Monday 1/9

Today you need to choose your poem for POETRY OUT LOUD.  

The POL competition is on Wednesday 1/19 at 6 pm on the school stage.  This is a requirement.  You must have a poem memorized and ready to perform.  This is also an easy grade:

50 points for the memorization
30 points for showing up to the performance
20 points for the acting of the poem.

The winner of POL receives a $50 gift certificate to Radio Shack and has a chance to go the State Championship in March.

Here is a link to the POL judging guidelines
This rubric is also how you will be graded on the "acting" portion.

Poetry Out Loud website can be found here

Tips for performance can be found here

AP TEST

Possible AP "Open" Questions for FINAL

1980
1984
1987
1999
2016

Wednesday

Today, we are going to start looking at Theories of Criticism. 

We will look at NEW CRITICISM - which is the criticism the AP test is mostly based on.

Also there's link to a feminist essay on Anna Karenina

Tuesday

Today we are going to talk about your essays and then move on to talking about PART II.  How it is organized, how to think about potential sections that might appear on the test, and then symbolic moments that perhaps create longer meaning.

Please take notes. 

Anna Kareninia Part II

Today - I'm going to give you about 25-30 minutes to either work on your blogs or to read, and then we will look at Shmoop and the AP multiple choice questions I have assigned to you.

Note, most of you are behind on your journal postings.  Use this time wisely. 

TUESDAY

Today we will discuss your quizzes from yesterday, discuss PART I of the novel, and begin to outline the following:

Choose 1 theme and discuss how it is reflected in the book.

List 4-5 characters and discuss how they make/create meaning in the text.  Also list who there are and what they are about.  You might also connect these characters to theme.

List 2-3 devices (irony, symbols, foreshadowing) and discuss how they create meaning in the text.  Connect to Part I as a whole.

PART I - discuss how Part I functions as an individual unit.  What happens?  What does it suggest with happen later?  Discuss why it begins and ends where it does? 

Reading Schedule

12/5 Part I XXIV - XXVIII

12/6 Part I XXIX - XXXIII

12/7 Part I XXXIV - End of PART I

12/8 Part 2 I-V

12/9 Part 2 VI - VIII

12/10 Part 2 IX - XIV

12/11 Part 2 XV - XVII

12/12 Part 2 XVIII - XXII

12/13  Part 2 XXIII - XXV

12/14 Part 2 XXVI - XXX

12/15 Part 2 XXXI - XXXIV

12/16 Part 2 XXXV - End of Part 2

12/17 Part 3 I - IV

12/18 Review/Study for FINA

Wednesday

Today - we will discuss your essays from Monday, and then look at the chapters you have read so far in Anna Karenina, and finally we will finish the multiple choice test that we started from before Thanksgiving Break.

Note Character List so Far:

Stepan Arkadyich Oblonsky (chapters 1-5)
Darya Alexandrovna Oblonsky (Dolly 2-3)

Levin - (one of the main characters) 5-9
Kozishev (Levin's brother or half-brother)
Nikolai (or Nicholas) (Levin's other brother)

Kitty - sister of Dolly (other sister is Natalie)

Anna Karenina (sister of Stepan)

THEMES:

Love
Family
Russian Politics
Religion/Faith
Gender Roles
Social Class

Chapter 1 - Stepan has been having an affair and has been caught (poor boy).  THEMES: Family/Gender Roles/Love

Chapter 2 - Stepan believes he has the right to have an affair since he is a man, handsome, and his wife is getting old.  Why is she even mad at him?  THEMES: Same as above

Chapter 3: Stepan reading papers/business THEMES: Social Class

Chapter 4: Dolly and Stepan talk.  Dolly is packing.  Themes: See chapter 1

Chapter 5: Stepan at work.  Learn that he got his job through family connections.  This is how Russian society works.  We also learn why people like Stepan.  THEMES: Politics/Social Class
Enter: Levin

Chapter 6: Discussion of Oblonsky's in-laws (the Shcherbatskys - Dolly, Natalie, and Kitty).   Levin has come to Moscow to see Kitty. 

Chapter 7: Debate between Kozishev and a professor about how people understand the world.

Chapter 8: Russian Politics - Kozishev doesn't believe that Russians can ever use government right or well.

Chapter 9: Levin and Kitty.  Learn that Levin is a good skater.  Kitty doesn't want to give Levin the wrong impression.  Levin gets the cold shoulder.  Kitty's mother says, "On Thursday we are home, as always."  Also learn that Levin enjoys living in the country. 

Anna Karenina:

Overview:

Tolstoy's depiction of women

For a character list go HERE

Anna Karenina

Okay - so you need to post something that interests you (something of importance) about each night's chapters (I'd suggest every chapter, but as long as you post something every night you'll be okay).  Remember: you are preparing yourself for the AP test in May.  We will also be looking at different theories of literary criticism as you read.

Examples from Zoe's blog:

CHAPTER 31

Back in those days, people would die from any old infection, like pink eye or the common cold. They didn’t know how it spread, whether it be through touch, air, or contact with blood. When Charley gets sick, Esther offers to take care of her one-on-one not letting anyone else come in contact with her, which is all the more heroic because she will almost inevitably become sick as well. Basically, this is a strange offer to make, and it supports the theme of Duty as it pertains to Esther and her need to take care of Charley.

CHAPTER 32

Krook spontaneously combusts at the end of this chapter. This is terrible because Krook was supposed to hand over the letters Snagsby is supposed to give to Lady Dedlock over to Weevle, from whom Guppy will steal them. Back when this book came out, Dickens was mocked for his use of combustion because it seemed so improbable, but his only defense was that he thought it could happen.

CHAPTER 33

Krook, the storeowner who combusted was actually Mrs. Smallweed’s brother! This means the Smallweeds will inherit all of Krook’s property, since he has no other living relations. But in addition to the property, they will also inherit all of the documents in Krook’s office (which might include the letters).

READING SCHEDULE:

11/28 The Sun Also Rises TEST

11/29 Part I chapters I-V

11/30 Part I chapters V1- VII

12/1 Part I VIII- XI

12/2 Part I XII - XIV

12/3 Part I XV-XIX

12/4 Part I XX - XXIII

12/5 Part I XXIV - XXVIII

12/6 Part I XXIX - XXXIII

12/7 Part I XXXIV - End of PART I

12/8 Part 2 I-V

12/9 Part 2 VI - VIII

12/10 Part 2 IX - XIV

12/11 Part 2 XV - XVII

12/12 Part 2 XVIII - XXII

12/13  Part 2 XXIII - XXV

12/14 Part 2 XXVI - XXX

12/15 Part 2 XXXI - XXXIV

12/16 Part 2 XXXV - End of Part 2

12/17 Part 3 I - IV

12/18 Review/Study for FINAL

12/19 TEST

12/20 - 1/9/2017 Finish Parts 3 and 4

1/10 - 1/20 Part 5

1/21 - 2/2 Part 6

2/3 - 2/10 Part 7

2/11 - 2/14 Part 8

BLACK FRIDAY

Note: What we will be working on next is The Sun Also Rises.  You will read it and prepare to talk a AP timed-test on it (this will be your final - we'll take it when you get back from Thanksgiving Break).  You have your choice from the questions below:


In some works of literature, a character who appears briefly, or does not appear at all, is a significant presence. Choose a novel or play of literary merit and write an essay in which you show how such a character functions in the work. You may wish to discuss how the character affects action, theme, or the development of other characters. Avoid plot summary.

Select a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness.

Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character's actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.

An effective literary work does not merely stop or cease; it concludes. In the view of some critics, a work that does not provide the pleasure of significant closure has terminated with an artistic fault. A satisfactory ending is not, however, always conclusive in every sense; significant closure may require the reader to abide with or adjust to ambiguity and uncertainty. In an essay, discuss the ending of a novel or play of acknowledged literary merit. Explain precisely how and why the ending appropriately or inappropriately concludes the work. Do not merely summarize the plot.

