|
|
|
American Literature and Composition
This site is no longer being updated. Please visit my new website at: http://gpschools.schoolwires.net/1768201030161248753/site/default.asp
GOTHIC: The word Gothic originally only referred to the Goths, one of the Germanic tribes that helped destroy Rome. Their now-extinct language, also called Gothic, died out completely. The term later came to signify "Germanic," then "medieval," especially in reference to the medieval architecture and art used in Western Europe between 1100 and 1500 CE. (The earlier art and architecture of medieval Europe between 700-1100 CE is known as "Romanesque.") Characteristics of Gothic architecture include the pointed arch and vault, the flying buttress, stained glass, and the use of gargoyles and grotesques fitted into the nooks and crannies unoccupied by images of saints and biblical figures. A grotesque refers to a stone carving of a monstrous or mythical creature either in two dimensions or full-relief, but which does not contain a pipe for transferring rainwater. A gargoyle is a full-relief stone carving with an actual pipe running through it, so that rainwater will flow through it and out of a water-spout in its mouth. Manuscripts from the Gothic period of art likewise have strange monsters and fantastical creatures depicted in the margins of the page, and elaborate vine-work or leaf-work painted along the borders. The term has come to be used much more loosely to refer to gloomy or frightening literature. Contrast with horror story, Gothic literature and Gothic novel (below). GOTHIC LITERATURE: Poetry, short stories, or novels designed to thrill readers by providing mystery and blood-curdling accounts of villainy, murder, and the supernatural. As J. A. Cuddon suggests, the conventions of gothic literature include wild and desolate landscapes, ancient buildings such as ruined monasteries; cathedrals; castles with dungeons, torture chambers, secret doors, and winding stairways; apparitions, phantoms, demons, and necromancers; an atmosphere of brooding gloom; and youthful, handsome heroes and fainting (or screaming!) heroines who face off against corrupt aristocrats, wicked witches, and hideous monsters. Conventionally, female characters are threatened by powerful or impetuous male figures, and description functions through a metonymy of fear by presenting details designed to evoke horror, disgust, or terror (see Cuddon's discussion, 381-82). The term Gothic originally was applied to a tribe of Germanic barbarians during the dark ages and their now-extinct language, but eventually historians used it to refer to the gloomy and impressive style of medieval architecture common in Europe, hence "Gothic Castle" or "Gothic Architecture." The term became associated with ghost stories and horror novels because early Gothic novels were often associated with the Middle Ages and with things "wild, bloody, and barbarous of long ago" as J. A. Cuddon puts it in his Dictionary of Literary Terms (381). See Gothic, above, and Gothic novel, below. GOTHIC NOVEL: A type of romance wildly popular between 1760 up until the 1820s that has influenced the ghost story and horror story. The stories are designed to thrill readers by providing mystery and blood-curdling accounts of villainy, murder, and the supernatural. As J. A. Cuddon suggests, the conventions include wild and desolate landscapes; ancient buildings such as ruined monasteries, cathedrals, and castles with dungeons, torture chambers, secret doors, and winding stairways; apparitions such as phantoms, demons, and necromancers; an atmosphere of brooding gloom; and youthful, handsome heroes and fainting (or screaming!) heroines who face off against corrupt aristocrats, wicked witches, and hideous monsters. Conventionally, female characters are threatened by powerful or impetuous male figures, and description functions through a metonymy of fear by presenting details designed to evoke horror, disgust, or terror (see Cuddon's discussion, 381-82). The term Gothic originally was applied to a tribe of Germanic barbarians during the dark ages and their now-extinct language, but eventually historians used it to refer to the gloomy and impressive style of medieval architecture common in Europe, hence "Gothic Castle" or "Gothic Architecture." The term became associated with ghost stories and horror novels because early Gothic novels were often associated with the Middle Ages and with things "wild, bloody, and barbarous of long ago" as J. A. Cuddon puts it in his Dictionary of Literary Terms (381). Alternatively, the label gothic may have come about because Horace Walpole, one of the early writers, wrote his works in a faux medieval castle). The best known early example is Horace Walpole's The Castle of Otranto. Later British writers in the Gothic tradition include "Monk" Lewis, Charles Maturin, William Beckford, Ann Radcliffe, and Mary Shelley. American Gothic writers include Charles Brockden Brown, Nathaniel Hawthorne, and Edgar Allan Poe. Famous novels such as Mary Shelley's Frankenstein and Bram Stoker's Dracula are also considered gothic novels. In modern cartoons, Scooby Doo would also fall into the category of mock gothic drama in animated form. Gothic novels are also called gothic romances. GOTHIC ROMANCE: Another term for a Gothic novel.
