magic. I woke in the midst of the night. When I woke, the fire had gone out and I was cold. It seemed to me that all around me there were whisperings and voices. I closed my eyes to shut them out. Some will say that I slept again, but I do not think that I slept. I could feel the spirits drawing my spirit out of my body as a fish is drawn on a line.
Why should I lie about it? I am a priest and the son of a priest. If there are spirits, as they say, in the small Dead Places near us, what spirits must there not be in that great Place of the Gods? And would not they wish to speak? After such long years? I know that I felt myself drawn as a fish is drawn on a line. I had stepped out of my body—I could see my body asleep in front of the cold fire, but it was not I. I was drawn to look out upon the city of the gods.
It should have been dark, for it was night, but it was not dark. Everywhere there were lights—lines of light—circles and blurs of light—ten thousand torches would not have been the same. The sky itself was alight—you could barely see the stars for the glow in the sky. I thought to myself "This is strong magic" and trembled. There was a roaring in my ears like the rushing of rivers. Then my eyes grew used to the light and my ears to the sound. I knew that I was seeing the city as it had been when the gods were alive.
That was a sight indeed—yes, that was a sight: I could not have seen it in the body—my body would have died. Everywhere went the gods, on foot and in chariots—there were gods beyond number and counting and their chariots blocked the streets. They had turned night to day for their pleasure-they did not sleep with the sun. The noise of their coming and going was the noise of the many waters. It was magic what they could do—it was magic what they did.
I looked out of another window—the great vines of their bridges were mended and god-roads went east and west. Restless, restless, were the gods and always in motion! They burrowed tunnels under rivers—they flew in the air. With unbelievable tools they did giant works—no part of the earth was safe from them, for, if they wished for a thing, they summoned it from the other side of the world. And always, as they labored and rested, as they feasted and made love, there was a drum in their ears—the pulse of the giant city, beating and beating like a man's heart.
Were they happy? What is happiness to the gods? They were great, they were mighty, they were wonderful and terrible. As I looked upon them and their magic, I felt like a child—but a little more, it seemed to me, and they would pull down the moon from the sky. I saw them with wisdom beyond wisdom and knowledge beyond knowledge. And yet not all they did was well done—even I could see that ? and yet their wisdom could not but grow until all was peace.
Then I saw their fate come upon them and that was terrible past speech. It came upon them as they walked the streets of their city. I have been in the fights with the Forest People—I have seen men die. But this was not like that. When gods war with gods, they use weapons we do not know. It was fire falling out of the sky and a mist that poisoned. It was the time of the Great Burning and the Destruction. They ran about like ants in the streets of their city—poor gods, poor gods! Then the towers began to fall. A few escaped—yes, a few. The legends tell it. But, even after the city had become a Dead Place, for many years the poison was still in the ground. I saw it happen, I saw the last of them die. It was darkness over the broken city and I wept.
All this, I saw. I saw it as I have told it, though not in the body. When I woke in the morning, I was hungry, but I did not think first of my hunger for my heart was perplexed and confused. I knew the reason for the Dead Places but I did not see why it had happened. It seemed to me it should not have happened, with all the magic they had. I went through the house looking for an answer. There was so much in the house I could not understand—and yet I am a priest and the son of a priest. It was like being on one side of the great river, at night, with no light to show the way.
Wednesday, September 19, 2012
Pre-AP English II: "Babylon" Tone Packet
If you've been absent or have lost your packet, please e-mail me and I'll send you a PDF file. (You'll need to print it out and bring it to class.)
Assignments from the packet so far:
Assignments from the packet so far:
- 7/14: Questions 1-5
- 7/17: Questions 6-11
- 7/18: Questions 12-19
- 7/19: Questions 21-32
Friday, September 14, 2012
Pre-AP English I: "Most Dangerous Game" Literary Writing Assignment
Bearing in mind the TEA's rubric for Literary Writing, write a short story detailing what happens to Rainsford that begins after this passage where he escapes from Zaroff by jumping into the sea:
and concludes with him coming within sight of the chateau; the story should end with the line: At last, Rainsford could see the chateau, and -- even better -- he had a plan.
Please take into account that Zaroff thinks Rainsford died in the fall and that Rainsford says at the end that he swam most of the way to the chateau.
Limit your story to 26 lines.
Rainsford had hardly tumbled to the ground when the pack took up the cry again.
"Nerve, nerve, nerve!" he panted, as he dashed along. A blue gap showed between the trees dead ahead. Ever nearer drew the hounds. Rainsford forced himself on toward that gap. He reached it. It was the shore of the sea. Across a cove he could see the gloomy gray stone of the chateau. Twenty feet below him the sea rumbled and hissed. Rainsford hesitated. He heard the hounds. Then he leaped far out into the sea. . . .
When the general and his pack reached the place by the sea, the Cossack stopped. For some minutes he stood regarding the blue-green expanse of water. He shrugged his shoulders. Then be sat down, took a drink of brandy from a silver flask, lit a cigarette, and hummed a bit from Madame Butterfly.
and concludes with him coming within sight of the chateau; the story should end with the line: At last, Rainsford could see the chateau, and -- even better -- he had a plan.
Please take into account that Zaroff thinks Rainsford died in the fall and that Rainsford says at the end that he swam most of the way to the chateau.