Friday

Okay - unless there is a lot of opposition, I want to forgo the quiz today and 1) Talk briefly about the opening of The Sun Also Rises, and the continue with our discussion of the multiple choice questions.

Everyone - please turn in your essays (if you haven't done so).  There are only a couple of you who are not done.  Note - most of you did finish on Monday or Tuesday.

The Sun Also Rises

Characters - so far

Robert Cohn - Jewish, exile (?), symbolism with him (?)
Jake (Jacob) Barnes - think of Jacob's ladder
Brett - the first flapper (according to Jake)

Make sure you post your answers to "The Big Two-Hearted River" on you blog.  They are due.

Prose Question

Note the author’s use of such elements as diction, syntax, imagery, and figurative language. Analyze how the author’s use of language generates a vivid impression of Nick Adams as a character.

Thursday

Today - we will

1) Set-up SHMOOP accounts.  Yes, I have a SHMOOP classroom for you.  Actually, there are some good review material (particularly MC) on Shmoop.

2) We are going to walk through (or begin to walk through) a multiple choice test.

Homework:

Begin The Sun Also Rises

or review "Big Two-Hearted River" for an AP quiz (tomorrow!) 

Wednesday

Today we will finish reading "Big Two-Hearted River"

Homework for Thursday:



Today we will finish the story and discuss it.  You might even have some time to work on the following questions:

Questions for "Big Two-Hearted River":

1) This story is arguable about WWI. How so? (Hint: Think about the title, the landscape, the tone, and the main characters actions in the story). Pick out some devices and discuss how they reinforce this WWI idea.

2) Why would this story be a good introduction to The Sun Also Rises?

3) What is the theme of this story?

4) Discuss tone in part 1 and part II.  What is it?  How is it different?   How did you determine it?

5) Look at syntax.  What can we learn from Hemingway's syntax (look at the sentences and pick out 3-4 to discuss).

Also - begin to think about the following (I would outline it):

Note the author’s use of such elements as diction, syntax, imagery, and figurative language. Analyze how the author’s use of language generates a vivid impression of Nick Adams as a character.

Big Two-Hearted River

Today we will finish reading "Big Two-Hearted River"

Homework for Thursday:


Questions for "Big Two-Hearted River":

1) This story is arguable about WWI. How so? (Hint: Think about the title, the landscape, the tone, and the main characters actions in the story). Pick out some devices and discuss how they reinforce this WWI idea.

2) Why would this story be a good introduction to The Sun Also Rises?

3) What is the theme of this story?

4) Discuss tone in part 1 and part II.  What is it?  How is it different?   How did you determine it?

5) Look at syntax.  What can we learn from Hemingway's syntax (look at the sentences and pick out 3-4 to discuss).

Also - begin to think about the following:

Note the author’s use of such elements as diction, syntax, imagery, and figurative language. Analyze how the author’s use of language generates a vivid impression of Nick Adams as a character.

I might give you the a couple paragraphs around the "black grasshoppers" or something in Part 2.

READING SCHEDULE (suggested) for The Sun Also Rises

11/16 – Chapters 1 -2

11/17 – Chapters 3-4

11/18 –Chapters 5 -6

11/19—Chapters 7-8

11/20 – Chapters 9-10

11/21 – Chapters 11-12

11/22 – Chapters 13

11/23 --Chapters 14-15

11/24 --Chapters 16-17

11/25-- Chapters 18

11/26 – Chapters 19

11/27 -- prep for Test
11/28 -- TEST on Book  

BIg Two-Hearted River

Next week we are going to read the short story "Big Two-Hearted River" and discuss it's meaning and syntax, and look a section of it for a PROSE PASSAGE AP PROMPT.

We will also talk about Multiple Choice questions.




Questions for "Big Two-Hearted River":

1) This story is arguable about WWI. How so? (Hint: Think about the title, the landscape, the tone, and the main characters actions in the story). Pick out some devices and discuss how they reinforce this WWI idea.

2) Why would this story be a good introduction to The Sun Also Rises?

3) What is the theme of this story?

4) Discuss tone in part 1 and part II.  What is it?  How is it different?   How did you determine it?

5) Look at syntax.  What can we learn from Hemingway's syntax (look at the sentences and pick out 3-4 to discuss).


We will also begin THE SUN ALSO RISES (note this book needs to be finished when you return from Thanksgiving Break).  You do not need to record anything for this novel (but I suggest you mark it).

Note: What we will be working on next is The Sun Also Rises.  You will read it and prepare to talk a AP timed-test on it (this will be your final - we'll take it when you get back from Volleyball regions).  One of the questions below will be the test:


In some works of literature, a character who appears briefly, or does not appear at all, is a significant presence. Choose a novel or play of literary merit and write an essay in which you show how such a character functions in the work. You may wish to discuss how the character affects action, theme, or the development of other characters. Avoid plot summary.

Select a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness.

Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character's actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.

An effective literary work does not merely stop or cease; it concludes. In the view of some critics, a work that does not provide the pleasure of significant closure has terminated with an artistic fault. A satisfactory ending is not, however, always conclusive in every sense; significant closure may require the reader to abide with or adjust to ambiguity and uncertainty. In an essay, discuss the ending of a novel or play of acknowledged literary merit. Explain precisely how and why the ending appropriately or inappropriately concludes the work. Do not merely summarize the plot.

GRADES

A 9-Point Rubric for writing about literature (based on AP scoring rubrics used to grade AP essays in June)

An 8-9 essay responds to the prompt clearly, directly, and fully. This paper approaches the text analytically, supports a coherent thesis with evidence from the text, and explains how the evidence illustrates and reinforces its thesis. The essay employs subtlety in its use of the text and the writer’s style is fluent and flexible. It is also free of mechanical and grammatical errors.

A 6-7 essay responds to the assignment clearly and directly but with less development than an 8-9 paper. It demonstrates a good understanding of the text and supports its thesis with appropriate textual evidence. While its approach is analytical, the analysis is less precise than in the 8-9 essay, and its use of the text is competent but not subtle. The writing in this paper is forceful and clear with few if any grammatical and mechanical errors.

A 5 essay addresses the assigned topic intelligently but does not answer it fully and

Specifically.  It is characterized by a good but general grasp of the text using the text to frame an apt response to the prompt. It may employ textual evidence sparingly or offer evidence without attaching it to the thesis. The essay is clear and organized but may be somewhat mechanical. The paper may also be marred by grammatical and mechanical errors.

A 3-4 essay fails in some important way to fulfill the demands of the prompt. It may not address part of the assignment, fail to provide minimal textual support for its thesis, or base its analysis on a misreading of some part of the text. This essay may present one or more incisive insights among others of less value. The writing may be similarly uneven in development with lapses in organization, clarity, grammar, and mechanics.

A 1-2 essay commonly combines two or more serious failures. It may not address the actual assignment; it may indicate a serious misreading of the text; it may not offer textual evidence or may use it in a way that suggests a failure to understand the text; it may be unclear, badly written, or unacceptably brief. The style of this paper is usually marked by egregious errors. Occasionally a paper in this range is smoothly written but devoid of content.

 

Grade conversion

9 = A+.

8 = A

7 = A-

6 = B +

5 = B

4 =C

3 =D

1-2 = NP

What's Coming Up

Next week we are going to read the short story "Big Two-Hearted River" and discuss it's meaning and syntax, and look a section of it for a PROSE PASSAGE AP PROMPT.

We will also talk about Multiple Choice questions.




Questions for "Big Two-Hearted River":

1) This story is arguable about WWI. How so? (Hint: Think about the title, the landscape, the tone, and the main characters actions in the story). Pick out some devices and discuss how they reinforce this WWI idea.

2) Why would this story be a good introduction to The Sun Also Rises?

3) What is the theme of this story?

4) Discuss tone in part 1 and part II.  What is it?  How is it different?   How did you determine it?

5) Look at syntax.  What can we learn from Hemingway's syntax (look at the sentences and pick out 3-4 to discuss).