One of the themes in the film Dead Poets Society is independence vs. conformity--the same theme is in much of the literature we have recently read. Compare and contrast Dead Poets Society to Transcendentalist literature and to real life. Discuss the ideas behind these views of teaching independence, conformity, and man's fundamental outlook on life to children the way John Keating did in the film. Also, discuss characters in the film or in other pieces of literature that we previously read who seem opposed to the Transcendentalist’s way of thinking. Who is right or wrong? What views would need to be followed in an ideal society? What responsibilities come with teaching children either of these philosophies?
Your paper must be typed, double spaced, and approximately 2 ½ pages long. It is due Tuesday, February 10, 2009. Late papers will be accepted as follows: Wednesday, February 11, 2009 (paper goes down 1 full grade) Thursday, February 12, 2009 (paper goes down 2 full grades) Friday, February 13, 2009 (paper goes down 3 full grades) If you are going out of town and leaving early for break-- you must turn in your paper before Friday, February 13 No papers accepted after February 13, 2009 For a cast of characters from Dead Poet's Society, visit the following link: http://www.peterweircave.com/dps/cast.html
#_______________ Name__________________
Template for "I Hear _____________ Singing"
In the poem “I Hear America Singing,” Whitman celebrates the diversity of American life, focusing on individuality. This poem is a list poem—Whitman lists or catalogues the people he hears “singing.” Select the appropriate pronoun from those in parenthesis.
“I Hear ___________ Singing”
I hear _________________________________________ singing, the varied carols I hear. Those of ______________________, each one singing _________________ as it should be ____________________________ and ____________________________. The ________________________ singing (his/hers/theirs) as (he/she/they) _______________________ (his/her/their) _____________________________ or _____________________________. The _________________________________________ singing (his/hers/theirs) as (he/she/they) makes ready for _________________________, or leaves off _________________________. The ____________________ singing what belongs to (him/her/them) in (his/her/their) ____________________, the ________________________ singing on the________________________. The ___________________________ singing as (he/she/they) sits on (his/her/their) ______________________, the _______________________ singing (his/hers/theirs) as (he/ she/they) _______________________ The _______________________________ song, the ____________________’s on (his/her/their) way in the ___________________, or at ____________________ or at __________________. The ______________________ singing of the_______________________, or of the young ______________ at _______________, or of the _______________ or _______________. Each singing what belongs to him or her and to none else. The __________________________ what belongs to the _________________________—at _____________________ the _____________________ of _____________________. Singing with open mouths their strong melodious songs.
Read the article below. Defend, refute, or qualify whether or not a student a school should allow a student to turn his/her back to the flag during the national anthem. Be sure to use methods of persuasion in your essay. It is due at the end of the hour. Spurning anthem creates rancor By Tom Pedulla, USA TODAY PURCHASE, N.Y. — Manhattanville defeated the Merchant Marine Academy 67-51 Tuesday in a Division III women's league playoff game that had little to do with basketball and everything to do with protest and patriotism.
To be more specific, it had to do with Toni Smith, who smiled before she turned away and looked down while Manhattanville teammates faced the flag during the national anthem.
The senior has done that before every game this season, but her actions a little more than 25 miles from the attack on the World Trade Center only recently gained national attention when a Marine veteran carrying a flag walked onto the court to counter her actions.
Tuesday, in her first interview, Smith said she is driven by her "conscience." "There are many inequalities in this country which people are not aware of," she said. "The rich get richer, the poor get poorer."
She dismissed the idea that she might be offering encouragement to Iraq. "I don't think Saddam Hussein is watching me right now," she said. Opposing coach Michael Murray watched Smith's rejection of the flag with dismay. His assistant, Doug Carter, was not on the bench because he had recently been called to active duty with the National Guard. "It really hit home," Murray said, "because he's going to fight for our freedom and the flag symbolizes that freedom."
Murray, who wore an American flag lapel pin, said of Smith, "Maybe if they had an assistant who had to go off to war, her view might be a bit different."
Smith's stand is consistent with her previous behavior. Her bio on the school's Web site includes this favorite quote: "It will be a great day when our schools get all the money they need and the military has to hold a bake sale to buy a bomber." She said in a recent statement that a war "will cause many innocent people, women and children, mothers and babies, to die overseas."
Smith's latest protest evoked strong emotions in the crowd of approximately 300 that packed tiny Kennedy Gymnasium. Her introduction brought a mix of cheers and boos. At the completion of the anthem, supporters shouted "To-ni! To-ni!" while others countered with chants of "USA! USA!"
The national media turned out for the game, including at least 15 TV cameramen who stood on the court and focused on her during the anthem.
Some fans turned their backs on her when she was fouled and shot two free throws in the opening minutes. She appeared not to notice and swished both attempts for two of her four points.
