TEST PREP, DAY 1

Again, I apologize for how quickly I had to go through this, but here are helpful hints for Verbal Skill questions.

CLICK HERE

CLOSED

Sorry. No 8th grade this year.





















Penguins do have knees.

Almost Back

Hello 8th graders!

I'm looking forward to starting the school year with you! I hope you've been enjoying the books. Be sure to have your reading logs ready by the end of the first week of school : ) We will spend the first few weeks using those books as a way to introduce the various types of discussions, thinking, and activities we will be doing throughout the school year.

Yes, I mostly copied and pasted my message to the 7th graders. So, here is my personalized salutations to you: For those of you who will be returning to the deep, dark depths of room 120: Beware! I have fangs now.

: )

Sincerely,

Mr. B.

Post Year Reflection

Becoming better at anything requires you to think back on yourself and your performance (reflection).

Brainstorm 3-4 different activities, areas of study, projects, stories, concepts this year during ELA that helped you developed as a writer, listener, speaker, or thinker (essentially, your ELA skill set) Be sure to explain why you feel that way.

Think of outside experiences this year that impacted your ELA skill set--any films, books, trips, presentations, stories, dreams, youtube videos, tweets, Spongebob episodes--that helped you think, write, listen, or speak.




I would review things we've done this year.

Look at your journals, the blog, old assignments. This may benefit you in the near future. . .

Observational Poem

How to write a poem with vivid imagery is less challenging if you take time to observe the world around you.

In your notebooks please write the following with 4-5 lines in between:

What I see:

What I smell:

What I hear:

What I taste:

What I feel/touch:


Post-observational reflection question:

How can you relate what you saw, heard, felt, smelled, and tasted to the way you feel about school? Education in general? The way you feel about your life in this current moment?

Optional HW: (but there's extra credit involved)
Please compose a 3-5 stanza poem on your observations. Try to have a larger statement on your life within your imagery. Please TYPE

HW

Please complete a typed draft of your play-- in the correct play format. (6-10 pages)
Play reviewers: please have a typed draft of your review. Please include the newspaper, magazine, or website you are writing for.

"Workshopping" your plays

During the first half of today's class, your plays will be anonymously evaluated.

When evaluating plays, please consider them "works in progress." ("D work," therefore, probably should not be considered)

After your play has received 2 readings (at least!), you will receive the rubrics back with highlighting on them.

In journals, please reflect on the evaluations. Do you agree, or disagree, why or why not. It's okay to get sassy here (no one has to see this reflection but you), but also try to be objective and fair about your own work.

For the final portion of class, TACTFULLY discuss your plays, the evaluations, or your reflection of those evaluations with a partner (i.e. "do you agree with this person's opinion that my conflict is resolved too easily?")

Plot twists and Conflicts and the mundane

Just a reminder: Do not write a play that exists for the sole purpose of having a plot twist. The "Duh-DuH-DUH!" ending is cheesy and not the best use of your expansive minds.

Good conflicts come from unique situations and characters. Do your characters have a unique view on life? Is your situation (premise) original? In a short play, conflict is more meaningful when it's produced through your characters rather than an outside force.

Do NOT overlook the mundane (the everyday things) as source for interesting plays. Aisle six in Wegmans might change your life one day. (another line for my biography?...a possible chapter title? Who knows. I'm just the looks, not the brains of this operation)

PLAY SCRIPT FOR HW

HW: Please complete the first page of your page of your play with the CORRECT script formatting.

If you are writing a review, please watch your play on youtube. On Monday,  provide me with the link of the version you watched.

Dear Mr. B.
Remind students about punctuation, unnecessary stage directions and utterances.

Love,
Mr. B.

IT WAS ALL A DREAM!!!!!!

If your play does this, get back to the drawing board.


Your first idea probably won't be your best. Be free. Jot down 10 ideas, 100 IDEAS EVEN!

The Three C's

Please read. (First 15 minutes  of class)

The middle of a play is fraught with a series of obstacles (rising action). During the middle, you need to pay attention to the 3 C's: conflict, crisis, and complication. These 3 C's will lead to the dark moment of your play (more on that later).

Conflict can be person vs. person (often true in plays), person vs. self (also common), person vs. society (common as well if done correctly), and person vs. nature (God, etc.) (not as great, but some plays do this one perfectly.) The more interesting the conflict, the more interesting the play. Crises and complications cause the conflict to be more interesting. The crisis is a critical moment--a place in time for the protagonist to act, make a decision--that usually has consequences. Complications are problems (usually unforeseen) that arise to thwart or challenge the protagonist.