We will also begin THE SUN ALSO RISES (note this book needs to be finished when you return from Thanksgiving Break).  You do not need to record anything for this novel (but I suggest you mark it).

Note: What we will be working on next is The Sun Also Rises.  You will read it and prepare to talk a AP timed-test on it (this will be your final - we'll take it when you get back from Volleyball regions).  One of the questions below will be the test:


In some works of literature, a character who appears briefly, or does not appear at all, is a significant presence. Choose a novel or play of literary merit and write an essay in which you show how such a character functions in the work. You may wish to discuss how the character affects action, theme, or the development of other characters. Avoid plot summary.

Select a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness.

Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character's actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.

An effective literary work does not merely stop or cease; it concludes. In the view of some critics, a work that does not provide the pleasure of significant closure has terminated with an artistic fault. A satisfactory ending is not, however, always conclusive in every sense; significant closure may require the reader to abide with or adjust to ambiguity and uncertainty. In an essay, discuss the ending of a novel or play of acknowledged literary merit. Explain precisely how and why the ending appropriately or inappropriately concludes the work. Do not merely summarize the plot.

Monday

You should be on essay #7 today!

Tuesday

One last important note: FOR EACH SECTION, make sure that you connect your commentary both to DIRECT TEXT EXAMPLES (always cited with the correct page number!) as well as to the NOVEL AS A WHOLE. Only papers that accomplish this will receive an “A” grade.

1. THE AUTHOR AND HER/HIS TIMES: Biographical and historical information pertinent to the novel. What important family, community, national, and world events helped inform this material? Do not provide an exhaustive biography; merely provide those details that can be directly linked to the novel in a manner that is convincing. This is one of the few sections that will require some outside research, so please remember to cite your source(s).

2. FORM/STRUCTURE, PLOT: How is the novel organized and what techniques are used? Discuss techniques such as sequencing, multiple, complex, or simple plot, foreshadowing, chapter choices. Then, provide a BRIEF outline of the events of the plot (no more than 200 words). For some modern novels, the plot may be difficult to describe succinctly – but try to do it anyway. When you discuss structure, remember that you need to discuss the effect of the intentional internal arrangement of parts.

3. POINT OF VIEW/ PERSPECTIVE: From what vantage point does the reader receive the information? Is the perspective reliable, or is it highly subjective? How are important ideas received? Is there an agenda that the narrator seems to have, either consciously or subconsciously? Does the perspective shift, and if so, to what end? Are characters explicit in their dialog, or does on omniscient narrator fill the reader in concerning the larger issues? Why is the perspective used particularly effective for this novel?

4. CHARACTER: Are each of the characters highly developed, or is most of the writing devoted to one character? Do you learn about them through what is not included in the text? How is character revealed for the most part? Is through what they say? What they do? What they wear? What they think? The people with whom they associate? What the narrator says about them? How complex are the people that you meet? Describe the central characters including what you find out about their names, ages, physical descriptions, personalities, functions in the novel – in other words, the responses to the questions asked in the preceding sentence. Also include one short quotation that reveals their character, and explain why the quote reveals character.


5. SETTING: Where and when does the novel occur? How many locations are described? Are there connections between the setting(s) and character(s)? How is the atmosphere described? Are there any important settings that contrast or parallel each other? Why is this setting so effective in supporting the ideas in the novel as a whole? Conversely, if the setting is ambiguous, what details seem most important and what is the effect of the ambiguity? Why is this story best told in this setting? When discussing setting, remember that it does not only mean the geographical location (topography, scenery) but also the cultural backdrop, social context, and the artificial environment (rooms, buildings, cities, towns) as well.

6. THEME: Identify one major theme (a central or controlling idea) and explicate the theme using specific moments from the text, either paraphrased or directly quoted. What is the abstract concept being addressed and what is the evaluation of that concept through the text? Are there any “universal” truths are revealed, supported, or challenged by this theme? Be aware that a theme cannot be expressed in a single word, and with complex works of literary merit the elucidation of a theme requires a full paragraph or more. Also note that the theme is rarely stated explicitly, but rather is implicit. Remember that a theme has TWO (2) PARTS: An abstract concept AND the author’s commentary on or evaluation of that concept through the text.

7. CRITICAL REVIEW: Find one critical review (not a Cliffs Notes or similar source) of you novel and offer your opinion of the critic’s analysis in two or three paragraphs. Attach a copy of the critical review to your paper, and cite it directly. When expressing your response to the review, be specific in your discussion. If you agree, then explain why and carry the argument beyond what the critic pointed out. If you disagree, provide support for your position from the text.

8. DICTION/SYNTAX: Analyze the novelist’s word choice. Is the language high or formal, neutral, informal? Does the novelist employ slang(faddish words)? Colloquialisms (nonstandard regional ways of using language(like someone from Boston asking where you “paah-ked yeh caaah”)? Jargon (language associated with a particular trade)? Dialect (think Tom Sawyer)? Is the language plain? Flowery? Concise? Vulgar? Dense? Elevated? Select a passage that illustrates your observations and discuss this passage directly.

10. TONE: What is the author’s attitude towards the subject of the novel? Discuss how the author creates the tone you identified through a variety of vehicles including plot, characterization, setting, and anything else that contributes to tone. Use specific text examples to support your findings.

11. TITLE: Why is this title so appropriate for the novel? Does it have literal or symbolic significance? Does it actually appear in the novel, and if so, what is the situation? Is the title an allusion, and if so, why would the title include this allusion? Does the title implicitly connect to the theme of the work?

12. MEMORABLE QUOTE: Choose and type out one quotation that you believe to be significant or noteworthy. Please explain your choice. Is it an especially moving moment? Is it especially well-written? Why does this quote stand out for you?

13. PERSONAL RESPONSE: What did you enjoy about the novel and why? What did you not enjoy about the novel and why? Are you eager to read another novel by this author? Would you recommend this novel to a friend? Make a case for either adding the novel to the AP curriculum, or give reasons why it should not be a part of this course.

BELOVED

Today - we are going to talk about the ending of BELOVED and how Part III works.

As promised I will give some key words for themes (remember you need to take this words and discuss Morrison impression or presentation of them in the text.  Example - what is she saying about Slavery.  Slavery is a theme - but what is exactly is Morrison suggesting about slavery.  Write that and you have a theme that you can explore in the text).  Think of this list:

Slavery
Memory and the Past
The Presence of Evil in the World
Love
Community
Family
Identity
Masculinity

Any others?

I hope to give you a few minutes to do a journal entry or two. 

Also, I promised a list of critical essays for essay #7.  Go HERE.  Zach there is even an essay about TREES in BELOVED.

By the way, you might have a quiz if I believe people haven't finished the book!  Also, Monday is Halloween.  Get some journals done so you're not up all night.

Here are some videos - to watch on your own time - that are so what entertaining: 

FRIDAY

Today, we will discuss PART II and last night's reading, and then discuss the essay assignment.

What happens in PART II?  Why is PART II it's own section?  Where does PART II begin and end? 
Think about - Sixo, Stamp Paid, Paul D., and 124. 

One last important note: FOR EACH SECTION, make sure that you connect your commentary both to DIRECT TEXT EXAMPLES (always cited with the correct page number!) as well as to the NOVEL AS A WHOLE. Only papers that accomplish this will receive an “A” grade.

1. THE AUTHOR AND HER/HIS TIMES: Biographical and historical information pertinent to the novel. What important family, community, national, and world events helped inform this material? Do not provide an exhaustive biography; merely provide those details that can be directly linked to the novel in a manner that is convincing. This is one of the few sections that will require some outside research, so please remember to cite your source(s).

2. FORM/STRUCTURE, PLOT: How is the novel organized and what techniques are used? Discuss techniques such as sequencing, multiple, complex, or simple plot, foreshadowing, chapter choices. Then, provide a BRIEF outline of the events of the plot (no more than 200 words). For some modern novels, the plot may be difficult to describe succinctly – but try to do it anyway. When you discuss structure, remember that you need to discuss the effect of the intentional internal arrangement of parts.