Limit your story to 26 lines.
Thursday, September 13, 2012
Pre-AP English II: "Babylon" Quickwrite
In 5-7 sentences, describe the effect Benét's use of dramatic irony had on you as you read "By the Waters of Babylon."
You must support your response with text evidence (i.e., quote(s) from the text).
You must support your response with text evidence (i.e., quote(s) from the text).
Saturday, September 8, 2012
All Students: Free Smart Office 2 App
This weekend (Sept. 8-10) Smart Office 2, an Microsoft Office-type app, is free for iPad and iPhone/iPod Touch devices. It allows you to create and edit word processing documents, as well as spreadsheets and PowerPoint presentations.
Even if you've already done your literary terms presentation, this may be a handy app for the future.
(There are versions for other devices, but as far as I can tell, they're not free.)
Tuesday, September 4, 2012
All English Students: Literary Devices PowerPoint
All students must make a PowerPoint-style presentation of literary devices. Each slide must contain 3 things:
Presentations which include all three of those things on every slide will earn an 85%. In order to earn a 100%, every slide must also be creatively illustrated (fancy banners, drop-shadows, etc., do not count).
If you do not own a copy of MS PowerPoint, Open Office is a free office application that contains a presentation component. Google Drive also provides a free presentation software selection.
If a computer-based solution just isn't going to work out right now, you may create your presentation on paper. One literary device/definition/example per sheet (illustrations raise grade here, too).
See this earlier blog post for the terms and their definitions. You must come up with your own creative examples (taking them from the Internet will result in a Plagiarism=0 grade until a parent-student-teacher conference can be held).
- The literary device
- The definition of the literary device and
- a creative example of the literary device
Presentations which include all three of those things on every slide will earn an 85%. In order to earn a 100%, every slide must also be creatively illustrated (fancy banners, drop-shadows, etc., do not count).
If you do not own a copy of MS PowerPoint, Open Office is a free office application that contains a presentation component. Google Drive also provides a free presentation software selection.
If a computer-based solution just isn't going to work out right now, you may create your presentation on paper. One literary device/definition/example per sheet (illustrations raise grade here, too).
See this earlier blog post for the terms and their definitions. You must come up with your own creative examples (taking them from the Internet will result in a Plagiarism=0 grade until a parent-student-teacher conference can be held).
Sunday, September 2, 2012
Pre-AP English II: Summer Assignment with Links to Discussion Questions
9/26 Update: At this point all responses need to be made on paper. Please submit your COMPLETE (not partial) responses when all 12 questions have been answered.
Sophomores entering Pre-AP II will be expected to complete the following assignment prior to class beginning at the end of August. Estimated weekly commitment: 1 hour.
Following are six pairs of short stories. You are expected to read at least one of them (feel free to read both), and participate in an online discussion. You need to answer two questions for one of each of the short story pairs.
Week 1 (6/4-8): Irony
Week 3 (6/18-22): Coming of Age
Week 5 (7/2-6): Horror
Week 7 (7/16-20): Prejudice
Week 9 (7/30-8/3): Magic Realism
Week 11 (8/13-17): Irony (yes, again!)
Sophomores entering Pre-AP II will be expected to complete the following assignment prior to class beginning at the end of August. Estimated weekly commitment: 1 hour.
Following are six pairs of short stories. You are expected to read at least one of them (feel free to read both), and participate in an online discussion. You need to answer two questions for one of each of the short story pairs.
Week 1 (6/4-8): Irony
- The Lottery, Shirley Jackson
(Listen to an audiofile of "The Lottery" as you read; right-click audiofile link to save file to your computer.) - The Open Window, Saki (H.H. Munro)
(Click the yellow player link on this website to listen to the story as you read; right-click this link to save file to your computer.)
Check out the discussion board questions for "The Lottery"
Check out the discussion board questions for "The Open Window"
Week 3 (6/18-22): Coming of Age
- Araby, James Joyce
(Listen to an audiofile of "Araby" as you read; right-click audiofile link to save file to your computer.) - A&P, John Updike
Check out the discussion board questions for "Araby"
Check out the discussion board questions for "A&P"
Week 5 (7/2-6): Horror
- Fall of the House of Usher, Edgar Allan Poe (listen here)
- Tell-Tale Heart, Edgar Allan Poe (listen here)
> Abridged Graphic Novelization Supplement
Check out the discussion board questions for "Fall of the House of Usher"
Check out the discussion board questions for "Tell-Tale Heart"
Week 7 (7/16-20): Prejudice
- Barn Burning, William Faulkner (listen here)
- Cathedral, Raymond Carver
Check out the discussion board questions for "Barn Burning"
Check out the discussion board questions for "Cathedral"
Week 9 (7/30-8/3): Magic Realism
- Very Old Man with Enormous Wings, Gabriel Garcia Marquez (listen here)
- The Monkey’s Paw, W.W. Jacobs (listen here)
Check out the discussion board questions for "Very Old Man with Enormous Wings
Check out the discussion board questions for "Monkey's Paw"
Week 11 (8/13-17): Irony (yes, again!)
- The Bet, Anton Chekhov (listen here)
- The Yellow Pill, Rog Phillips
Check out the discussion board questions for "The Bet"
Check out the discussion board questions for "The Yellow Pill"
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