* Pray
* Shakespearean Tragedy Card Quiz
* CWP (or evidence) collection
* Note the new resources on Focus. M.C. tests and green sheet awesomeness!
M.C. Schedule
Lear: Done
Austen: Done
1982: Done
2009: Done
2004: Done
2008: Friday
1999: Weekend homework
1991: Monday
1994: We will see; perhaps Tuesday Night
2006: Extra Unassigned Online with key now available (46 questions).
* M.C. 2008
* You may turn in corrections for 2004 on (but not after) Monday
* Poetic Rhythm and Meter Lesson: Ch. 12 of Perrine's (Poetry Section), pg. 915.
Scanning Review Slideshow (.ppt)
* ICE work (green sheets)
HW: Practice M.C. Test on Focus. Answers are also available. Score it when you are done. Give me your score on Monday. You will get 100% for doing the assignment. You will get extra credit for doing test corrections on this one.
Showing posts with label ICE. Show all posts
Showing posts with label ICE. Show all posts
Week 36, Block Day: TTC
* Pray
* Note: Be sure you have completed your 55 question M.C. test. I will be scanning today and tomorrow.
* Review TTC
* Video
* 40 min. ICE essay #1 on TTC
Per. 6: 1:22, begin writing by 1:29
HW: Read and consider terms A-F: Can you think of an example for each as you read them?
* Note: Be sure you have completed your 55 question M.C. test. I will be scanning today and tomorrow.
* Review TTC
* Video
* 40 min. ICE essay #1 on TTC
Per. 6: 1:22, begin writing by 1:29
HW: Read and consider terms A-F: Can you think of an example for each as you read them?
Block Day, Week 28: Two ICE's
* Pray
* ICE #1: Austen: Passage-based format
* ICE #2: Austen: Open-prompt format
Per. 1 and 3 will start 5 min. after the tardy bell. Per. 6 may start before the tardy bell but not before the first bell.
How do I get a higher score? For most, provide ample
1. Textual support. Your statements are probably correct, but does each have a specific support from an event or conversation? Let, "for insance," be your motto, even though we won't write those words so often.
2. Development. If you don't get much down on paper, there's less room for you to make a good case.
3. Intelligent word choices and phrases.
4. Sentence variety.
5. Slip in literary elements connected to your thesis and text whenever possible.
Format:
- Pen
- Single space
- Write on the front of each paper
- Plan for 2-4 minutes before your write the essay
- Don't forget your thesis (first sentence or last sentence of first paragraph)
HW: CWP Due on your Next Block Day
* ICE #1: Austen: Passage-based format
* ICE #2: Austen: Open-prompt format
Per. 1 and 3 will start 5 min. after the tardy bell. Per. 6 may start before the tardy bell but not before the first bell.
How do I get a higher score? For most, provide ample
1. Textual support. Your statements are probably correct, but does each have a specific support from an event or conversation? Let, "for insance," be your motto, even though we won't write those words so often.
2. Development. If you don't get much down on paper, there's less room for you to make a good case.
3. Intelligent word choices and phrases.
4. Sentence variety.
5. Slip in literary elements connected to your thesis and text whenever possible.
Format:
- Pen
- Single space
- Write on the front of each paper
- Plan for 2-4 minutes before your write the essay
- Don't forget your thesis (first sentence or last sentence of first paragraph)
HW: CWP Due on your Next Block Day
Monday, 2/13: Reading
* Pray
* We need a tea party break for a few weeks. This week has quizzes; next week has essays.
* Course note, this week's journal (and all work following unless otherwise stated) must be handwritten. This is important for three reasons:
1. Some of you have wretched handwriting; I could hardly read some of these last ICE's, so you need practice. Writing is a communication art, and I want you all reasonably artful in this regard. Some are blessed with elegance but all should be able to be clear.
2. I cannot conveniently comment on an emailed document.
3. The mixed work makes grading more chaotic than it need be.
* This week on your block day you will show me your cards (all printed). Your poetry card must include 20 lines of poetry. You must have 10 lines memorized this week.