3. POINT OF VIEW/ PERSPECTIVE: From what vantage point does the reader receive the information? Is the perspective reliable, or is it highly subjective? How are important ideas received? Is there an agenda that the narrator seems to have, either consciously or subconsciously? Does the perspective shift, and if so, to what end? Are characters explicit in their dialog, or does on omniscient narrator fill the reader in concerning the larger issues? Why is the perspective used particularly effective for this novel?

4. CHARACTER: Are each of the characters highly developed, or is most of the writing devoted to one character? Do you learn about them through what is not included in the text? How is character revealed for the most part? Is through what they say? What they do? What they wear? What they think? The people with whom they associate? What the narrator says about them? How complex are the people that you meet? Describe the central characters including what you find out about their names, ages, physical descriptions, personalities, functions in the novel – in other words, the responses to the questions asked in the preceding sentence. Also include one short quotation that reveals their character, and explain why the quote reveals character.


5. SETTING: Where and when does the novel occur? How many locations are described? Are there connections between the setting(s) and character(s)? How is the atmosphere described? Are there any important settings that contrast or parallel each other? Why is this setting so effective in supporting the ideas in the novel as a whole? Conversely, if the setting is ambiguous, what details seem most important and what is the effect of the ambiguity? Why is this story best told in this setting? When discussing setting, remember that it does not only mean the geographical location (topography, scenery) but also the cultural backdrop, social context, and the artificial environment (rooms, buildings, cities, towns) as well.

6. THEME: Identify one major theme (a central or controlling idea) and explicate the theme using specific moments from the text, either paraphrased or directly quoted. What is the abstract concept being addressed and what is the evaluation of that concept through the text? Are there any “universal” truths are revealed, supported, or challenged by this theme? Be aware that a theme cannot be expressed in a single word, and with complex works of literary merit the elucidation of a theme requires a full paragraph or more. Also note that the theme is rarely stated explicitly, but rather is implicit. Remember that a theme has TWO (2) PARTS: An abstract concept AND the author’s commentary on or evaluation of that concept through the text.

7. CRITICAL REVIEW: Find one critical review (not a Cliffs Notes or similar source) of you novel and offer your opinion of the critic’s analysis in two or three paragraphs. Attach a copy of the critical review to your paper, and cite it directly. When expressing your response to the review, be specific in your discussion. If you agree, then explain why and carry the argument beyond what the critic pointed out. If you disagree, provide support for your position from the text.

8. DICTION: Analyze the novelist’s word choice. Is the language high or formal, neutral, informal? Does the novelist employ slang(faddish words)? Colloquialisms (nonstandard regional ways of using language(like someone from Boston asking where you “paah-ked yeh caaah”)? Jargon (language associated with a particular trade)? Dialect (think Tom Sawyer)? Is the language plain? Flowery? Concise? Vulgar? Dense? Elevated? Select a passage that illustrates your observations and discuss this passage directly.

10. TONE: What is the author’s attitude towards the subject of the novel? Discuss how the author creates the tone you identified through a variety of vehicles including plot, characterization, setting, and anything else that contributes to tone. Use specific text examples to support your findings.

11. TITLE: Why is this title so appropriate for the novel? Does it have literal or symbolic significance? Does it actually appear in the novel, and if so, what is the situation? Is the title an allusion, and if so, why would the title include this allusion? Does the title implicitly connect to the theme of the work?

12. MEMORABLE QUOTE: Choose and type out one quotation that you believe to be significant or noteworthy. Please explain your choice. Is it an especially moving moment? Is it especially well-written? Why does this quote stand out for you?

13. PERSONAL RESPONSE: What did you enjoy about the novel and why? What did you not enjoy about the novel and why? Are you eager to read another novel by this author? Would you recommend this novel to a friend? Make a case for either adding the novel to the AP curriculum, or give reasons why it should not be a part of this course.

Thursday

Today we are going to go over the PROSE QUESTION and then revisit the last two chapters of BELOVED!

If you did not score a "5" on your PROSE QUESTION you need to rewrite it for Monday.

Wednesday!

PROSE PRACTICE QUESTION - Today!

Monday

10/25 page 199
10/26 page 236
10/27 page 253
10/28 page 281
10/31 FINISHED


We might have a "PROSE QUESTION" essay.  Surprise.  Well, not really.

or... a BELOVED quiz (if you're not caught up).

Good luck! 

Wednesday

Today, we are going to look at the opening Chapter of Tom Jones and then discuss your syntax exercises from "The Turn of the Screw".  If needed I will give you a few minutes to get together and discuss these.

Make sure you start to learn and know the following:

Loose Sentence (also know as a cumulative sentence)
Periodic Sentence
Parallel Structure
Anaphora
Epistrophe
Compound-Complex Sentence

And how different type of sentences (declarative, imperative, interrogative, exclamatory) and sentence lengths create meaning.

Finally, we will talk about what happened last night in BELOVED (and about the butter on Halle's face).

BTW - Did anyone look up the meaning of SETHE? 

And when thinking about Denver - where is it?  Where is it compared to Ohio?  What was it in 1857?  Is any of this important?

SYNTAX PRIMER with Exercises

Reading for Tomorrow - through Monday
 
10/19  page 87
10/20  page 108
10/21  page 125
10/24 page 174

Today we are going to briefly discuss what happened last night in BELOVED and then go on to discussing how to attack (or possibly attack) the PROSE PASSAGE that will be on the AP Test.  We will talk about sentence types, sentence structure, sentence length, sentence arrangements, sentence classifications, parallelism, and then look at and discuss examples.

You might have to know these things for a future quiz.  You will have to apply them on a future quiz.

I will also be giving you a section from Finnegan's Wake and Tom Jones to read.

FINNEGAN'S WAKE

riverrun, past Eve and Adam's, from swerve of shore to bend
of bay, brings us by a commodius vicus of recirculation back to
Howth Castle and Environs.
Sir Tristram, violer d'amores, fr'over the short sea, had passen-
core rearrived from North Armorica on this side the scraggy
isthmus of Europe Minor to wielderfight his penisolate war: nor
had topsawyer's rocks by the stream Oconee exaggerated themselse
to Laurens County's gorgios while they went doublin their mumper
all the time: nor avoice from afire bellowsed mishe mishe to
tauftauf thuartpeatrick: not yet, though venissoon after, had a
kidscad buttended a bland old isaac: not yet, though all's fair in
vanessy, were sosie sesthers wroth with twone nathandjoe. Rot a
peck of pa's malt had Jhem or Shen brewed by arclight and rory
end to the regginbrow was to be seen ringsome on the aquaface.
The fall (bababadalgharaghtakamminarronnkonnbronntonner-
ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur-
nuk!) of a once wallstrait oldparr is retaled early in bed and later
on life down through all christian minstrelsy. The great fall of the
offwall entailed at such short notice the pftjschute of Finnegan,
erse solid man, that the humptyhillhead of humself prumptly sends
an unquiring one well to the west in quest of his tumptytumtoes:
and their upturnpikepointandplace is at the knock out in the park
where oranges have been laid to rust upon the green since dev-
linsfirst loved livvy.

BELOVED

Today we are going to start Beloved, but before we do lets talk about a few things:

1) Slavery
2) Civil War
3) Border States
4) Memories
5) TITLE

Then let's go HERE

REVIEW FOR RETAKE

POETRY TEST: THINGS TO KNOW

Elements: Know both definitions and examples

Imagery, denotation, connotation, irony – verbal, situational, dramatic, sarcasm, metaphor, personification, metonymy, apostrophe, synecdoche, symbol, allegory, paradox, overstatement, understatement, allusion, tone, alliteration, assonance, consonance, internal rime, slant rime, end rime, approximate rime, refrain, meter, iamb, trochee, anapest, dactyl, spondee, monosyllabic foot, line, stanza, cacophony, caesura, enjambment, onomatopoeia

Forms:

Structure, line breaks, how the poem looks, rhyme and rhythm and how it is created
Blues, Sestina, Villanelle, Pantoum, Sonnet (English, Italian, Spenserian, and hybrid), haiku, quatrain, tercets, couplets, litany, ballad.