Richard Berman, Manhattanville's president, said, "I think it's actually very healthy. I think what you see is a college campus alive with feeling and passion, where many perspectives can be shared with vigor."
About 20 military veterans gathered outside the main entrance to campus, waving flags and venting their emotions. Mark Volpe of White Plains, N.Y., suggested Smith is misguided: "She's not turning her back on the government or President Bush. She's turning her back on thousands of Americans who died for the freedoms she enjoys."
Four of Smith's teammates distinguished their views from hers by wearing red, white and blue headbands.
The victory means another home game for the Valiants, Thursday against Stevens Tech (N.J.)
Transcendentalism Notes for Unit Test Major Authors Ralph Waldo Emerson-Self-Reliance; Henry David Thoreau-Civil Disobedience, Walden; Margaret Fuller-Memoirs; Walt Whitman-I hear America singing, Leaves of Grass, I sit and look out, Song of myself. Central Arguments *Often the transcendentalists disagreed with each other. On these points they did agree. 1) 1) The intuitive faculty (as opposed to rationality or sense) is the means for a union of the individual psyche and the world psyche (the Oversoul, life-force, prime mover and God). 2) 2) An individual is the spiritual center of the universe. Within the self or the individual are found the clues or the secrets to nature, history and the cosmos. 3) 3) The structure of the universe duplicates the structure of the individual self. All knowledge begins with self-knowledge. 4) 4) Nature is a living mystery. It is full of signs. 5) 5) Virtue and happiness depend upon self-realization. In order for self-realization to occur one must reconcile the desire to embrace the whole world with the desire to remain unique and separate from the world. 6) 6) Transcendentalism is a religious, philosophical and literary movement. Some Reasons for the Rise of Transcendentalism 1) 1) The erosion of Calvinism 2) 2) The impact of science and technology on the secularization (separation from religion) of modern thinking 3)The impact of European Ideas on Americans traveling abroad Romanticism Elements of Romanticism 1) 1) Frontier: vast expanse, freedom, no geographic limitations 2) 2) Optimism: greater than in Europe because of the frontier 3) 3) Experimentation: in science and institutions 4) 4) Mingling of races: large scale immigration 5) 5) Growth of industrialization: north becomes industrial, south remains agricultural Romantic Subject Matter 1) 1) The quest for beauty 2) 2) The use of the far-away and non-normal in a. a. historical perspective: antiquing and interest in the past b. b. characterization and mood: grotesque, Gothicism and a sense of terror or fear 3) 3) Escapism from American problems 4) 4) Interest in external nature for itself and beauty 5) 5) Nature as source for the knowledge of the primitive 6) 6) Nature as a refuge 7) 7) Nature as revelation of God to the individual Romantic Attitudes 1) 1) Appeals to imagination; use of the "willing suspension of disbelief." 2) 2) Stress on emotion rather than reason; optimism, geniality. 3) 3) Subjectivity: in form and meaning. Romantic Techniques 1. 1. Remoteness of settings in time and space. 2. 2. Improbable plots. 3. 3. Inadequate or unlikely characterization. 4. 4. Authorial subjectivity. 5. 5. Socially "harmful morality;" a world of "lies." 6. 6. Organic principle in writing: form rises out of content, non-formal. 7. 7. Experimentation in new forms: picking up and using obsolete patterns. 8. 8. Cultivation of the individualized, subjective form of writing. Realism Principles Of Realism
Identifying Characteristics Of Realistic Writing
Realistic Characterization Realists believe that humans control their destinies; characters act on their environment rather than simply reacting to it. Character is superior to circumstance. The Use Of Symbolism And Imagery The Realists use of symbolism is controlled and limited; they depend more on the use of images. Realistic Techniques
Notes taken from: PAL Perspectives in American Literature http://www.csustan.edu/english/reuben/pal/chap3/3intro.html TP-CASTT Another method of analyzing poetry is the TP-CASTT method of analysis (a close cousin of the method we have been using.) The following is a breakdown of this method: Title: Ponder the title before reading the poem Paraphrase: Translate the poem into your own words Connotation: Contemplate the poem for meaning beyond the literal level Attitude: Observe both the speaker’s and the poet’s attitude (tone). Shifts: Note shifts in speakers and attitudes Title: Examine the title again, this time on an interpretive level Theme: Determine what the poet is saying 1. Look at the title and attempt to predict what the poem will be about. 2. Paraphrase the literal meaning or “plot” of the poem. A true understanding of the poem must evolve from comprehension of “what’s going on in the poem.” 3. For poetry, connotation indicates that students should examine any and all poetic devices, focusing on how such devices contribute to the meaning, the effect, or both of a poem. Students may consider imagery (especially simile, metaphor, personification), symbolism, diction, point of view, and sound devices (alliteration, onomatopoeia, rhythm, and rhyme). 4. Having examined the poem’s devices and clues closely, you are ready to explore the multiple attitudes that may be present in the poem. 5. Rarely does a poet begin and end the poetic experience in the same place. Discovery of a poet’s understanding of an experience is critical to the understanding of a poem. Trace the feelings of the speaker from the beginning to the end, paying particular attention to the conclusion. Look for the following to find shifts:
6. Examine the title again, this time on an interpretive level. 7. Identify the theme by recognizing the human experience, motivation, or condition suggested by the poem. First summarize the plot (in writing or orally); next, list the subject or subjects of the poem (moving from literal subjects to abstract concepts such as war, death, discovery); then, to determine what the poet is saying about each subject and write a complete sentence. Example: Plot: In “Janet Walking” Janet awakens one morning and runs to greet her pet chicken only to discover that a bee had stung and killed the bird. The discovery desolates Janet to such a degree that her father cannot comfort her. Subjects: 1. A child’s first experience of death 2. loss of a pet 3. innocence Themes: 1. Children become aware of the inevitability of death and are transformed by the knowledge. 2. The death of innocence is inevitable
Persuasive Rhetoric The Three Appeals of Argument The Three Appeals of Argument Aristotle postulated three argumentative appeals: logical, ethical, and emotional. Strong arguments have a balance of all of three, though logical (logos) is essential for a strong, valid argument. Appeals, however, can also be misused, creating arguments that are not credible. Logical Appeal (logos) Logical appeal is the strategic use of logic, claims, and evidence to convince an audience of a certain point. When used correctly, logical appeal contains the following elements...
· Strong, clear claims · Reasonable qualifiers for claims · Warrants that are valid · Clear reasons for claims · Strong evidence (facts, statistics, personal experience, expert authority, interviews, observations, anecdotes) · Acknowledgement of the opposition When used poorly, logical appeals may include.. · Over-generalized claims · Reasons that are not fully explained or supported · Logical fallacies · Evidence misused or ignored · No recognition of opposing views Ethical Appeal (ethos) Ethical appeal is used to establish the writer as fair, open-minded, honest, and knowledgeable about the subject matter. The writer creates a sense of him or herself as trustworthy and credible. When used correctly, the writer is seen as… · Well-informed about the topic · Confident in his or her position · Sincere and honest · Understanding of the reader's concerns and possible objections · Humane and considerate When used incorrectly, the writer can be viewed as... · Unfair or dishonest · Distorting or misrepresenting information (biased) · Insulting or dismissive of other viewpoints · Advocating intolerant ideas Emotional Appeal (pathos) Not surprisingly, emotional appeals target the emotions of the reader to create some kind of connection with the writer. Since humans are in many ways emotional creatures, pathos can be a very powerful strategy in argument. For this same reason, however, emotional appeal is often misused...sometimes to intentionally mislead readers or to hide an argument that is weak in logical appeal. A lot of visual appeal is emotional in nature (think of advertisements, with their powerful imagery, colors, fonts, and symbols). When done well, emotional appeals... · Reinforce logical arguments · Use diction and imagery to create a bond with the reader in a human way · Appeal to idealism, beauty, humor, nostalgia, or pity (or other emotions) in a balanced way · Are presented in a fair manner When used improperly, emotional appeals… · Become a substitute for logic and reason (TV and magazine advertising often relies heavily on emotional rather than logical appeal) · Uses stereotypes to pit one group of people against another (propaganda and some political advertising does this) · Offers a simple, unthinking reaction to a complex problem · Takes advantage of emotions to manipulate (through fear, hate, pity, prejudice, embarrassment, lust, or other feelings) rather than convince credibly Effectiveness vs. Credibility Credible (credibility) means an argument is logically sound and well-supported with strong evidence and reasoning. Effective (effectiveness) means an argument works in convincing or persuading its audience. Many arguments that are effective are also credible. . . but there are also many that aren't. Examples of Logos, Ethos and Pathos Logos (Logical) Let us begin with a simple proposition: What democracy requires is public debate, not information. Of course it needs information too, but the kind of information it needs can be generated only by vigorous popular debate. We do not know what we need to know until we ask the right questions, and we can identify the right questions only by subjecting our ideas about the world to the test of public controversy. Information, usually seen as the precondition of debate, is beter understood as its by product. When we get into arguments that focus and fully engage our attention, we become avid seekers of relevant information. Otherwise, we take in information passively--if we take it in at all. Christopher Lasch, "The Lost Art of Political Argument" Ethos (Ethical) My Dear Fellow Clergymen: While confined here in Birmingham city jail, I came across your recent statement calling my present activities "unwise and untimely."