* This week on your block day you will have a quiz on your terms from the past three weeks (Weeks 25-27; J31-33). This will be a written quiz where I list terms and you provide defintions and examples from literature or rhetoric.
* If you wish to get 1/2 credit for each you missed on the M.C. 2009 46-55, you may write an explanation for the correct answer (at least one full sentence). Turn them in tomorrow at the beginning of class.
* J34: In summary, it's mostly reading, some notes, and one good paragraph on Austen.
1. Terms and introductory notes. Take notes on poetry ch. 10 (tone) and Dr. Leithart pp. 35-45 (see below). You have no story notes and no new terms (you have a quiz on previous terms this week).
2. Shorter Prose: We have finished our Perrine story work for the present. We will return to some short fiction when appropriate, but we have covered the essential story bases. Our short prose reading this week and next is nonfiction. On focus, you will see Dr. Leithart's guide for Pride and Prejudice. Read the first section (pp. 35-35) and answer one of the "Thought" (not the review questions as they are too basic for you) questions in a well-developed paragraph (roughly ten strong sentences).
To get full credit on these paragraphs, you need:
i. Faultless execution of the basics (solid length, titles, commas, spelling, character names)
ii. Ample evidence that you're playing with advanced techniques (semicolon, colon, mature vocabulary, at least one clever turn or insight, at least one rhetorical flourish/element).
iii. Clearly legible penmanship
An "A" covers all. A "B" covers "i." A "C" may fulfill parts of both.
3. Poetry: Ch. 10: Tone. Read the chapter and be prepared for discussion on Wednesday. I will assign no writing assignment this chapter as you have much to do with your cards and memorization.
4. Novel: Austen: (Ahhh, the double colon; thank you Kubla Colon!) Read through ch. 55 (see short prose for you writing assignment). Our focus will center on Austen as we close this novel together.
HW: Quiz corrections; poetry card; all cards printed out; begin a printed J34
* We need a tea party break for a few weeks. This week has quizzes; next week has essays.
* Course note, this week's journal (and all work following unless otherwise stated) must be handwritten. This is important for three reasons:
1. Some of you have wretched handwriting; I could hardly read some of these last ICE's, so you need practice. Writing is a communication art, and I want you all reasonably artful in this regard. Some are blessed with elegance but all should be able to be clear.
2. I cannot conveniently comment on an emailed document.
3. The mixed work makes grading more chaotic than it need be.
* This week on your block day you will show me your cards (all printed). Your poetry card must include 20 lines of poetry. You must have 10 lines memorized this week.
* This week on your block day you will have a quiz on your terms from the past three weeks (Weeks 25-27; J31-33). This will be a written quiz where I list terms and you provide defintions and examples from literature or rhetoric.
* If you wish to get 1/2 credit for each you missed on the M.C. 2009 46-55, you may write an explanation for the correct answer (at least one full sentence). Turn them in tomorrow at the beginning of class.
* J34: In summary, it's mostly reading, some notes, and one good paragraph on Austen.
1. Terms and introductory notes. Take notes on poetry ch. 10 (tone) and Dr. Leithart pp. 35-45 (see below). You have no story notes and no new terms (you have a quiz on previous terms this week).
2. Shorter Prose: We have finished our Perrine story work for the present. We will return to some short fiction when appropriate, but we have covered the essential story bases. Our short prose reading this week and next is nonfiction. On focus, you will see Dr. Leithart's guide for Pride and Prejudice. Read the first section (pp. 35-35) and answer one of the "Thought" (not the review questions as they are too basic for you) questions in a well-developed paragraph (roughly ten strong sentences).
To get full credit on these paragraphs, you need:
i. Faultless execution of the basics (solid length, titles, commas, spelling, character names)
ii. Ample evidence that you're playing with advanced techniques (semicolon, colon, mature vocabulary, at least one clever turn or insight, at least one rhetorical flourish/element).
iii. Clearly legible penmanship
An "A" covers all. A "B" covers "i." A "C" may fulfill parts of both.
3. Poetry: Ch. 10: Tone. Read the chapter and be prepared for discussion on Wednesday. I will assign no writing assignment this chapter as you have much to do with your cards and memorization.