THEN, draw a picture that represents the relationship between the three C's. You might start by drawing a symbolic representation of each C first, then arrange them.  




By the end of class, on a half sheet of paper, please describe a premise you are thinking about using for your play.

Switching Dialogues/Monologues

DO NOT GIVE YOUR PARTNER YOUR CHARACTERS' BIO INFO.

Instead, they will read your dialogue and do two things: PLEASE WRITE ON PARTNER'S PAPER
1.Cast an actor/actress
2.  provide reasoning for why the actor fits the character.

If your partner can do this with relative ease (given they put in some critical thinking as well), then you did a nice job of SHOWING character.







On to the big question!

To write a play or to analyze!

Writing a dialogue or monologue

The dialogue or monologue is due Tuesday. Here's what you'll need to do:

Start with a character. Give him/her a a name (see brainstorming activities for names on 10 Minute play formula sheet). Describe the character's personality and goals. Be descriptive.

Repeat.

Incorporate these characters into a short (2-3 page) dialogue that clearly represents motive or at the very least, PERSONALITY. This doesn't have to be an incredibly insightful or profound dialogue, but it should clearly SHOW who your characters are (versus a narrator "telling").

If you'd like, you may choose to write a monologue

Monologue- extended speech made by one character. (could be innermost mental thoughts, or simply a rant or speech on a topic or something that is on their mind--perhaps a recent event that has affected him/her)

If you choose to write a monologue, 1 page will do.

Play reading groups, Day 1

You will be reading two-three more short plays (depending on how smoothly this goes), ending with a dialogue writing activity at the end of the week.


You have been given a sheet to fill out to direct your reflection of how the play works as a shorter piece. Each person should fill one out.

*MISSING ITEM: On back, please give each character a short profile. What's their personality? How do they present themselves? What do they want most? etc.

While the Auto Waits

In your small groups please read While the Auto Waits. Please note some structural similarities among the plays we've read so far (Twelve Angry Men and "The Rising of the Moon").


Free-style Friday: IRONY AND PLOT TWISTS are great, but pointless if they're just for shock value/entertainment. So why are they there?






In PAIRS or alone. Write a short dialogue incorporating the theme of mistaken identities. This should between ONLY TWO characters. This can be as goofy and lighthearted as you'd like, but be sure to give your characters distinct motivations. DROP US RIGHT INTO TO THE CONVERSATION!

Tableau for "The Rising of the Moon"

Tableau: a group of models or motionless figures representing a scene from a story

Task: In a group of 3-4 (I will assign groups), please share your journal entries on the 10 minute play formula and how it applies to "The Rising of the Moon"

Next, you are to choose one of the concepts and represent it through a tableau scene using the moments, characters, or set from "The Rising of the Moon" You will probably need at least 2 performers and 1 person to clearly relate how the FROZEN scene relates to the concept it is trying to illustrate. You may be symbolic or literal. I will enact one as a model.

Writing letters to Vets

Even though I truly believe you are doing this out of the goodness of your hearts, I would like to reward promptness in regards to completing your letters. Ergo, if 2/3 of the class (that means, 14 students in 8-1, 12 students in 8-2, and and 13 students in 8-3) has a copy of their letter by Monday, I will provide play reading groups with juice and donuts for the following day (Tuesday).


Also, the subject-verb agreement in the bold sentence gave me some trouble. Should it be: 2/3 of the class has or 2/3 of the class have?  I did some research but it's still a bit hazy. This is one of those great moments where grammar (small g) is truly grammar (explorative, wild, untamed, versus rigid and strict).

 If you're curious, here's the blog I checked: grammar exchange

Continuing with "The Rising of the Moon"

Read through all of "The Rising of the Moon" In your journal, mark any section that confused, or are unsure of. Perhaps write your confusion in the form of a clarifying question.



HW: IN JOURNAL: Choose any 3 of the concepts or terms from the 10 minute play formula sheet. Describe, with strong reasoning, how the concept is incorporated into the play. Here's a copy of the play to reference: "THE RISING OF THE MOON"







Sample: This play contains a premise that allows for an inciting incident. The premise is three Irish law officials (working for British government) are on the lookout for a dangerous Nationalist rebel, and that while his capture will yield a reward, it would be an unpopular action among family and friends.

The Rising of the Moon

"The Rising of the Moon" (song)

Historical context for the song

Mr. B's attempt at History:

"The Rising of the Moon" is a One Act play by Lady Gregory, first performed in 1907. The play deals with the ongoing tension between Irish nationalism and loyalty to the British government.

