1. Log into USATESTPREP.
2. You will find in your assignments a 3-pronged approach: a video, a game, practice.
3. Watch the 1-2 minute video first.
4. Then, move on to the coordinating game for that concept.
5. When the game is complete, then attempt the practice.
You will follow this process with each of the three concepts we are practicing: Clauses/phrases, commas, semicolons.
These are all due/completed by the end of the day on Friday (April 1st).
Monday, March 28, 2016
Class: Tuesday, March 29th
We are getting started with Aldous Huxley's Brave New World today.
This book is outstanding!! In order to dive in with the right mindset we need to consider our current mindset.. Therefore, read through the following questions; think about where you stand on the issue presented; then explain why and how you think about the issue.
How do I think? Questions
We are going to be examining Aldous Huxley's world. With Brave New World, we are going to be considering New Historicism and Marxism schools of theory (as well as the rest we have learned). As you read through the following link, have your literary theory questions out and look through them as you are also reading the background information on Huxley and his world. Jot down notes from this link and interact with the notes with your literary/social theory questions.
Huxley's World and Background Notes
Brave New World Reading Schedule:
March 30th/31st: 1-29
April 1st: 30-78
April 4th: 79-122
April 6th/7th: 123-152
April 11th: 153-197
April 13th/14th: 198-229
April 18th: 229-259 (Finish the book)
REMEMBER: 4th Quarter Oral commentary sign up. Found under links on right. You may pick from any genre (fiction, non, drama) for 4th quarter. You still need to stick to prescribed lists. Some of you have some great pairing books (from previous quarters) that may work great for 4th quarter. Some may pick another book from a same author. . . or a complementary text. Just chat with me!
This book is outstanding!! In order to dive in with the right mindset we need to consider our current mindset.. Therefore, read through the following questions; think about where you stand on the issue presented; then explain why and how you think about the issue.
How do I think? Questions
We are going to be examining Aldous Huxley's world. With Brave New World, we are going to be considering New Historicism and Marxism schools of theory (as well as the rest we have learned). As you read through the following link, have your literary theory questions out and look through them as you are also reading the background information on Huxley and his world. Jot down notes from this link and interact with the notes with your literary/social theory questions.
Huxley's World and Background Notes
Brave New World Reading Schedule:
March 30th/31st: 1-29
April 1st: 30-78
April 4th: 79-122
April 6th/7th: 123-152
April 11th: 153-197
April 13th/14th: 198-229
April 18th: 229-259 (Finish the book)
REMEMBER: 4th Quarter Oral commentary sign up. Found under links on right. You may pick from any genre (fiction, non, drama) for 4th quarter. You still need to stick to prescribed lists. Some of you have some great pairing books (from previous quarters) that may work great for 4th quarter. Some may pick another book from a same author. . . or a complementary text. Just chat with me!
Friday, March 18, 2016
Brave New World- Dystopian Literature information AND Schools of Theory
We are starting Brave New World right after Spring Break. I have passed out the text, and I would suggest that you get a start on reading if you have the time during SB.
BNW is a FANTASTIC BOOK! You will thoroughly enjoy it! With this being said, you will have to work for this book! You need to read as you have been taught this school year. This is a DYSTOPIAN NOVEL.
Here is some great information to review for the dystopian genre: Dystopia Handout
Remember to implement the newest schools of literary theory as you are reading, but do not forget the previous schools we have covered...
The schools that will be informative in your reading:
1. Psychoanalytical
2. Marxist (sociological)
3. Feminist
4. Philosophical/Biographical
Use the Formalist school to guide with the HOW in order to see the WHY!
Monday, March 14, 2016
Oral Commentary- Non Fiction Schedule
4th Hour:
Wednesday, March 16th Friday, March 18th
Brittany Brennon
Brandon Lizzie
Soleil Trey
Miranda Chase
Morgan Laurene
Ayaan
Gigi
Kalub
5th Hour:
Tuesday, March 15th (Bronco Time) Thursday, March 17th Friday, March 18th
Ezri Rakayla Aylish
Alexander Leana Levi
Kyndall Lizzie
Ryanne Justin
Abbi Bailey
Logan
Amanda
Victoria
Caleb
Sean
Lilly
Brooke
Wednesday, March 16th Friday, March 18th
Brittany Brennon
Brandon Lizzie
Soleil Trey
Miranda Chase
Morgan Laurene
Ayaan
Gigi
Kalub
5th Hour:
Tuesday, March 15th (Bronco Time) Thursday, March 17th Friday, March 18th
Ezri Rakayla Aylish
Alexander Leana Levi
Kyndall Lizzie
Ryanne Justin
Abbi Bailey
Logan
Amanda
Victoria
Caleb
Sean
Lilly
Brooke
- Remember business dress for presentation
- Review the scoring guide thoroughly
- Expectations are a bit higher this round.