Poems:

“Love Song of J. Alfred Prufrock” “The Death of the Hired Man” “Heights of Machu Picchu” “The Flea” “My Last Duchess” “To His Coy Mistress”, “The Waste Land” “Nani” “The Colonel” “One Art” “Fern Hill” “The Waking” “My Mistress’ Eyes” “The Second Coming”


BELOVED - ASSIGNMENT
(This assignment should equal about 20 pages)


This particular writing project requires you to read and write an in depth style analysis of a challenging work of literary merit. Due to the independent nature of the project, you will need to be vigilant in completing all of the tasks required because I will not be reminding you every week to work on this. There are two parts to this assignment. First, there is a dialectical journal you must keep while reading your novel (the guidelines for that journal will be provided separately) . Second, you must complete all of the sections detailed in this document.

For this project, you need to write about each of the areas below. For the sake of clarity and organization, please make sure that each of your sections has the proper heading, and that the sections are dealt with in the order in which they are listed on this assignment sheet. Due to the nature of this research paper you do not need to provide transitions between the different sections, you merely need to provide the heading. This assignment must be typed, with a standard 12 point Times New Roman font, and 1.5 spaced. The cover sheet should contain your name, class period, and date submitted. All of the standards for proper conventions are expected. A paper that has a distracting number of errors will only be eligible to receive a “C” or lower.

Each section has a series of questions that are meant to stimulate your thinking and writing. They are not intended to be answered in order, but instead are intended merely to act as a guide for your analysis.

One last important note: FOR EACH SECTION, make sure that you connect your commentary both to DIRECT TEXT EXAMPLES (always cited with the correct page number!) as well as to the NOVEL AS A WHOLE. Only papers that accomplish this will receive an “A” grade.

1. THE AUTHOR AND HER/HIS TIMES: Biographical and historical information pertinent to the novel. What important family, community, national, and world events helped inform this material? Do not provide an exhaustive biography; merely provide those details that can be directly linked to the novel in a manner that is convincing. This is one of the few sections that will require some outside research, so please remember to cite your source(s).

2. FORM/STRUCTURE, PLOT: How is the novel organized and what techniques are used? Discuss techniques such as sequencing, multiple, complex, or simple plot, foreshadowing, chapter choices. Then, provide a BRIEF outline of the events of the plot (no more than 200 words). For some modern novels, the plot may be difficult to describe succinctly – but try to do it anyway. When you discuss structure, remember that you need to discuss the effect of the intentional internal arrangement of parts.

3. POINT OF VIEW/ PERSPECTIVE: From what vantage point does the reader receive the information? Is the perspective reliable, or is it highly subjective? How are important ideas received? Is there an agenda that the narrator seems to have, either consciously or subconsciously? Does the perspective shift, and if so, to what end? Are characters explicit in their dialog, or does on omniscient narrator fill the reader in concerning the larger issues? Why is the perspective used particularly effective for this novel?

4. CHARACTER: Are each of the characters highly developed, or is most of the writing devoted to one character? Do you learn about them through what is not included in the text? How is character revealed for the most part? Is through what they say? What they do? What they wear? What they think? The people with whom they associate? What the narrator says about them? How complex are the people that you meet? Describe the central characters including what you find out about their names, ages, physical descriptions, personalities, functions in the novel – in other words, the responses to the questions asked in the preceding sentence. Also include one short quotation that reveals their character, and explain why the quote reveals character.


5. SETTING: Where and when does the novel occur? How many locations are described? Are there connections between the setting(s) and character(s)? How is the atmosphere described? Are there any important settings that contrast or parallel each other? Why is this setting so effective in supporting the ideas in the novel as a whole? Conversely, if the setting is ambiguous, what details seem most important and what is the effect of the ambiguity? Why is this story best told in this setting? When discussing setting, remember that it does not only mean the geographical location (topography, scenery) but also the cultural backdrop, social context, and the artificial environment (rooms, buildings, cities, towns) as well.

6. THEME: Identify one major theme (a central or controlling idea) and explicate the theme using specific moments from the text, either paraphrased or directly quoted. What is the abstract concept being addressed and what is the evaluation of that concept through the text? Are there any “universal” truths are revealed, supported, or challenged by this theme? Be aware that a theme cannot be expressed in a single word, and with complex works of literary merit the elucidation of a theme requires a full paragraph or more. Also note that the theme is rarely stated explicitly, but rather is implicit. Remember that a theme has TWO (2) PARTS: An abstract concept AND the author’s commentary on or evaluation of that concept through the text.

7. CRITICAL REVIEW: Find one critical review (not a Cliffs Notes or similar source) of you novel and offer your opinion of the critic’s analysis in two or three paragraphs. Attach a copy of the critical review to your paper, and cite it directly. When expressing your response to the review, be specific in your discussion. If you agree, then explain why and carry the argument beyond what the critic pointed out. If you disagree, provide support for your position from the text.

8. DICTION: Analyze the novelist’s word choice. Is the language high or formal, neutral, informal? Does the novelist employ slang(faddish words)? Colloquialisms (nonstandard regional ways of using language(like someone from Boston asking where you “paah-ked yeh caaah”)? Jargon (language associated with a particular trade)? Dialect (think Tom Sawyer)? Is the language plain? Flowery? Concise? Vulgar? Dense? Elevated? Select a passage that illustrates your observations and discuss this passage directly.

10. TONE: What is the author’s attitude towards the subject of the novel? Discuss how the author creates the tone you identified through a variety of vehicles including plot, characterization, setting, and anything else that contributes to tone. Use specific text examples to support your findings.

11. TITLE: Why is this title so appropriate for the novel? Does it have literal or symbolic significance? Does it actually appear in the novel, and if so, what is the situation? Is the title an allusion, and if so, why would the title include this allusion? Does the title implicitly connect to the theme of the work?

12. MEMORABLE QUOTE: Choose and type out one quotation that you believe to be significant or noteworthy. Please explain your choice. Is it an especially moving moment? Is it especially well-written? Why does this quote stand out for you?

13. PERSONAL RESPONSE: What did you enjoy about the novel and why? What did you not enjoy about the novel and why? Are you eager to read another novel by this author? Would you recommend this novel to a friend? Make a case for either adding the novel to the AP curriculum, or give reasons why it should not be a part of this course.




In order to prepare you to write the above - you'll need to keep a dialectical journal of these that you find interesting.  If you don't know what a dialectical journal is - I'll explain:

Effective students have a habit of taking notes as they read. This note-taking can several forms: annotation, post it notes, character lists, idea clusters, and many others. One of the most effective strategies is called a dialectical journal. The word “dialectical” has numerous meanings, but the one most pertinent is the “art of critical examination into the truth of an opinion” or reworded “The art or practice of arriving at the truth by using conversation involving question and answer.” As you read, you are forming an opinion about what you are reading (or at least you are SUPPOSED to be forming an opinion). That opinion, however, needs to be based on the text – not just a feeling. Therefore, all of your opinions need to be based on the text.

The procedure is as follows:

1. Either in your textbook or in a spiral notebook and draw a line down the center of each page of the notebook. NOTE: I expect you to publish these journal entries on your blogs nightly and number them as you go.

2. As you read, pay close attention to the text.

3. Whenever you encounter something of interest (this could be anything from an interesting turn of phrase to a character note), write down the word/phrase in the LEFT HAND COLUMN making sure that you NOTE THE PAGE NUMBER. If the phrase is especially long just write the first few words, use an ellipsis, then write the last few words.

4. In the RIGHT HAND COLUMN, WRITE YOUR OBSEVRATIONS ABOUT THE TEXT you noted in the left-hand column. This is where you need to interact in detail with the text. Make sure that your observations are THOROUGH, INSIGHTFUL, and FOCUSED CLEARLY ON THE TEXT.