...Since I feel that you are men of genuine good will and that your criticisms are sincerely set forth, I want to try to answer your statement in what I hope will be patient and reasonable in terms. I think I should indicate why I am here in Birmingham, since you have been influenced by the view which argues against "outsiders coming in."...I, along with several members of my staff, am here because I was invited here. I am here because I have organizational ties here. But more basically, I am in Birmingham because injustice is here. Just as the prophets of the eighth century B.C. left their villages and carried their "thus saith the Lord" far beyond the boundaries of their home towns, and just as the Apostle Paul left his village of Tarsus and carried the gospel of Jesus Christ to the far corners of the Greco-Roman world, so am I compelled to carry the gospel of freedom beyond my own home town. Like Paul, I must constantly respond to the Macedonian call for aid. Martin Luther King, Jr. "Letter from Birmingham Jail" Pathos (Emotional) For me, commentary on war zones at home and abroad begins and ends with personal reflections. A few years ago, while watching the news in Chicago, a local news story made a personal connection with me. The report concerned a teenager who had been shot because he had angered a group of his male peers. This act of violence caused me to recapture a memory from my own adolescence because of an instructive parallel in my own life with this boy who had been shot. When I was a teenager some thirty-five years ago in the New York metropolitan area, I wrote a regular column for my high school newspaper. One week, I wrote a colunm in which I made fun of the fraternities in my high school. As a result, I elicited the anger of some of the most aggressive teenagers in my high school. A couple of nights later, a car pulled up in front of my house, and the angry teenagers in the car dumped garbage on the lawn of my house as an act of revenge and intimidation. James Garbarino "Children in a Violent World: A Metaphysical Perspective Character Sketch Information What a Character! A character sketch informs you about the character in a book. When you write a character sketch, you want the reader to have a strong mental image of the person including how the person talks, acts and thinks. This handout is designed to help you write that sketch. It provides a list of words that can be used to describe a person and a list of the types of things you can write about. Adjectives to Describe a Person bright interesting tall friendly thoughtful curious short mean strange compassionate dark brave talkative shy devious entertaining lazy caring plump responsible fair helpful negative scruffy energetic frightening busy stubborn stern active funny loving daring quick-tempered cool grumpy lively gentle impatient calm quiet cruel supportive irritable mysterious reliable cunning faithful wise prankster sensible disorganized patient kind determined slim smart reassuring stocky patient strong cowardly trustworthy fickle wild suspicious honest excitable mischievous unhappy weak unsmiling sly foolish deceitful serious Writing a Character Sketch
It is important to include proof from the story to support what you are writing in the character sketch. If you can’t support it with something from the story, then it doesn’t belong. Example of a Character Sketch Rowan is a twelve year old boy who lives in the tiny village of Rin. He is small and rather scrawny for his age. His unkempt, curly brown hair looks like a mop on his tiny face and his thinness makes him look like a walking skeleton.
The people in the village poke fun of Rowan. The adults call him a weakling because he never stands up for himself. The children call him a coward because when confronted with a problem, Rowan always runs away.
Rowan is the gentlest of the children in the village. He is the only child that can approach any of the farm animals without scaring them away. They trust his soothing touch and calming voice over the roughness and loudness of the other kids.
Rowan faces the greatest challenge of his life. He possess a special gift that he must use to save the village from the fierce dragon that lives in the mountain. He starts the journey afraid of what he might face and worries that he will let the village people down. After facing and winning over his first test, he grows more confident and stronger so that by the end of the novel, he has all the strength he needs to face his greatest test, a face-to-face meeting with the dragon.
Rowan doesn’t deserve to be treated so poorly. It takes all kinds of people to make the world and everyone can teach us something about how to be a better person. (http://www.cdli.ca/CITE/twisters_character_sketch_help.pdf)