- Remember your outline structure. Check off components of the structure as you complete them. Bring that outline structure with you as you present.
- Make sure your book is accurate on the sign up sheet.
Wednesday, March 9, 2016
Schedule for March 7th-18th
Reading Schedule for the rest of Oedipus Rex:
March 7th: Lines 573-997
QUIZ: Oedipus Rex- up through 997, Greek Drama notes, Plato and Aristotle, Aristotelian Tragic Conventions/Definition, Formalism, Moral and Philosophical Criticism, Archetypal Criticism.
March 8th: Lines 999-1310
Read and take notes on Literary Theory PPT- Psychoanalytical Criticism.
EOC Practice
March 9th/10th: Close reading of Oedipus Rex. Formalism and Aristotelian practice. Develop theory and support.
March 11th: Stasimon presentation analysis due to work with partner.
March 14th: Up through 1684 (finish the play)
1. Tentative QUIZ: Lines 997-1684, Irony, Choruses, Psychoanalytical Criticism, Aristotelian Tragic Conventions, Definition of Tragedy.
2. Stasimon Presentation- Parados
March 15th: Stasimon Presentations
REMEMBER: NON FICTION ORAL PRESENTATIONS ARE MARCH 16TH-18TH
Oral Commentary Scoring Guide
March 7th: Lines 573-997
QUIZ: Oedipus Rex- up through 997, Greek Drama notes, Plato and Aristotle, Aristotelian Tragic Conventions/Definition, Formalism, Moral and Philosophical Criticism, Archetypal Criticism.
March 8th: Lines 999-1310
Read and take notes on Literary Theory PPT- Psychoanalytical Criticism.
EOC Practice
March 9th/10th: Close reading of Oedipus Rex. Formalism and Aristotelian practice. Develop theory and support.
March 11th: Stasimon presentation analysis due to work with partner.
March 14th: Up through 1684 (finish the play)
1. Tentative QUIZ: Lines 997-1684, Irony, Choruses, Psychoanalytical Criticism, Aristotelian Tragic Conventions, Definition of Tragedy.
2. Stasimon Presentation- Parados
March 15th: Stasimon Presentations
REMEMBER: NON FICTION ORAL PRESENTATIONS ARE MARCH 16TH-18TH
Oral Commentary Scoring Guide
Non Fiction Strategies
1. I am providing a link for some helpful strategies in approaching NONFICTION or INFORMATIONAL texts. Note taking Nonfiction and Non Fiction Strategies. We have addressed this earlier in the class when we have spoken about reading the introductory information before a literary work.. i.e. Ancient Greek introduction, India introduction, etc. I have given you strategies to read such texts and manage its material through annotations and Cornell notes. I wanted, however, to give you some additional help before our big presentations next week.
2. Like with any text, a good reader is aware of its structures, its techniques, and the purpose it is attempting to achieve.. Therefore; here are some refreshers:
Often an informational text is EXPOSITORY (purposed to explain something). Here are some features of an expository text that can help you...
I know you have heard of these terms.. but look how they are designed to enhance your comprehension. When you feel lost.. depend upon the features to help guide you..
Headings and Subheadings are not listed... but are pretty significant as Expository texts often become Argumentative texts...
Types of print: BOLD and ITALICS... UNDERLINE and CAPS.. pretty important..
Also being aware of the structure of the text and what it is trying to achieve can become quite helpful for the reader. When the information becomes confusing or difficult... identify its STRUCTURE.. and it can provide the purpose of what the author is trying to achieve. Let this be your guide.
Is the author describing something? What? Why?
Is the author demonstrating a problem and proposing a solution?
How are things related? Do these comparisons help you understand a difficult concept better?
Why does the author chose to tell the events in this order?
This delves into more traditional 'textbookesque'/ articles.. This shows how to summarize small sections of text.. This can be a good strategy to help you manage the material as you are bringing it in..
What about AUTOBIOGRAPHIES/BIOGRAPHIES?
HOW DO WE ANALYZE AN AUTOBIOGRAPHY?
For the most part, we use the same tools we use in fiction, although we might apply them in a slightly different way. The following are some of the possible critical approaches you might use:
1. Wordplay and Imagery: How do specific language choices reveal something about how the writer wants to make sense of experiences? Or how s/he wants to define his or her self?
2. Intertextuality: This is a fancy word for the idea that any given text contains in it references to other texts
3. Narrative, Structure: A writer makes choices about what to include, what to exclude, how to arrange events, and what degree of emphasis to give to different kinds of events.
4. Language and Self-Representation: How does writing the autobiography itself become part of the process of defining the self? One rich area of study is the ways in which writers of autobiography explore the relationship between language and identity.