Requirements:

1) For BELOVED you will need to complete a MINIMUM of 55 entries if you wish to be eligible for an “A”. 35 is the minimum for a passing grade. Make sure you number your entries.
2) A completed dialectical journal should be brought to class each day a reading assignment is due. 

When should you write things down?
• When certain details seem important to you
• When you have an epiphany
• When you learn something significant about a character
• When you recognize a pattern (overlapping images, repetitions of idea, details, etc.)
• When you agree or disagree with something a character says
• When you find an interesting or potentially significant quote.
• When you notice something important or relevant about the writer’s style.
• When you notice effective uses of literary devices.
• When you notice something that makes you think of a question

That is all there is to it. This way, once you have read your text you will already have a great set of notes on which to draw when you write your paper. You also should have gained a great deal of insight about your particular text.



Grading (based on 55 entries, if you have 45 entries an A= B, B= C, 35 entries A=C)

A—Detailed, meaningful passages, plot and quote selections; thoughtful interpretation and commentary about the text; includes comments about literary elements (like theme, diction, imagery, syntax, symbolism, etc.) and how these elements contribute to the meaning of the text; asks thought-provoking, insightful questions; coverage of text is complete and thorough; journal is neat, organized, numbered and readable.
B—Less detailed, but good selections; some intelligent commentary about the text; includes some comments about literary elements (like theme, diction, imagery, syntax, symbolism, etc.) but less than how these elements contribute to the meaning of the text; asks some thought-provoking, insightful questions; coverage of the text is complete and thorough; journal is neat, organized, numbered and readable.
C—A few good details about the text; most of the commentary is vague, unsupported or plot summary/paraphrase; some listing of literary elements, but perhaps inadequate discussion, but not very thoroughly; journal is relatively neat.
D—Hardly any good or meaningful details from the story; notes are plot summary or paraphrase; few literary elements, virtually no discussion on meaning; no good questions; limited coverage of text, and/or too short.   

READING SCHEDULE:
The below dates are the pages you need to be on!  Meaning on Friday you will need to be on page 23.

10/14  page 23
10/17  page 52
10/18  page 68
10/19  page 87
10/20  page 108
10/21  page 125
10/24 page 174
10/25 page 199
10/26 page 236
10/27 page 253
10/28 page 281
10/31 FINISHED
11/1 Dialectical Journals DUE
11/11 ALL ESSAYS COMPLETED

I would suggest that you complete 3 dialectical journals (minimum) a night.  Please keep up on this assignment, and NOTE - THIS IS A STANDARD AP ASSIGNMENT.  MOST AP TEACHERS USED IT.  
 

Not My Best Side

NOT MY BEST SIDE

  

Taking all of “Not my Best Side” into consideration, along with the comments of your peers, write a short response (1/2-1 page) in which you discuss what you believe to be one of the main ideas in this poem. Specifically discuss how the different points of view are significant is expressing this idea. Be sure to reference specific points/lines in the poem when writing your response.

WEDNESDAY: THINGS TO KNOW/DO

Spenserian Sonnets go HERE 


So what do iambic mean:

unstressed, stressed syllables - such as into the sun.

Anapest: unstressed, unstressed, stressed - such as intervene, or all must die.

Dactyl: stressed, unstressed, unstressed - such as enterprise or color of

Trochee: stressed, unstressed - went to church to

Spondee: YOU ASS! stress stress

or:
(1) IAMBIC (the noun is "iamb"): an unstressed syllable followed by a stressed syllable, a pattern which comes closest to approximating the natural rhythm of speech. Note line 23 from Shelley's "Stanzas Written in Dejection, Near Naples":
And walked with inward glory crowned

(2) TROCHAIC (the noun is "trochee"): a stressed followed by an unstressed syllable, as in the first line of Blake's "Introduction" to Songs of Innocence:
Piping down the valleys wild

(3) ANAPESTIC (the noun is "anapest"): two unstressed syllables followed by a stressed syllable, as in the opening to Byron's "The Destruction of Sennacherib":
The Assyrian came down like the wolf on the fold

(4) DACTYLIC (the noun is "dactyl"): a stressed syllable followed by two unstressed syllables, as in Thomas Hardy's "The Voice":
Woman much missed, how you call to me, call to me


TONE: The author’s implicit attitude toward the reader or the people, places, and events in a work as revealed by the elements of the author’s style. Tone may be characterized as serious or ironic, sad or happy, private or public, angry or affectionate, bitter or nostalgic, or any other attitudes and feelings that human beings experience. 


1) We also need to discuss: "The Heights of Macchu Picchu".

Neruda's poem is actually the 3rd poem in the book, "The Heights of Macchu Picchu" which is one book in a collection called CANTO GENERAL (which Neruda modeled after LEAVES OF GRASS) and which contains the history of South America (and an unfavorable view of U.S. relations with South American countries). Think IMPERIALISM. SO what is Macchu Picchu about?

2) Spenserian Sonnet:

Invented by Edmund Spenser, author of the classic THE FAERIE QUEENE, it has the pattern: ABABBCBCCDCDEE

The pattern sets up four distinct line-groups (like the English sonnet). The quatrains (ABAB BCBC CDCD) set up three distinct but related ideas and couplet acts as a commentary. Line 9 usually starts the volta.

see Spenser Sonnet 75

PART IV and V- FROM GOOGIE and RORI with LOVE

The Waste Land; Part 4 Death By Water

"If there is magic on this planet, it is contained in water" Loran Eisely (1907-1977)

The fourth section of Eliot's poem "The Waste Land", although the shortest, could possibly be the most important part, because it contains the turn. The major theme of this section is the importance of water. The poem shifts from a lack of water to "Death by Water", which is ironic because water is the root of life.

"Death By Water" is set up into three tercets with a total of nine lines. The number three in this structure is very significant. In Christianity the number three represents Trinity (creator, redeemer, sustainer), which reinforces the idea of resurrection. In the Hindu religion the number three symbolizes; creation, destruction and preservation, or; unfolding, maintaining, and concluding, this reconnects to the major theme of life and death. The form of the poem also represents a wave which goes back to the theme of water, "Phlebas" is drowning, and as it is happening "He passed the stages of his age and youth", but it is uncertain whether or not he is dead. How can a person surrounded by so much life be dead? Above ground if you are dead, you are actually dead because the land is dead.

The underwater "living dead" represents hope in "The Waste Land". Water is the key to recreating, and rejuvenating the land, and the people on it. As mentioned in earlier sections, Spring is the time of year when the rain begins to fall and things are able to grow. The spring, and the growing of nature, also symbolizes the youth, and the blossoming, and prime of a younger persons life. As your dying, those are the days that you remember. Without this hope, or youth, several people become lost, as you age your worth just becomes less and less. This whole concept goes right back to Sybil, eternal life without eternal youth, is almost, if not worse than death.

"Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss."

Madame and Sosostris, in section one, pulled a card that showed "the drowned Phoenician Sailor". The sailor is a motif for greed, and for the theme of water itself. As he ages, his significance begins to lessen, which means his time has come. But is he really dead?

The simple hope in this poem is life, water is the root of life, which makes water the key to reestablishing life on land. The irony lies within the fact that the smallest section of the poem, is the turning point, the part the allows the readers to completely understand what this poem is truly about.