Chapter 12 Scarlet Letter Questions
1. Who do they see after the meteor goes by?
2. What mark did the meteor leave in the sky? What is the explanation the sexton (in the novel) gives for it?
3. What does Dimmesdale ask Hester about Chillingworth? How does he feel about Chillingworth?
4. When Dimmesdale asks Pearl why she "mocks" him, what does Pearl say?
5. What does the sexton (in the novel) find and return to Dimmesdale?
6. How does the sexton (in the novel) say it got there?
7. How was Dimmesdale's sermon the next day after the platform? Explain.
8. Is Dimmesdale any closer to confession or repentance? Explain your answer.
9/30/08 In Class Persuasive Impromptu Essay Here is what an A+ essay contains: 1. The essay shows a clear understanding of the task. 2. The essay takes a position on the. 3. The essay addresses different views on the issue, or responds to counter-arguments (the other side) to the writer's position. 4. The ideas are well developed, specific, and logical. 5. A clear focus on the issue in the prompt is maintained. 6. The essay is well organized and clear. 7. The introduction and conclusion are effective, clear, and well developed. It doesn’t start with the thesis statement or complex thesis nor although statement. 8. The essay shows a good command of language. 9. There are few, if any, errors to distract the reader. Remember: Do not start your paper with your thesis or a complex thesis. If your social studies teacher asks you to do this---do it in social studies—not in English and not on the English writing portion of the ACT. Also, DO NOT use in conclusion, I believe, in my opinion, or I think. These are unnecessary and cliché expressions. They will bring your grade DOWN! Sample Intro: Several public schools around the country now require students to wear uniforms. This idea has been discussed in the Grosse Pointe Public Schools. At this time, students are not required to wear uniforms; they must simply abide by the dress code. The Grosse Pointe school district should not adopt a uniform policy. thesis Sample Conclusion: There is no need for uniforms in the Grosse Pointe Public Schools. Students generally abide by the dress code. There are no gang problems, and students appreciate the freedom to express themselves through their clothing. If the school starts forcing kids to dress alike, they are robbing them of the rights our forefathers fought to maintain, including life, liberty and the pursuit of happiness. clincher On a sheet of loose leaf paper, write a persuasive essay supporting your opinion on the topic below. It is due at the end of the hour. It will be graded. Write on one side of the paper only. You may use pen or pencil, and you may skip lines if you choose, however you are not required to do so. TOPIC: Educators debate extending high school to five years because of increasing demands on students from employers and colleges to participate in extracurricular activities and community service in addition to having high grades. Some educators support extending high school to five years because they think students need more time to achieve all that is expected of them. Other educators do not support extending high school to five years because they think students would lose interest in school and attendance would drop in the fifth year. In your opinion, should high school be extended to five years? In your essay, take a position on this question. You may write about either one of the two points of view given, or you may present a different point of view on this question. Use specific reasons and examples to support your position.
Quick Overview and Calendar
Wednesday, May 21 Read Chapter 7 Thursday, May 22 Read Chapter 8 Friday, May 23 Read Chapter 9 Monday, May 24 Memorial Day--No School Tuesday, May 25 GG Final Paper Due and Final Test Wednesday, May 26 Death Of A Salesman (DOAS) Begins! Thursday, May 27 Continue DOAS Friday, May 28 Continue DOAS
Great Gatsby Final Paper Choose one of the following topics and write an essay addressing it. Be sure to use specific examples from the novel to support your ideas. Also, be sure to cite the page number of the examples you use (parenthetical documentation).
The Great Gatsby JournalWhile reading this novel, you will keep a journal, and you will have to create an original title for each chapter. The journal will have one entry for each of the nine chapters. The journal for each chapter is due the day after it is assigned and read The format for each entry is as follows:
Chapter_________ Journal Original Title For Chapter__________________________________________________ Character________________________________________________________________ Page #_______ Quote:_____________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Explanation of Quote___________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Best Qualities:____________________________________________________________ _______________________________________________________________________ Worst Qualities:__________________________________________________________ ________________________________________________________________________ Character's role in novel:__________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Five Sentence Summary from chosen character’s view point:____________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________
TP-CASTT Another method of analyzing poetry is the TP-CASTT method of analysis (a close cousin of the method we have been using.) The following is a breakdown of this method: Title: Ponder the title before reading the poem Paraphrase: Translate the poem into your own words Connotation: Contemplate the poem for meaning beyond the literal level Attitude: Observe both the speaker’s and the poet’s attitude (tone). Shifts: Note shifts in speakers and attitudes Title: Examine the title again, this time on an interpretive level Theme: Determine what the poet is saying 1. Look at the title and attempt to predict what the poem will be about. 2. Paraphrase the literal meaning or “plot” of the poem. A true understanding of the poem must evolve from comprehension of “what’s going on in the poem.” 3. For poetry, connotation indicates that students should examine any and all poetic devices, focusing on how such devices contribute to the meaning, the effect, or both of a poem. Students may consider imagery (especially simile, metaphor, personification), symbolism, diction, point of view, and sound devices (alliteration, onomatopoeia, rhythm, and rhyme). 4. Having examined the poem’s devices and clues closely, you are ready to explore the multiple attitudes that may be present in the poem. 5. Rarely does a poet begin and end the poetic experience in the same place. Discovery of a poet’s understanding of an experience is critical to the understanding of a poem. Trace the feelings of the speaker from the beginning to the end, paying particular attention to the conclusion. Look for the following to find shifts:
6. Examine the title again, this time on an interpretive level. 7. Identify the theme by recognizing the human experience, motivation, or condition suggested by the poem. First summarize the plot (in writing or orally); next, list the subject or subjects of the poem (moving from literal subjects to abstract concepts such as war, death, discovery); then, to determine what the poet is saying about each subject and write a complete sentence. Example: Plot: In “Janet Walking” Janet awakens one morning and runs to greet her pet chicken only to discover that a bee had stung and killed the bird. The discovery desolates Janet to such a degree that her father cannot comfort her. Subjects: 1. A child’s first experience of death 2. loss of a pet 3. innocence Themes: 1. Children become aware of the inevitability of death and are transformed by the knowledge. 2. The death of innocence is inevitable
In Class Coming of Age in Mississippi Poem Assignment
You must assume the identity of one of the people in Anne Moody's story "Coming of Age in Mississippi. You need to write a poem using one of the assigned rhyme schemes and include the literary elements listed: metaphor, simile, imagery, hyperbole, onomatopoeia.