PLEASE NOTE: The POLICEMEN in the play (Sergeant included) are Irishmen working for the British government. Britain governs this part of Ireland at this time. Nationalists were known as rebels and organized demonstrations (some violent), to liberate Ireland from British rule. Anyone involved in the Nationalist party was thought as a threat. The fugitive in this play is thought to be a very dangerous leader of this party.


Journal: Describe the premise of the play/

             What is the inciting incident?

Watching Twelve Angry Men and What to Note

Term:

Cinematic: Written and directed for film.  When writing a play, you must avoid cinematic features

How to avoid the storied and oft dreaded comment: "Too Cinematic": Cinematic means the design and flow of your play is more appropriate for film (the use of a camera). So, when your scenes are too cinematic, it means your play is taking on a form that is not well-suited for the stage. 


Examples of too cinematic: constantly switching scenes, explosions, the use of  vehicles, sets that are far too complex



While watching the film version of Twelve Angry Men, pay close attention to the visuals of the production. I want you to imagine that the play version has not yet been produced, and you are responsible for adapting it. You are watching the T.V. production to get a sense of what you can easily adapt, and what you would have to adjust. Please take note of elements/moments that you believe are much too cinematic for a STAGED PRODUCTION of this play.

This exercise will not only give you a greater insight into the emotional depth of the play we just read, but it will also help you become a more critical thinker when it comes to designing the structure of a play (in terms of using physical space wisely and practically)

HW: Reflection on Twelve Angry

Please take down the following question if you do not have access to the internet:

(question from Exploring Literature, Ginn Literature Series)

Notice that you--along with the jurors--never know for certain whether the accused man is guilty or innocent. Assume, for the sake of discussion, that the man on trial is guilty. Now decide whether or not Eight acted correctly in persuading the other jurors to change their votes. (of course, the members of the jury, Eight included, are NOT privy to this info). Write the reasons for your opinion.

A good page of reflection will do. Times New Roman, 12 pt. font. Double-Spaced. And oh, what the hay, MLA heading.

The Play Online

Twelve Angry Men (click on it!)

Aristotle's Three Unities

Play Structure

*Borrowed from Mr. Bradley Craddock, Creative Writing teacher at Rochester School of the Arts. Mr. Craddock is also an actor and published writer. These are excellent playwriting tips, so please read carefully, underline parts that are especially interesting or new to you, and use this to help guide your writing.

Ever wonder about the spelling of playwright? Why not playwrite? Well, it's because a "wright" is someone who builds. The idea is that a playWRIGHT carefully constructs and builds a play. We craft plays, not just write them.

Way back in ancient times, Aristotle (that famous Greek philosopher) wrote a book called the poetics about how to write a play. 

**He said that every play needs the following elements:

1. Plot
2. Character
3. Thought (by which he meant theme)
4. Spectacle (special effects, props, costumes, scenery, etc.)
5. Diction (effective dialogue)
6. Song (music)

Apart from #6, all plays usually include these things. Musicals, film, and opera incorporate all of the elements rather effectively

THREE UNITIES

Unity of time: limits the supposed action to the duration, roughly, of a single day

Unity of place: limits the setting to one general locality.

unity of action:  limits action to a single set of incidents which are related as cause and effect, "having a beginning, a middle, and an end.

HW: In your journal, please reflect on each unity, asking yourself, "why might it be important to follow such a guideline" (especially for a beginning playwright)

Drama/Playwriting- day 1

Write what you know about drama.

Write what you would like to know about drama.




Terms:

Time lock: There is a time constraint that adds urgency and purpose to the action of the play

MDQ- Major dramatic question--the question the audience wants answered by the end of the play

Podcasts: The Final Step (for you at least)

Yes. We are approaching the end of your maiden voyage on the podcast seas! Today, you will be exporting your podcast and emailing it to me (and, heck! send it to yourself!)

Then I will take care of the "cast" part of the podcast. That's right! They will be broadcast!

On this blog.

There is a time when we must come to terms with the fact that our voices do not, in fact, sound as divine as they do when we experience them with our inner ears. The outward ear now must be ready to accept the voice you've carried, and will carry for the rest of your lives! MuHAHAHAH,..eh hem, sorry.

But seriously. You sound fine. You should be very proud the of the work you've done so far.

Oh, and one more thing. HIT THE YELLOW BUTTON before attempting to export your file : )

Here's Sleeptalkers, 8-2 Edition, to prove I'm not bluffing. Click here.

Bon jour!

Podcast update

Hello. By Wednesday, please have your podcasts recorded (if you have a digital recording app) and be sure to send it to yourself.

1. Record podcast
2. Email it to yourself (by Wednesday)

For those of you that do not have apps, it's ok! You can record a quick snippet of audio to play around with during class on Wednesday.