5. Patterns of representation: Are there patterns of association in the text that reoccur at pivotal moments? What do these patterns suggest about how the writer defines his or herself? What does it reveal about their values, assumptions, etc.
6. Ideological structures: This is related to the last item; it is really an extension of it. Every narrative depends on certain cultural, religious, or philosophical assumptions about the world, human nature, or the self. Autobiographies often explore conflicts or tensions in these assumptions.
7. Gaps and Slippages — In autobiography, there are sometimes gaps in the facts, or places where there seems to be a contradiction or an inconsistency in the image of the self or the representation of events.
2. Like with any text, a good reader is aware of its structures, its techniques, and the purpose it is attempting to achieve.. Therefore; here are some refreshers:
Often an informational text is EXPOSITORY (purposed to explain something). Here are some features of an expository text that can help you...
I know you have heard of these terms.. but look how they are designed to enhance your comprehension. When you feel lost.. depend upon the features to help guide you..
Headings and Subheadings are not listed... but are pretty significant as Expository texts often become Argumentative texts...
Types of print: BOLD and ITALICS... UNDERLINE and CAPS.. pretty important..
Also being aware of the structure of the text and what it is trying to achieve can become quite helpful for the reader. When the information becomes confusing or difficult... identify its STRUCTURE.. and it can provide the purpose of what the author is trying to achieve. Let this be your guide.
Is the author describing something? What? Why?
Is the author demonstrating a problem and proposing a solution?
How are things related? Do these comparisons help you understand a difficult concept better?
Why does the author chose to tell the events in this order?
What about AUTOBIOGRAPHIES/BIOGRAPHIES?
HOW DO WE ANALYZE AN AUTOBIOGRAPHY?
For the most part, we use the same tools we use in fiction, although we might apply them in a slightly different way. The following are some of the possible critical approaches you might use:
1. Wordplay and Imagery: How do specific language choices reveal something about how the writer wants to make sense of experiences? Or how s/he wants to define his or her self?
2. Intertextuality: This is a fancy word for the idea that any given text contains in it references to other texts
3. Narrative, Structure: A writer makes choices about what to include, what to exclude, how to arrange events, and what degree of emphasis to give to different kinds of events.
4. Language and Self-Representation: How does writing the autobiography itself become part of the process of defining the self? One rich area of study is the ways in which writers of autobiography explore the relationship between language and identity.
5. Patterns of representation: Are there patterns of association in the text that reoccur at pivotal moments? What do these patterns suggest about how the writer defines his or herself? What does it reveal about their values, assumptions, etc.
6. Ideological structures: This is related to the last item; it is really an extension of it. Every narrative depends on certain cultural, religious, or philosophical assumptions about the world, human nature, or the self. Autobiographies often explore conflicts or tensions in these assumptions.
7. Gaps and Slippages — In autobiography, there are sometimes gaps in the facts, or places where there seems to be a contradiction or an inconsistency in the image of the self or the representation of events.
Greek Stasimon Presentations
1. You will be partnered with a classmate for this assignment. Each student will be graded individually.
2. On Monday and Tuesday you will be performing a reading of the stasimon with your partner. After you are done reading the stasimon, you will break the stasimon down for your classmates. Essentially, you are going to teach it.
3. You will begin by doing a close reading of your assigned stasimon. We have already started this with the Parados and the first stasimon. While you are scrutinizing it, look for/ be able to explain/do the following:
2. On Monday and Tuesday you will be performing a reading of the stasimon with your partner. After you are done reading the stasimon, you will break the stasimon down for your classmates. Essentially, you are going to teach it.
3. You will begin by doing a close reading of your assigned stasimon. We have already started this with the Parados and the first stasimon. While you are scrutinizing it, look for/ be able to explain/do the following:
- Be able to summarize the different structural components of the stasimon.
- Be able to identify and explain the historical/cultural allusions that Sophocles mentions within this stasimon (research these). The glosses will aid you as a starting point.
- Be able to identify poetic/literary devices used within the stasimon and explain their significance to the overall chorus/play.. For example- tone, symbolism, theme, mood, allusions, deus ex machina, any Aristotelian conventions of tragedy, imagery, irony
- Be able to explain the relevance/context of his stasimon to the entire play
- Be able to explain how this specific stasimon works into the Aristotelian definition of tragedy.
5. Figure out how to appropriately tie a toga. Yes, I am fully aware of the history of togas.. this is not for historical accuracy.. this is more for my entertainment..
Toga History
Kommos: Kommos Wiki
Toga History
Kommos: Kommos Wiki
Oedipus Stasimon Scoring Guide - Each student will be graded individually.
1. Toga J (5) _____
2. Clarity in presentation (10) _____
- Annunciation and pronunciation is clear and accurate!