Rhyme Schemes Choices:
#1 #2 #3 #4 #5 a a a a a b a b a b a b a a c b b b a d
c c c b e d c d b f c d c b g d d d b h
e e a c i f e b c j e f c c k f f d c l
American Literature – Final Projects (each student was assigned a specific project--they do not choose their own) Due date: April 18, 2008 The Adventures of Huckleberry Finn License Plate Task: You are to create a “personalized” license plate from the novel The Adventures of Huckleberry Finn. It must be accompanied by a one page double spaced paper explaining your selection and its relevance to the novel. You may use: A character to be the focus of your license plate. For example, you could use “RVRRBL” – River Rebel – to describe Huck. A theme that we talked about in class (education, religion, society, slavery/racism, parenting, trust). If you choose a theme, it must be relevant to the novel. For example, you could use “MRLCMPAS” to describe the idea of moral education as opposed to intellectual intelligence. Your license plate must have: A license plate message ( I have given examples above). A design. Your license plate should be decorated to fit your message. You may leave room to design a license plate frame or registration sticker. The license plate must be colored. The layout of your license plate must look like an actual license plate. You may want to go to the website listed below for assistance creating the license plate, however, you may create your own by hand as well. http://www.acme.com/licensemaker/licensemaker.cgi?state= You may not use any of the ideas that I have presented above. * Your writing must be typed. You will be graded on: Neatness/Layout – 5 points Relevance / Creativity of Message – 7.5 points Explanation (one page double spaced typed) – 12.5 points The Adventures of Huckleberry Finn Newspaper Front Page Task: Develop the front page of a newspaper using the novel The Adventures of Huckleberry Finn. Your newspaper must have:
* Your writing must be typed. You will be graded on: Content – 10 points Conventions (including spelling /grammar/style) – 5 points Layout – 5 points Neatness / Layout – 2.5 points Photo/Graphic – 2.5 points The Adventures of Huckleberry Finn Letter Task: You are going to write a letter assuming the persona of one of the characters from the novel. You will be writing to another character in the story. The purpose of the letter should be clear. This is not meant to be a “hi, how are you? Chat with you later,” kind of letter. Be sure you maintain the characters form of dialect and character traits. For example, you could choose to write a letter from Huck to Widow Douglas explaining why he faked his death. In your letter: You must make it clear who is writing the letter and to whom it is written. You must follow the formal format of an actual letter (including salutation, paragraphs, closing). You must have a clear focus or explanation as to why your character is writing the letter. You must include details from the novel. The letter must be typed and double spaced. You will be graded on: Content 15 points Mechanics/Conventions (including spelling/grammar) – 5 points Layout of the Letter – 2.5 points Neatness / Creativity – 2.5 points
Biography Number 1
VATE LESSON PLAN
“Of the Meaning of Progress” by W.E.B. Du Bois from The Souls of Black Folk http://www.bartleby.com/114/4.html
Before you read “Of the Meaning of Progress” which Du Bois wrote in 1904, consider and paraphrase what Chief Justice Earl Warren wrote in the Supreme Court ‘s opinion in Brown v. Board of Education, 347 U. S. 483 (1954) (USSC+) http://www.nationalcenter.org/brown.html
“An addition reason for the inconclusive nature of the [Fourteenth] Amendment’s history with respect to segregated schools is the status of public education at that [1868] time. In the South, the movement toward free common schools, supported by general taxation, had not yet taken hold. Education of white children was largely in the hands of private groups. Education of Negroes was almost nonexistent, and practically all of the race was illiterate. In fact, any education of Negroes was forbidden by law in some states. Today [1954], in contrast, many Negroes have achieved outstanding success in the arts and sciences, as well as in the business and professional world” ”The curriculum was rudimentary; ungraded schools were common in rural areas; the school term was but three months a year in many states, and compulsory school attendance was virtually unknown. ”
Before you read “Of the Meaning of Progress” by Du Bois discuss and define progress.
As you read “Of the Meaning of Progress” which Du Bois wrote in 1904, keep in mind that the doctrine of “separate but equal” was announced in 1896 by the Court in Plessy v Ferguson, 163 U. S. 537.