Scripting Workshop

Today is going to be a thinking/doing day. Our goal should be to get a clear sense of where you're going with your podcast.

I also want you to take some time to read, even skim, through the literature on podcasting.
Please don't take any of that with you : )

Your goal while reading is to take away a key idea or two about optimal podcast scripting---what are some major do's, what are some don't's--write them in your journal so you don't forget!

HW: first draft of script is due on Thursday. Nothing is set in stone with this. 

Some helpful hints:
- Keep in mind your audience: relate to you and your peers' way of thinking/relating to the world
-Don't go for the "greatest hits" here by trying to do too much. Keep your message clear and simple.
- This is not a literary analysis essay. Keep your language expressive
-You should have a claim--something that you believe to be true about the Holocaust.

This American Life Podcast

Here's the podcast we started listening to in class in case you wanted to keep listening: Click here.

The podcast: getting some logistics

On a half sheet of paper, please indicate the following information:



1. Do you have a personal email account? If yes, please indicate the service (google, aol, yahoo, etc.)

2. Do you own an iPhone or a smart phone (that has a digital recording app)

3. On a scale of 1-5, how technologically savvy would you deem yourself? ("1" being this and this and "5" being something in the ballpark of this)

HW for Monday

HW: Type your questions: label the sections and the types of questions

Freewrite: Most impactful or poignant (deeply affecting) moment from the last few sections


Exit Ticket: What big idea are you going to focus on for your podcast. Remember, this should be something that the novel Night helped reveal to you about the holocaust and its effects on humanity.

Maslow's Hierarchy of Needs (Night section 6/7)

Warm-up

FREEWRITE: What is the most impactful, profound, take-away message from section 5? Elaborate on your reaction and why you feel it is important to draw attention to.

Create a list: What is lost at the concentration camp? (focus on physical, mental, emotional aspects)
8-3 wordle

8-1 wordle



Task: Using the handout on Maslow's hierarchy of needs, write a CLAIM about how a character's motivations (how they act) relate to one of Maslow's levels of needs (acting in a way to fulfill need, or acting in such a way because there's a lack of a particular need)
 -Support with textual EVIDENCE
 -EXPLAIN how your evidence supports your claim (elaborate on story details and how it relates to the description of the level you are focusing on)

Sample: In Night, Juliek, the Polish inmate, becomes fixated on his violin, even on the brink of death, because he is trying to achieve a sense of security and safety. Juliek, piled into the barracks with other virtually lifeless inmates, attempts to play one last song on his violin, what Elie describes as a "concert given before an audience of the dead and dying" (95). In this moment, Juliek is emaciated like the other Jews, yet has perhaps given up on food, shelter, water, and even air. Because he no longer recognizes those physiological needs, his motivation changes to focus on comfort and security: his violin playing. Therefore, Juliek playing a concerto in front of an audience hearkens back to a safer, more comforting time, allowing him to fulfill his needs.






HW: complete the book (section 8 and 9) by Friday. Have 2 clarification, 2 interpretation, 2 open-ended questions.

Night Section 5

Big Ideas:

1. Moishe: "I pray that God will give me the strength to ask the right questions."

 Elie questions God throughout the first part of this section. Is questioning one's faith fundamental (essential) to a strong faith?

2. Symbolism of night

3. Hospitals and infirmaries--for compassion/altruism or order/attention to plan and strategy?


Freewrite: What was the most impactful moment or the take away message for you in Section 5. Elaborate on your reactions and why you feel that way.

HW: Section 6 and 7. 2 clarification, 2 interpretation, and 2 open-ended. Please label your questions if you have not been doing so.

Night---Section 4

Themes/Big Ideas:

1. More struggle with faith (Sad angel)
2. Inmates abusing other inmates--Is this the nature of power? fear?
3. More internal conflict as Elie does nothing while his father gets beaten
4. Indifference to death

Important quotes/moments:
"Where He is? This is where--hanging here from this gallows. . ." (65).


"That night, the soup tasted of corpses" (65). (interpretative value!)



"This ceremony, will it be over soon? I'm hungry. . . "(62).


The man who "kills himself" for soup during the air raid (59-60)

"Why couldn't he have avoided Idek's wrath? That was what life in a concentration camp had made of me.

literary term: 

motif: a recurring image, symbol, action,object, phrase or idea in a work of literature.


FREEWRITE: Freewrite: What was the take-away message or most impactful moment for you while reading section 4. Elaborate on why?