FROM RORI:

Section 5: Summary: What the Thunder Said

     The final section of the Waste Land is about hope and resurrection. In the first paragraph there is an allusion to a Garden – Gethsemane – the garden that Jesus was in when the Roman soldiers took him away to be crucified.  This refers from the time before he was crucified to after it.      The next few paragraph backs up idea of wasteland and the title of the entire poem. “Here is no water but only rock, rock and no water and the sandy road…” there’s no water which means there’s no life. Where the ‘sweat is dry’  you won’t find water. The mountains are dead because nothing can grow, nothing can blossom or sustain without water. “If there were water and no rock if there were rock and also water and water a spring a pool among the rock…”  The idea if there was water there would be hope. Wanting to only wanting to hear the sound of water, they didn’t want to hear the ‘cicada’ or grasshopper or the ‘dry grass singing’. But if there were water, there would actually be grasshoppers to chirp and the grass would no longer be dry. However, “there is no water.”  
     “Who is the third who walks always beside you?....gliding wrapt in a brown mantle, hooded I do not know whether a mon or a woman…” this is an allusion to the bible, 2413 after crucification, burial, and resurrection. People are walking and when Jesus approaches he makes it so the people don’t recognize him. The people invite him into town, Emmaus, and sit down and eat and split bread. When the people finally realize that Jesus was present he disappears.
     Jerusalem, Athens, Alexandria, Vienna, London(/Unreal) are major cities in Europe that are morally sacked culture capitals. (SITE – see comment) “The list plots out the course of Western civilization, from its origins in classical and biblical cultures to its modern European efflorescence. As with so much of the poem, Eliot is being cryptic, particularly in his choice of the two modern cities. One can understand London: the cradle of democracy and the rule of law. But Vienna? Is there a hint in that choice of a civilization gone to seed, a place of elegance and opulence, yes, but a falling off from the human search for the order of the soul and the order of the common wealth? And does London, by its place on the sequence, also exist the downward slope of cultural history?”
     “The woman drew her long black hair out tight” - this woman refers to Cleopatra. Cleopatra relates to the failed relationships in section 2 which correlates with the countries relationships. After WWI a lot of valuable relationships and allies had been ruined, and Germany, the country that ended up basically fucked, was given the Treaty of Versailles. They had to accept the blame for all the loss and damage of the war.  
     “In this decayed hole among the mountains,” the grassy mountains obviously means had life, which means it had water! The grass sings because it’s revitalized and alive. The chapel is an allusion to King Arthur. One of king Arthurs knights went to find the Holy Grail in a chapel. The rooster cry is an allusion to the bible – it’s an allusion to Peter’s denial of Jesus – Jesus says that Peter will deny Jesus three times before the rooster cries. When Peter is asked if he knows of Jesus he says no three times, denying God. He later figures out what he did and is very remorseful. “Bringing rain” means BRINGING HOPE.
     Ganga refers to the Granges river in South India, and rivers mean water, and water means LIFE!  
      Datta means GIVE, Dayadhyam means SYMPATHIZE, and Damyata means CONTROL. The three D words refer to the creator of god in the Hindu religion, and they all make a sound that is similar to that which a thunder would make (thunder sometimes brings rain.) The creator of God says three things that instruct the lesser gods to (1) give things despite their nature cheapness, and (2) control their rowdy behaviors. The third is that he tells the demons to sympathize.
     “I have heard the key turn in the door once and turn only once,” refers to Dante’s inferno, which Count Ugolino starves to death after being locked in a tower for treason. “Broken Coriolanus” is a Roman character in a Shakespeare play who turned his back on his country. Both Count Ugolino and Coriolanus are examples of outcasts.
     The final stanza of the poem has Italian which alludes to Dante’s inferno. The Fisher King sat upon the shore and fished. We learn that he has the Holy Grail all along, but because he’s wounded, he can’t use the powers of it to revitalize the land. The purpose of the grail is to keep the land alive.  The allusion to the song London Bridge is all about WW1 where London was left in chaos and in a waste land. Shantih is an onomatopoeia that’s supposed to sound like rain. It’s supposed to bring hope. The poem ends in an uplifting way that is different than much of the poem. It ends with giving us hope that everything will work out.

The Waste Land part IV

Zoe: "I miss poetry!  I love the Waste Land.  I want to marry T.S. Eliot."


POETRY TEST: THINGS TO KNOW

Elements: Know both definitions and examples
Imagery, denotation, connotation, irony – verbal, situational, dramatic, sarcasm, metaphor, personification, metonymy, apostrophe, synecdoche, symbol, allegory, paradox, overstatement, understatement, allusion, tone, alliteration, assonance, consonance, internal rime, slant rime, end rime, approximate rime, refrain, meter, iamb, trochee, anapest, dactyl, spondee, monosyllabic foot, line, stanza, cacophony, caesura, enjambment, onomatopoeia

Forms:
Structure, line breaks, how the poem looks, rhyme and rhythm and how it is created
Blues, Sestina, Villanelle, Pantoum, Sonnet (English, Italian, Spenserian, and hybrid), haiku, quatrain, tercets, couplets, litany, ballad.

Poems:
“Love Song of J. Alfred Prufrock” “The Death of the Hired Man” “Heights of Machu Picchu” “The Flea” “My Last Duchess” “To His Coy Mistress”, “The Waste Land” “Nani” “The Colonel” “One Art” “Fern Hill” “The Waking” “My Mistress’ Eyes” “The Second Coming” - and maybe others

THE WASTE LAND (IV and V)

"Death By Water" -

There are relatively no allusions in this section. Why? It is short and straight forward. Why?

"What the Thunder Said"

Refers to a Hindu text: The Upanishad.
Other allusions in this section: Bible - New Testament (Matthew, Mark, John). Holy Grail Legend, Shakespeare and the Roman General Coriolanus.

Return to the Desert. The Falling of Cities. The Drying up of Rivers. The lack of rebirth?

This is a HARD Section and yet it ends the poem. What is going on here. What are the connections to the other sections?


Here are some sites that might help: Modernism and The Waste Land and some general notes on the entire poem

Go here for a radio program on the Fisher King

Here is a link to an essay on the Fisher King in "The Waste Land".

The following is from the University of Idaho student research project on the Fisher King:


(IV) THE WASTE LAND: The concept of physical sterility carrying over into other spheres of life was an appealing objective correlative for poets in the wake of the first World War (used most effectively by T.S. Eliot to symbolize social and moral decay). But the intimate relationship existing between a monarch and his provinces probably relates back to a pagan strand from much earlier times. The waste land ultimately springs from an old Celtic belief in which the fertility of the land depended on the potency and virility of the king; the king was in essence espoused to his lands. In his comprehensive study, The Golden Bough, J. G. Fraser identifies a similar ritual in various cultures the world round. "The king's life or spirit is so sympathetically bound up with the prosperity of the whole country," he writes, "that if he fell ill or grew senile the cattle would sicken or cease to multiply, the crops would rot in the fields, and men would perish of widespread disease." Such is the case in the Grail legends as well. The woes of the land are the direct result of the sickness or the maiming of the Fisher King. When his power wanes, the country is laid waste and the soil is rendered sterile: the trees are without fruit, the crops fail to grow, even the women are unable to bear children. To suggest that the waste land functions at the very heart of the problem seems a gross understatement indeed. Once again, Weston takes the matter one step further: "In the Grail King we have a romantic literary version of that strange mysterious figure whose presence hovers in the shadowy background of the history of our Aryan race; the figure of a divine or semidivine ruler, at once god and king, upon whose life, and unimpaired vitality, the existence of his land and people directly depends."

In the case of the waste land the solution assumes the form of the questing Grail Knight. He is the one who must ask the loaded question that restores fertility to king and land alike. However, as Cavendish notes, the healing of the Fisher King and his lands is never satisfactorily resolved in the medieval romances that have been handed down:

The tradition of the king as the mate of his land lies behind the Waste Land theme in the Grail legends, but the theme in incoherent and amorphous. The pattern ought to be this: a king is crippled or ill; as a result his land is barren; the hero heal s the king and fertility is restored to the land; probably, the hero's feat shows that he is the rightful heir. There is no Grail story in which this simple and satisfactory pattern appears (nor has any Celtic story survived which contains it). In the First Continuation there is a waste land which is restored, but no crippled or ill king and consequently no healing. In Parzival there is a crippled king who is healed by the hero, but there is no waste land. In Perlesvaus there is an ill king and a waste land, but no healing.


Finally you can always check out Wikipedia for general info. 