4. Novel: Austen: (Ahhh, the double colon; thank you Kubla Colon!) Read through ch. 55 (see short prose for you writing assignment). Our focus will center on Austen as we close this novel together.
HW: Quiz corrections; poetry card; all cards printed out; begin a printed J34
Block Day, Week 25: ICE
* Pray
* Tea
* Check J31; discussion: "Hunters in the Snow", Heaney, Marvell vs. Herrick, Browning
* ICE
HW: Read
* Tea
* Check J31; discussion: "Hunters in the Snow", Heaney, Marvell vs. Herrick, Browning
* ICE
HW: Read
Wednesday, 11/9: Lear Essay
AP Lear Essay
Choose one from the three below. Be sure to respond to the prompt and not merely summarize the plot. Be sure to take a position and defend it using specific examples.
1. Trace the theme of sight and insight, blindness and vision in King Lear. Consider how this theme relates to the idea of reality and appearance.
2. Trace the theme of "nothing" in King Lear.
3. Evaluate the following statement from Lear. Take a position and defend it: "I am a man/ more sinned against than sinning" (III.ii).
Single space.
Write in pen.
MLA Heading
Choose one from the three below. Be sure to respond to the prompt and not merely summarize the plot. Be sure to take a position and defend it using specific examples.
1. Trace the theme of sight and insight, blindness and vision in King Lear. Consider how this theme relates to the idea of reality and appearance.
2. Trace the theme of "nothing" in King Lear.
3. Evaluate the following statement from Lear. Take a position and defend it: "I am a man/ more sinned against than sinning" (III.ii).
Single space.
Write in pen.
MLA Heading
Tuesday, 10/11: Journal 12 part II
* News: Baby picture and senior quote due this week.
* Note: I added up the journals incorrectly yesterday. We're actually working on journal 12; my apologies.
* Discussion
* Work in class on comparison #2.
* Note: I added up the journals incorrectly yesterday. We're actually working on journal 12; my apologies.
* Discussion
* Work in class on comparison #2.
Wednesday, 9/28: ICE Rubric
* Sweet Books: Masefield (1931), Chesterton (1932), Skeat's Translation
* Rubric
* Recent Examples
* Work in Class
HW: J11 "The Knight's Tale": Review the character of the Knight from "The Prologue." What about his tale relates to his person and personality? (1/2 page or more)
* Rubric
* Recent Examples
* Work in Class
HW: J11 "The Knight's Tale": Review the character of the Knight from "The Prologue." What about his tale relates to his person and personality? (1/2 page or more)
ICE Examples from THS
Good opening:
Another good opening:
Good thoughts on Jane:
Interesting thoughts on vision:
Another good opening:
Good thoughts on Jane:
Interesting thoughts on vision:
The AP ICE Rubric
AP 9-Point Rubric for Writing about Literature
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 (or at least no very noticeable errors). "A" work.
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. "B" work.
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. "C" work.
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. "C-" to "D" work.
A 0-2 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. "D-" or failed.
9: 100
9-: 98
8+: 96
8: 94
8-: 92
7+: 90
7: 88
7-: 86
6+: 84
6: 82
6-: 80
5+: 78
5: 76
5-: 74
4+: 72
4: 70
4-: 68
3+: 66
3: 64
3-: 62
2+: 60
2: 58
2-: 56
1: 52
Remember, your work is analysis.
In Writing about Literature the authors tell us that
Also in Writing about Literature the authors discusses comparison/contrast papers.
More words do not necessarily earn an essay a higher score, but fewer words will usually earn a lower score (as you cannot adequately develop your idea).
Here are some guidelines. A word count less than or equal to
9: 100
9-: 98
8+: 96
8: 94
8-: 92
7+: 90
7: 88
7-: 86
6+: 84
6: 82
6-: 80
5+: 78
5: 76
5-: 74
4+: 72
4: 70
4-: 68
3+: 66
3: 64
3-: 62
2+: 60
2: 58
2-: 56
1: 52
Remember, your work is analysis.