HW: Please read section 5. Please compose 2 clarification, 2 interpretation, 2 open-ended questions

Night, Section 2 and 3

Agenda

1. Small group discussions (10 minutes): First discuss the main idea/ your reactions to the chapter, then move on to your questions.

2. Large group (15)

THEMES:

1. Clinging to illusion
2. Dehumanization of the captive (internal conflicts)
3. Struggle with faith in the midst of horror
4. Night as a symbol (page 34)




3. Freewrite: What was the take-away message or most impactful moment for you while reading these two sections. Elaborate on why?

       SAMPLE:  

          For me, this section really drives home the idea that Jews were not really considered humans by their perpetrators. You get a truly strong sense of the dehumanization that took place, not just physically, but also mentally and emotionally. While reading, I am disgusted, but also afraid of what I'm going to discover next. Yet, Elie write, "We were incapable of thinking. Our senses were numbed, everything was fading into a fog. We no longer clung to anything" (36). It just shows the extent to which the dehumanization process was working for the Nazis--that at a certain point, they may have stopped their pulses and burned their bodies, but death of the human had taken place long before that.




HW: Read section 4 (47-65). Complete 2 clarification, 2 questions of interpretation, 2 open-ended questions.

HW- Friday

HW: Finishing reading sections 2 & 3. For each section write: 1 summary question, 2 clarification questions, 2 questions of interpretation, and 2 open-ended questions. (1, 2, 2, 2)

Night, Section 1

HW: Read section 1 on Night (pages 3-23). Write one of each: summary question, clarification questions, question of interpretation, open-ended question. Refer to the past blog posts and/or your QAR worksheets (from the beginning of the year) if you are unsure about the types of questions.

NARRATIVE POEMS DUE TOMORROW!

HW: Please complete your narrative poems for tomorrow. Typed. Be sure to TITLE your poem. I suppose it slipped my mind to remind you that it needed a title. On the other hand, this is a fairly obvious requirement of all literature.

Narrative Poem Workshop/ Preface of Night

Today, I will share with you some more examples of narrative poetry...through song!



The difference between a Foreword and Preface



Tone is the author's attitude toward his subject matter. While reading the preface of Night, identify his tone. Why does he have this tone---what's his purpose for writing Night?



Reciprocal teaching questions (modeling):

1. What is the main idea of this preface? (summary question)- this makes sure everyone is one the same page with the biggest idea/concept/theme of each section.

2. On page 9 (ix), what does Ellie when he says "It" was something elusive, darkly shrouded for fear of being usurped, profaned." (clarification question)-- this is a passage that I'm unsure of and want to bring to the rest of the group.

3. Why does Ellie refer to himself as merely a "witness" throughout the preface? (question of interpretation) These questions are author and me questions. Only ask these questions when you've given thought to how you would respond yourself.

4. What does Elie mean when he says he "trusted the silence that envelopes and transcends words," in reference to struggling with finding language to express his story? (question of interpretation)


5. Do books have the power to change the world? (open ended question) These questions are "on my own." The idea of the question is drawn from the text, but the answers don't have to rely on the text. They mostly rely on personal opinion.   

A Note About Grades

Dear parents and students,

Please note that your grade on the portal mostly reflects your homework preparedness, since most assignments are "check" HW grades (essentially, you do the work, you get the credit) at this point. Also note that while the journals were counted as a "check" grade for completion, they WILL eventually be assigned an assessment grade.

I felt that this message needed to be communicated because many of you are currently sporting a 100% average, and as you already know, "Nothing Gold Stays" ( I couldn't resist!). If you've got a 100%, it's because you've been diligent with your HW--keep it up--but do understand that the grades will soon reflect your ELA skill development more accurately (whether that's 100% or not).

On another note, if your're currently failing, than that is an indication that you need to be completing your HW assignments. They all build on each other to help you succeed in the long run.

Okay, just thought I'd clear the air! Have a great weekend!

-Mr. B

Free Style Friday!

Free Write: Think about the following phrase: Poetry is observation. What does this mean to you? What kind of observation? Why use the form of poetry?

Listen to "A Blade of Grass" (note: this is NOT a narrative poem)

Poetic Devices

Poetic Devices:

Tone: A poem's tone, conveyed by the speaker, is the attitude toward its theme or subject matter. Tone can shift throughout a poem. Ex. A hopeful tone that becomes hopeless by poem’s end.

Mood:  The mood, conveyed by imagery, is the feeling or atmosphere of a piece. The mood can be many different things. Some examples included: a feeling of love, a feeling of doom, a feeling of fear, a feeling of pride, an atmosphere of chaos, an atmosphere of peace.

Metaphor: A metaphor takes two things and claims they are the same, without using “like” or “as.”