Wasteland V:

"What the Thunder Said"

Refers to a Hindu text: The Upanishad.
Other allusions in this section: Bible - New Testament (Matthew, Mark, John). Holy Grail Legend, Shakespeare and the Roman General Coriolanus.

Return to the Desert. The Falling of Cities. The Drying up of Rivers. The lack of rebirth?

This is a HARD Section and yet it ends the poem. What is going on here. What are the connections to the other sections?

Here are some sites that might help: Modernism and The Waste Land and some general notes on the entire poem

Friday

Unit Goal:

Students will be able to write an analysis of “any” poem of literary merit connecting a variety of literary devices – including tone, poetical structure, figurative language, diction, syntax, etc. – with the poem as a whole and be able to write a timed-AP analysis essay scoring in the upper half on the AP rubric.

4 – On an AP poetry prompt the student can successfully answer the prompt and write an essay scoring a 7 or higher on the AP rubric.

3 – On an AP poetry prompt the student can successfully answer the prompt and write an essay scoring a 5 or higher on the AP rubric.

2 – On an AP poetry prompt the student cannot successfully answer the prompt and write an analysis essay.  Student scores 3-4 on the AP rubric.

1 -  Student is unable to write an analysis essay.

Today, I want to discuss  "The Death of the Hired-Man", "Home Burial".  But first let's revisit"The Colonel" and talk about Literary Theories, and Introductions to Essays.  

Essay on "The Second Coming"

Things to think about when we discuss "The Death of the Hired-Man"

A) Overall meaning - make sure your thesis reference the overall meaning of the poem, section, or text.  

B) Titles of poems.  

C) Form or structure or where the poem breaks structure

D) Tone

E) Literary Devices - allusion, symbol, metaphor, syntax, enjambment, 

F) Speaker/story

G) Literal level vs. analysis

Literary Theories (from X.J. Kennedy and Dana Gioia's Literature: An Introduction to Fiction, Poetry, and Drama) 

Formalist Criticism: This approach regards literature as a unique form of human knowledge that needs to be examined on its own terms." All the elements necessary for understanding the work are contained within the work itself. Of particular interest to the formalist critic are the elements of form-style, structure, tone, imagery, etc.-that are found within the text. A primary goal for formalist critics is to determine how such elements work together with the text's content to shape its effects upon readers.

This is also called, “New Criticism” and was especially promoted by T.S. Eliot. 

Biographical Criticism: This approach "begins with the simple but central insight that literature is written by actual people and that understanding an author's life can help readers more thoroughly comprehend the work. "Hence, it often affords a practical method by which readers can better understand a text. However, a biographical critic must be careful not to take the biographical facts of a writer's life too far in criticizing the works of that writer: the biographical critic "focuses on explicating the literary work by using the insight provided by knowledge of the author's life. Biographical data should amplify the meaning of the text, not drown it out with irrelevant material."

Historical Criticism: This approach "seeks to understand a literary work by investigating the social, cultural, and intellectual context that produced it-a context that necessarily includes the artist's biography and milieu." A key goal for historical critics is to understand the effect of a literary work upon its original readers.      

Gender Criticism: This approach "examines how sexual identity influences the creation and reception of literary works." Originally an offshoot of feminist movements, gender criticism today includes a number of approaches, including the so-called "masculinist" approach recently advocated by poet Robert Bly. The bulk of gender criticism, however, is feminist and takes as a central precept that the patriarchal attitudes that have dominated western thought have resulted, consciously or unconsciously, in literature "full of unexamined 'male-produced'      assumptions." Feminist criticism attempts to correct this imbalance by analyzing and combatting such attitudes-by questioning, for example, why none of the characters in Shakespeare's play Othello ever challenge the right of a husband to murder a wife accused of adultery. Other goals of feminist critics include "analyzing how sexual identity influences the reader of a text" and "examining how the images of men and women in imaginative literature reflect or reject the social forces that have historically kept the sexes from achieving total equality." 

 Reader-Response Criticism: This approach takes as a fundamental tenet that   "literature" exists not as an artifact upon a printed page but as a transaction between the physical text and the mind of a reader. It attempts "to describe what happens in the reader's mind while interpreting a text" and reflects that reading, like writing, is a creative process. According to reader-response critics, literary texts do not "contain" a meaning; meanings derive only from the act of individual readings. Hence, two different readers may derive completely different interpretations of the same literary text; likewise, a reader who re-reads a work years later may find the work shockingly different. Reader-response criticism, then, emphasizes how "religious, cultural, and social values affect readings; it also overlaps with gender criticism in exploring how men and women read the same text with different assumptions." Though this approach rejects the notion that a single "correct" reading exists for a literary work, it does not consider all readings permissible: "Each text creates limits to its possible interpretations."

Deconstructionist Criticism: This approach "rejects the traditional assumption that language can accurately represent reality." Deconstructionist critics regard language as a fundamentally unstable medium-the words "tree" or "dog," for instance, undoubtedly conjure up different mental images for different people-and therefore, because literature is made up of words, literature possesses no fixed, single meaning. According to critic Paul de Man, deconstructionists insist on "the impossibility of making the actual expression coincide with what has to be expressed, of making the actual signs [i.e., words] coincide with what is signified." As a result, deconstructionist critics tend to emphasize not what is being said but how language is used in a text. The methods of this approach tend to resemble those of formalist criticism, but whereas formalists' primary goal is to locate unity within a text, "how the diverse elements of a text cohere into meaning," deconstructionists try to show how the text "deconstructs," "how it can be broken down into mutually irreconcilable positions." Other goals of deconstructionists include (1) challenging the notion of authors' "ownership" of texts they create (and their ability to control the meaning of their texts) and (2) focusing on how language is used to achieve power, as when they try to understand how a some interpretations of a literary      work come to be regarded as "truth." 

From Lance Balla:

1.  Do not rewrite all or part of the prompt.  The AP Reading subjects readers to over 1200 essays, so they yearn for an introduction that does not have the same phrase that they have read almost a thousand times already.  You can get your thesis across effectively without reusing the words that are on the page, and the reader will think that you are an original thinker.

2.  Make sure that you include the title of the book and the author’s name.  You know what novel you are going to discuss; share that with your reader!  Also BE SURE TO UNDERLINE THE TITLE OF THE NOVEL YOU ARE DISCUSSING! Remember to give the reader every reason to believe you are a competent writer.

3.  Provide some context for you discussion.  As you jump into your discussion make sure you provide some clues as to who or what you are about to discuss.  For example, rather than merely saying “Codi, blah, blah, blah...”, say “Codi, the young woman who is the central character in Kingsolver’s novel Animal Dreams..”.

4.       PROVIDE A THESIS THAT IS CLEAR, CONCISE AND SOMEHOW RESPONDS TO THE PROMPT!  It is critical that you provide a specific direction in your introduction.  You do that by making certain you have a thesis. Remember that your thesis needs to specifically respond to the prompt.

5.  Avoid the “Carl Sagan” introduction.  Carl Sagan, one of the more interesting people to come along in a while, had a show called “Cosmos.”  In that show he would often say “For billions and billions of years, man has (insert whatever we have wondered about here)...”  As young writers you sometimes have a tendency to try and prove your thesis is important by claiming that it addresses some struggle that has been occurring for generations.  Avoid this impulse.  Get to the discussion of your novel immediately; do not worry about vast, unsolvable issues.

6.  Do not talk about “the Reader” and the effect a passage may or may not have on “the Reader”.  It is best not to try and speak for all of the people who have ever read a particular passage.  It is your task to discuss the effect a literary device has within the given passage; do not discuss its “effect on the reader.”

7.  Avoid wild speculation and official judgment.  Do not speculate as to how a book may have been interpreted had not certain events occurred (sounds obvious, but you would be surprised how often it happens.)  Also, unless you are asked to comment on the quality of a novel, which never happens on the AP exam, avoid singing its praise (i.e. “Kingsolver’s brilliantly written masterpiece of modern fiction...”) or dismissing it.  If you are writing about a novel it is assumed that it is a novel of literary merit.