- Audible
3. Rehearsed (10) _____
- Appropriate pauses and emphasis
- Look at audience
- Demonstrate comfort with the stasimon
- Organized
4. Comprehension (10) _____
- Reflect tone of stasimon in oral reading AND explanation
- Understands the structure of the stasimon and its relationship to meaning of the play
- Demonstrates understanding of the meaning of the stasimon with context to entire play
5. Significant structural/ Tragic elements (10) ______
- Identify a minimum three specific tragic elements from stasimon (with direct quotes)
- Show analysis of how the structure of the stasimon interacts with the tragedy structure
- Explain the significance of the quotes to the overall stasimon and text
6. Poetic value (10) ______
- Identify a minimum of three specific poetic elements (beyond tragedy/tone) from stasimon (direct quotes)
- Show analysis of how the poetic elements impact the meaning of the stasimon/play
- Explain how the quotes demonstrate certain specific poetic elements
Monday, March 7, 2016
Class: March 8th
You will be taking a practice EOC test today. Do your best! Make sure you have your USATESTPREP username and password with you when you come to class.
Tuesday, March 1, 2016
Week of February 29th-March 3rd
February 29th:
Read and annotate the introduction to Oedipus Rex. (258-260)
Pay attention to the origins of the tragedy, the riddle, Sophocles' history..
Make sure that you have Aristotle's definition of TRAGEDY in your notes!
Read and annotate: Oedipus Rex- Lines 1-168.
Look for imagery (light and dark)
Look for evidence of the types of IRONY.
March 1st:
Read and annotate: OR- Lines 169-572.
Continue to look for imagery (light and dark), and the types of irony.
Also consider foreshadowing.
You will be running into 2 choruses. They are more difficult to read than the dialogue.
The choruses represent how the audience should be feeling about the situation on the stage at that time. Pay attention to the tone and the reception of the characters by the chorus. The chorus writing is also packed with allusions. It will be helpful to check the footnotes with the references.
March 2nd:
When you come to class, you will need to have your notes on IRONY, fully representative of occurrences within lines 1-572.
March 3rd:
Work with the choruses in the first 572 lines.
Reading Schedule for the rest of Oedipus Rex:
March 7th: Lines 573-997
QUIZ: Oedipus Rex- up through 997, Greek Drama notes, Plato and Aristotle, Aristotelian Tragic Conventions/Definition, Formalism, Moral and Philosophical Criticism, Archetypal Criticism.
March 8th: Lines 999-1310
Read and take notes on Literary Theory PPT- Psychoanalytical Criticism.
March 9th/10th: Close read of Oedipus Rex. Formalism and Aristotelian practice
March 11th: Stasimon presentation analysis due.
March 14th: Up through 1684 (finish the play)
QUIZ: Lines 997-1684, Irony, Choruses, Psychoanalytical Criticism, Aristotelian Tragic Conventions, Definition of Tragedy.
Stasimon Presentation
March 15th: Stasimon Presentation
REMEMBER: NON FICTION ORAL PRESENTATIONS ARE MARCH 16TH-18TH
Read and annotate the introduction to Oedipus Rex. (258-260)
Pay attention to the origins of the tragedy, the riddle, Sophocles' history..
Make sure that you have Aristotle's definition of TRAGEDY in your notes!
Read and annotate: Oedipus Rex- Lines 1-168.
Look for imagery (light and dark)
Look for evidence of the types of IRONY.
March 1st:
Read and annotate: OR- Lines 169-572.
Continue to look for imagery (light and dark), and the types of irony.
Also consider foreshadowing.
You will be running into 2 choruses. They are more difficult to read than the dialogue.
The choruses represent how the audience should be feeling about the situation on the stage at that time. Pay attention to the tone and the reception of the characters by the chorus. The chorus writing is also packed with allusions. It will be helpful to check the footnotes with the references.
March 2nd:
When you come to class, you will need to have your notes on IRONY, fully representative of occurrences within lines 1-572.
March 3rd:
Work with the choruses in the first 572 lines.
Reading Schedule for the rest of Oedipus Rex:
March 7th: Lines 573-997
QUIZ: Oedipus Rex- up through 997, Greek Drama notes, Plato and Aristotle, Aristotelian Tragic Conventions/Definition, Formalism, Moral and Philosophical Criticism, Archetypal Criticism.
March 8th: Lines 999-1310
Read and take notes on Literary Theory PPT- Psychoanalytical Criticism.
March 9th/10th: Close read of Oedipus Rex. Formalism and Aristotelian practice
March 11th: Stasimon presentation analysis due.
March 14th: Up through 1684 (finish the play)
QUIZ: Lines 997-1684, Irony, Choruses, Psychoanalytical Criticism, Aristotelian Tragic Conventions, Definition of Tragedy.
Stasimon Presentation
March 15th: Stasimon Presentation
REMEMBER: NON FICTION ORAL PRESENTATIONS ARE MARCH 16TH-18TH
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