Simile: A simile takes two things and claims they are the same using “like” or “as.”

Imagery:  Details that appeal to our five senses:  hearing, sight, touch, smell, and taste.

Personification: Giving human characteristics to inanimate objects: The summer wind’s bitter hot breath gave no relief to the tired workers.

Stanza: A stanza is a group of lines within a poem; the blank line between stanzas is known as a stanza break. There is not set number of lines for a stanza.

Repetition: A word or phrase is repeated for emphasis, oftentimes to develop a theme, mood, or tone.

                                                      
                                                              SOUND DEVICES

Alliteration: occurs when a series of words in a row (or close to a row) have the same first consonant sound.

1. Hannah’s home has heat hopefully.
2. Zachary zeroed in on zoo keeping.

• Alliteration does not need to be an entire sentence. Any two-word phrase can be alliterative (Dunkin’ Donuts)

Consonance: The repetition of consonants or of a consonant pattern, especially at the ends (and sometimes middle) of words, as in blank and think or strong and string.

1.      stroke of luck

2.      odds and ends

3.      came home

Assonance: is the repetition of vowel sounds in nearby words. It is used to reinforce the meanings of words or to set the mood. 

1. It beats . . . as it sweeps . . . as it cleans!" - slogan for Hoover vacuum cleaners

2.Hear the mellow wedding bells

3. The crumbling thunder of seas

The Hangman "jigsaw"

"The Hangman" by Maurice Ogden is a narrative poem: a poem that tells a story or recounts an event or situation.

A jigsaw activity allows us to study the many parts of something in an efficient manner. Groups will be specialists in the following areas:

1. Major Events Specialists- recount the narrative events in this poem in the order they occur.
2. Figurative Language Specialists- please identify moments of the passage where figurative language is used. Explore the effect it has on the piece.
3. Sound Device Specialists- You are responsible for finding several key moments of alliteration, consonance, and assonance. What ideas do they emphasize?
4. Inference Specialists (2 groups for this one)- Explain the significance or deeper meaning of particular sections. (focus on hangman's victims, his excuses, why the protests stop, the hangman's riddle, anything else you find that has interpretative value).

Work Cited Page/In-text citation reminders

Work Cited page:

Author's name. Title of the Book. Publication information.

Author's name:  Reverse the author's name for alphabetizing purposes: Franke Damon= Damon, Franke.

Title of Book: State the full title of the book, capitalizing the first letter of "important" words (leave the first letter of words like "the", "a", "an", "of" and "and" in lower case, unless it is the first word of the title ). Place a period after the entire title.

Publication information: In general, give the city of publication, the publisher's name, the year of publication, and the form (if it's from a book, the form is "print"). All this information is usually found in the first couple of pages, most likely the copyright page--you know, that page with all the small print.

Use a colon between the city of publication and the publisher (this is usually a company or office).

Place a comma between the publisher and the date of publication, and a period after the date. Add the form, followed by a period.

Example:

Hinton, S.E. The Outsiders. New York: Penguin Group, 1967. Print.


In text citations: After you quote a text, you need to give a parenthetical reference. Usually, this would include the author's name and the page number where the text usually appears: (Douglass 45). Note: no commas, no mention of the word "page," and the punctuation mark comes after the closed parenthesis.

 If you include an author's name in a sentence, you need not repeat the name  in the parenthetical page citation that follows:

As Douglass points out, "The songs of the slave represent the sorrows of his heart" (14).

Versus

It is argued that "The songs of the slave represent the sorrows of his heart" (Douglass 14).

Milgram Obedience

Today we will be frontloading our Holocaust unit with a video on the highly popular yet highly shocking Milgram experiment: http://www.youtube.com/watch?v=W147ybOdgpE

Activity: Fishbowl with Milgram discussion questions.

HW for Thursday

Complete points of evidence chart for Thursday. You may use the chart that I pass out, or if you have a preferred method of organizing your information, you may do that.

Writing an intro/developing body paragraphs

Today, I will be checking thesis statements and you'll have a chance to draft an intro and begin prewriting/brainstorming your body paragraphs.

Remember, intros contain:

1. A hook--an opening statement that introduces the TOPIC (not the THESIS) of your paper

2. Slide into background information of the novel (here, you're attempting to relate the topic to the novel itself)

3. Finally, you offer your thesis

4. The last sentence should be a "so what?" type of sentence--what are the larger implications of your thesis? Why does it even matter? What can be learned or gained from buying your argument?