In Writing about Literature the authors tell us that
an analysis (literally a "breaking up" or separation of something into its constituent parts)--instead of trying to examine all parts of the work in relation to the whole--selects for examination just some elements or parts that relate to the whole. Clearly, an analysis is a better approach to longer works and to prose works than is an explication. A literary work may be usefully approached through almost any of its different elements--point of view, characterization, plot, setting, symbolism, structure, and the like--so long as you relate this element to the central meaning or the whole.
Also in Writing about Literature the authors discusses comparison/contrast papers.
The comparison and contrast of two stories may be an illuminating exercise, because the similarities highlight the differences, or vice versa, and thus lead to a better understanding not only of both pieces but of literary processes in general. The works selected may be similar in plot but different in theme, similar in subject but different in tone, similar in theme but different in literary value, or, conversely, different in plot but similar in theme, different in subject but similar in tone, and so on. In writing such a paper, it is usually best to decide first whether the similarities or the differences are more significant, begin with a brief summary of the less significant, and then concentrate on the more significant.
More words do not necessarily earn an essay a higher score, but fewer words will usually earn a lower score (as you cannot adequately develop your idea).
Here are some guidelines. A word count less than or equal to
- 200 words will usually not score higher than a 3.
- 400 words will usually not score higher than a 5.
- 550 words will usually not score higher than a 7.
- 750 words will usually not score higher than a 8.
- 800 words will usually not score higher than a 9.
- The most a student usually writes is 1,100 words on one essay.
- You should shoot for 800 words...really landing in the 700's somewhere. For most of you, that's three full pages.
- I have seen one essay of 450 words that earned an 8, but that is extremely rare.
Analysis Strategies: D.I.D.L.S.S
D.I.D.L.S.S. A mnemonic for literary analysis
Diction: the denotative and connotative meanings of words.
What words does the author choose? Consider his/her word choice compared to another.
Why did the author choose that particular word? What are the connotations of that word choice?
Details: Facts that are included or those that are omitted. What details does the author choose to include? What do they imply? What does the author choose to exclude? What are the connotations of the choice of details? (Rhetoric NOTE: Details are facts or fact-lets. They differ from images in that they don’t have a strong sensory appeal. Hard Copy vs. CNN vs. NPR)
Language: The overall use of language such as formal, clinical, informal, slang. What is the overall impression of the language the author uses? Does it reflect education? A particular profession? Intelligence? Is it plain? Ornate? Simple? Clear? Figurative? Poetic? Make sure you don’t skip this step. An ambassador will speak differently than a police offer or child.
Syntax: How the author’s use of syntax, or sentence structure, affects the reader. What are the sentences like? Are they simple with one or two clauses? Do they have multiple phrases? Are they choppy? Flowing? Sinuous like a snake? Is there antithesis, chiasmus, parallel construction? What emotional impression do they leave? If we are talking about poetry, what is the meter? Is there a rhyme scheme? Long flowing sentences give us a different feeling than short choppy ones. If the narrator has awkward sentence structure, we night think he is uneducated or fearful. Sophisticated mature sentences might suggest artistic creativity.
So What?
Diction: the denotative and connotative meanings of words.
What words does the author choose? Consider his/her word choice compared to another.
Why did the author choose that particular word? What are the connotations of that word choice?
- different words for the same thing often suggest different attitudes (happy vs. content vs. ecstatic)
- denotative vs. connotative (dead vs. passed away)
- concrete vs. abstract (able to perceive with 5 senses, tangible, vs. an idea or concept that exists in one’s mind, intangible)
- monosyllabic vs. polysyllabic (Cats eat meat; felines are carnivorous animals.)
- simple vs. ornate
- positive vs. negative (slender vs. skinny, determined vs. stubborn)
- colloquial / informal / formal / technical
- cacophonous vs. euphonious (e.g., harsh sounding, raucous, croak or pleasant sounding, languid, murmur)
Details: Facts that are included or those that are omitted. What details does the author choose to include? What do they imply? What does the author choose to exclude? What are the connotations of the choice of details? (Rhetoric NOTE: Details are facts or fact-lets. They differ from images in that they don’t have a strong sensory appeal. Hard Copy vs. CNN vs. NPR)
Language: The overall use of language such as formal, clinical, informal, slang. What is the overall impression of the language the author uses? Does it reflect education? A particular profession? Intelligence? Is it plain? Ornate? Simple? Clear? Figurative? Poetic? Make sure you don’t skip this step. An ambassador will speak differently than a police offer or child.