Finding quotes: Only select short quotes. You ARE allowed to summarize events in your paper. You use quotes when the words on the page are more effective or carry a bigger PUNCH than a paraphrase. With this in mind, your quotes should have INTERPRETATIVE value. Meaning, after you provide a quote, there should be something there for you to elaborate on and explain, something that's not instantly obvious.

Writing Thesis Statements

Thesis statements are often easy to write, but difficult to develop. Good thesis statements are:

1. Descriptive/Specific-- they mention certain characteristics or a variety of ideas that will be further explored in the body paragraphs
2. Focused/limited- the ideas presented should be related

Take a look at several finely crafted thesis statements below:

 Example:
In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

Note that the work, author, and character to be analyzed are identified in this thesis statement. The thesis relies on a strong verb (creates). It also identifies the element of fiction that the writer will explore (character) and the characteristics the writer will analyze and discuss (determination, faith, cunning).

“The Third and Final Continent” exhibits characteristics recurrent in writings by immigrants: tradition, adaptation, and identity.

In “The Masque of the Red Death,” Poe uses the symbolism of the stranger, the clock, and the seventh room to develop the theme of death.

As you begin writing yours, remember to be just as clear and descriptive.

HW: Please complete your thesis statement for class tomorrow.

Plans For Thursday

Hello all! You will need your journals and The Outsiders.

Please freewrite, in ROLE (that means in character), as one of the following people: teacher, principal, psychologist, officer, parent, criminal, gang member, wealthy individual, poor individual, hipster, or any other person that would have a unique and interesting response to the following question:

What are the costs and benefits of conformity or noncomformity to a peer group? How do we measure these costs and benefits? 

Please write about 3/4 of a page.

When you are done, you may begin drafting your final journal entry:

Think about the effectiveness of different storytelling techniques. Does the film version of The Outsiders enhance or take away from the story elements. Consider some of the following story elements when forming your response:

 theme, imagery, emotion, character development/relationships, plot points/details, flow of events.

Defend your response by comparing specific moments from the film and novel.

SIDE NOTE: Regardless of whether or not you like the story, you should still be able to compare and assess how well theme, emotions, character development, etc. were conveyed, and determine if the novel or film was more effective as a story.

See you tomorrow! 

Journal Entry #4

Think about the effectiveness of different storytelling techniques. Does the film version of The Outsiders enhance or take away from the story elements. Consider some of the following story elements when forming your response:

 theme, imagery, emotion, character development/relationships, plot points/details, flow of events.

Defend your response by comparing specific moments from the film and novel.

SIDE NOTE: Regardless of whether or not you like the story, you should still be able to compare and assess how well theme, emotions, character development, etc. were conveyed, and determine if the novel or film was more effective as a story.

Journal Response Due Monday

Hi, all! Your journal question look familiar:

What are the costs and benefits of conformity or noncomformity to a peer group? How do we measure these costs and benefits? Be sure to use details from the text to support your response.

Your journal response is your personal opinion, but what would you say if you had to wear another "hat?"

Who are some people, professionals, etc. who might be interested in answering this question?

Monday's HW

For Tuesday: Complete Journal Response #2
For Wednesday: Complete Chapters 7 and 8

I'm aiming to complete the novel and watch the movie on Monday, February 3.

Creating Human Hypermedia Webs

:

Groups of four: A quote, followed by major themes, concepts, issues, perspectives it relates to:

In the center of the web, insert the quote that represents a change.

Then ask: what is challenged or brought into question as a result of this change, even if it’s in a small way.  What are some possible concepts we might consider? Brainstorm.

Journal Response #2

Response Journal #2: Analyze the theme of impermanence or change in chapters 5 and 6. How does the poem, "Nothing Gold Can Stay" relate personally to Johnny and Pony. Also discuss how it applies to their lives and the lives of the rest of the Greasers.

Chapters 5 and 6

Read the poem, "Nothing Gold Can Stay" on page 77 and in your journals, provide a line by line interpretation of the poem.


"All Things Must Pass" by George Harrison



Task: Find examples of change within these two chapters. This can be change in how characters think or how you think about the characters

Unreliable Narrators

Term: 

unreliable narrator: a narrator who, intentionally or unintentionally, fails to provide an accurate report of events or situations and whose credibility is therefore compromised.


Do you think Poneyboy is an unreliable narrator? Why or why not?

Hot Seat-Bob and Johnny

Just some reminders:

The framework: Johnny has just murdered Bob, but we are part of an alternate universe and these characters have come face to face.

Brainstorm some questions that Johnny might have for Bob and Bob for Johnny.