Syntax: How the author’s use of syntax, or sentence structure, affects the reader. What are the sentences like? Are they simple with one or two clauses? Do they have multiple phrases? Are they choppy? Flowing? Sinuous like a snake? Is there antithesis, chiasmus, parallel construction? What emotional impression do they leave? If we are talking about poetry, what is the meter? Is there a rhyme scheme? Long flowing sentences give us a different feeling than short choppy ones. If the narrator has awkward sentence structure, we night think he is uneducated or fearful. Sophisticated mature sentences might suggest artistic creativity.
So What?
Per. 6 ICE
Characters' views of themselves and others is a central subject in C.S. Lewis' _That Hideous Strength_. Choose a character and examine how that characer's view of self and others reinforces a major theme in the novel.
Time: 40 min.
Please single space
Closed book; closed notes
Write in pen
Please staple and place on the middle table when done.
Please place your college RD on the middle table also.
HW: Read III-IV in _The Elements of Style_
St. Anne's
Jane Studdock
The Director/ Dr. Ransom/ The Pendragon
Miss Ironwood
Mr. Bultitude
MacPhee
Merlin
The Dennistons
The N.I.C.E. in Belbury
Mark Studdock
Bracton College
Edgestow
Frost
Alcasan
Wither
Hingest
Filostrato
Straik
Time: 40 min.
Please single space
Closed book; closed notes
Write in pen
Please staple and place on the middle table when done.
Please place your college RD on the middle table also.
HW: Read III-IV in _The Elements of Style_
St. Anne's
Jane Studdock
The Director/ Dr. Ransom/ The Pendragon
Miss Ironwood
Mr. Bultitude
MacPhee
Merlin
The Dennistons
The N.I.C.E. in Belbury
Mark Studdock
Bracton College
Edgestow
Frost
Alcasan
Wither
Hingest
Filostrato
Straik
ICE: _That Hideous Strength_
1. Review Essay Structure and Style
2. "Mistakes Were Made": This American Life and the Awkward Evil of Cryonics.
3. 40 min. ICE
4. Turn in your essay and your college application RD to the table in the middle.
HW: Read _The Elements of Style_ III-IV
2. "Mistakes Were Made": This American Life and the Awkward Evil of Cryonics.
3. 40 min. ICE
4. Turn in your essay and your college application RD to the table in the middle.
HW: Read _The Elements of Style_ III-IV
Per. 1, 3 ICE
How does Jane's remark over furniture and wardrobes support a major theme in _That Hideous Strength_ that relates directly to Jane's own transformation?
End time: 11:33
Time: 40 min.
Please single space
Closed book; closed notes
Write in pen
Please staple and place on the middle table when done.
Please place your college RD on the middle table also.
HW: Read III-IV in _The Elements of Style_
St. Anne's
Mark and Jane Studdock
The Director/ Dr. Ransom/ The Pendragon
Miss Ironwood
Mr. Bultitude
MacPhee
Merlin
The Dennistons
The N.I.C.E. in Belbury
Bracton College
Edgestow
Frost
Alcasan
Wither
Hingest
Filostrato
Straik
End time: 11:33
Time: 40 min.
Please single space
Closed book; closed notes
Write in pen
Please staple and place on the middle table when done.
Please place your college RD on the middle table also.
HW: Read III-IV in _The Elements of Style_
St. Anne's
Mark and Jane Studdock
The Director/ Dr. Ransom/ The Pendragon
Miss Ironwood
Mr. Bultitude
MacPhee
Merlin
The Dennistons
The N.I.C.E. in Belbury
Bracton College
Edgestow
Frost
Alcasan
Wither
Hingest
Filostrato
Straik
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