1. We're looking for upper level questions--one's that require more thinking and inferring (think and search, author and me, and on my own)

2. I encourage you to ask questions in role, as either Johnny or Bob

Chapters 3 and 4

Chapters 3 and 4: Point of view Activity

Consider these two chapters from the point of view of either Bob or Johnny.  Rewrite the scene in the park in first person, present tense, as either of these two characters.  Think about what might be going through their minds as the scene unfolds.  Both are thinking about more than just the violence that gets played out in the park. Are they thinking about their friends?  Their families?  The other social group?  What are their emotions throughout the scene?

Complete for HW if you're not finished.

For Friday complete chapters 5 and 6

How to Write A Journal Entry (you should already have this)

You've already seen this, but here it is again to remind you of my expectations for journal responses.

Journal Entries

You don’t learn to read, to learn to read. You learn to read, so you can eventually read to learn. You’re at the age where you need to realize that reading is more than just comprehending the written word—it’s also about comprehending the world around you. Bombshell:  stories are written by people, and most of those people could care less if you, while reading their story, couldn’t figure out the meaning of “insipid” on page 47, paragraph 2. What matters most is your experience with the story-world, and how it can impact the way you see the real world. This is where journal writing comes into play!

While there aren’t necessarily “rules” for how you set up a journal entry, it’s still absolutely important to realize the purpose of this exercise: to make intelligent and insightful connections from life to literature, and consequently, from  literature to life. This transaction allows us to not only understand what we read, but it helps us develop new ideas. Consequently, we become more aware, thoughtful, and empathetic people.

**Your journal is NOT a place to summarize stories. Rather, you will use the stories to support your thoughts on specific issues brought up in the prompts, or an issue of your own choosing (if given the option)

What a good journal entry looks like

Besides incorporating clear connections to the text we’re reading and how it specifically relates to a prompt or issue, here are a few tips on writing a good journal entry. Please note, not ALL items need to be addressed within a single entry:

1. A good journal entry connects the issue at hand to personal experiences. Hypothetical examples or real-life examples (anecdotes) are shared to illustrate ideas.

2.  A good journal entry often makes connections to other stories

3. A good journal entry will often raise rhetorical questions about the issue at hand.

4. A good journal entry often references real-world events (current events, history, etc.) or pop culture (films, music, icons) to help form your response to a prompt.

5. A good journal entry takes a tone of questioning and suggesting, instead of stating or proclaiming the Almighty Truth.

***All journals should be typed and 3/4 of a page to 1 page, double-spaced (270-320 words)

How you will be graded:

A/A- work: Journal entries show evidence of critical thinking on a specific issue. Entries reference the text clearly, effectively, and accurately to make valid points. Journals are the appropriate length.

B/B- work: Journal entries have solid thoughts, but slightly inconsistent with the level of depth and insight. Entries relate back to text with effect, but there may be a lack of detail or a possible misunderstanding of some of the concepts. Journals are the appropriate length

C/C- work: Journal entries will make an attempt at responding to an issue, but the writing appears to be bland, random, or lacking detail. Stories are given mention, but you don’t go into much detail. Some language difficulties present. Journal length is questionable.

D/D- work: Journal entries generally seem rushed, highly random, and rarely relate back to the stories. Language is difficult to comprehend at times. Journal entries are missing and/or generally under the word requirement.

F work:  Entries are not completed.

The Outsiders Journal response #1

THE OUTSIDERS: Journal Response #1(focus on chapters 1-3)

In what ways does Ponyboy’s peer group seem to help him? In what ways does it hinder him? Can you relate your peer relationship experiences to Ponyboy’s? Is there a common ground with the way you feel about your peer groups? If not, explain what is different.

The Outsiders Day 1

GUIDING QUESTIONS:

1. What are the costs and benefits of conformity or noncomformity to a peer group? How do we measure these costs and benefits?

2. How does a person's relationship with his/her peers affect the kind of person she/he will become?



AGENDA:

1. Opinionaire

2.  Journal: With what social group does Ponyboy identify himself from the first paragraph of the book?  How is he like the others in his group?  How is he different from his peer group?




3. Who are the other people in Ponyboy's social group? Describe them.

“I’ll tell you something, Ponyboy, and it may come as a surprise. We have troubles you never even heard of. You want to know something?” Things are rough all over”- Cherry Valance (34-35).

Early on the story deals with social groups and how we define our membership to one group or another. One of the ways is through class. Consider the definition of classism:

*Classism: The unfair treatment of people because of their social or economic class.

Read the article about “Affluenza” and consider the above quote. What does Cherry mean by “things are rough all over?” 

 

The Outsiders

HW: Please have read up to page 36 by Thursday (the start of Chapter 3)

Mid Term- Short response practice

4th grade short response

8th grade short response