As you read “Of the Meaning of Progress” by Du Bois, record Du Bois’ ideas and your own considerations in the jot chart below.
After you have read “Of the Meaning of Progress” by Du Bois, read Justice Warren’s Supreme Court opinion in the Brown case and consider Du Bois’ reaction to it. Discuss with classmates.
After you have read “Of the Meaning of Progress” by Du Bois and the Warren opinion in the Brown case, find a current article (written after January 2000) that addresses the issue of equal access to education. Read it and compare it to what Du Bois wrote a century ago and Warren wrote 50 years ago.
My article _______________________________________________________________ By _______________________________________ Source _______________________
Gothic Literature Final Assignment
Rewrite and retell one of the gothic short stories we read. You may choose to turn it into a children’s story or a comic book. If you choose a children’s book, be sure to rewrite it in a manner that will appeal to a very young audience. You must include illustrations or graphics. The book you create must be typed and put in a book format (you may see me if you need help doing this). If you choose a comic book, be sure to rewrite in comic book style using dialogue and narration. You must include illustrations or graphics, and it must be set up like a comic book with separate “windows.”
Helpful Hint: Reread some of your favorite children’s books or comic books to see ways in which writers appeal to their audience. Be sure not to change the basic plot of the story you choose.
The Tell-Tale Heart Edgar Allan Poe, 1843
TRUE! --nervous --very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses --not destroyed --not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily --how calmly I can tell you the whole story. It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees --very gradually --I made up my mind to take the life of the old man, and thus rid myself of the eye forever. Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded --with what caution --with what foresight --with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it --oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly --very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this, And then, when my head was well in the room, I undid the lantern cautiously-oh, so cautiously --cautiously (for the hinges creaked) --I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights --every night just at midnight --but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept. Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers --of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back --but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily. I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out --"Who's there?" I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening; --just as I have done, night after night, hearkening to the death watches in the wall. Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief --oh, no! --it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself --"It is nothing but the wind in the chimney --it is only a mouse crossing the floor," or "It is merely a cricket which has made a single chirp." Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel --although he neither saw nor heard --to feel the presence of my head within the room. When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little --a very, very little crevice in the lantern. So I opened it --you cannot imagine how stealthily, stealthily --until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye. It was open --wide, wide open --and I grew furious as I gazed upon it. I saw it with perfect distinctness --all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person: for I had directed the ray as if by instinct, precisely upon the damned spot. And have I not told you that what you mistake for madness is but over-acuteness of the sense? --now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage. But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! --do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me --the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once --once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eve would trouble me no more. If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs. I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye --not even his --could have detected any thing wrong. There was nothing to wash out --no stain of any kind --no blood-spot whatever. I had been too wary for that. A tub had caught all --ha! ha! When I had made an end of these labors, it was four o'clock --still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, --for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises. I smiled, --for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search --search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim. The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct: --It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness --until, at length, I found that the noise was not within my ears. No doubt I now grew very pale; --but I talked more fluently, and with a heightened voice. Yet the sound increased --and what could I do? It was a low, dull, quick sound --much such a sound as a watch makes when enveloped in cotton. I gasped for breath --and yet the officers heard it not. I talked more quickly --more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men --but the noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder --louder --louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! --no, no! They heard! --they suspected! --they knew! --they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now --again! --hark! louder! louder! louder! louder! "Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the planks! here, here! --It is the beating of his hideous heart!"
Writing Prompt Lyrics (example) am unwritten,
Transcendental Writing Prompt This writing assessment will be graded. Topic: 1. Choose a recent (20th century) song, film, book, television show, etc., that you feel a transcendentalist would identify with. 2. Explain what parallels there are between the example you’ve chosen and the transcendentalist ideas. 3. Be creative, thoughtful. 4. Push yourself as a thinker and writer. 5. Use Specific transcendentalist writers. 6. Use transcendentalist writings to support your examples. As always, I am not going to tell you how many paragraphs to write. You need to decide that when you organize your paper. . You MUST use this sheet to start out with some sort of prewriting --- webbing, listing, etc. This sheet will be handed in with your final essay tomorrow (beginning of class). Be thorough in your examples and explanations. Do your best. You are half way through the year, and your writing should show it. Be sure you’ve fulfilled all of the things required for this essay. Movie Guide
SEIZE THE DAY
What does this mean and
how does it apply?
‘TIS ONLY IN THEIR
DREAMS THAT MEN TRULY BE FREE,
‘TWAS ALWAYS THUS,
AND ALWAYS THUS
WILL BE. ---KEATING What does this mean and how does it apply?
Dead Poets Society reminds us to seize each day and
cherish them
dearly. Every day opportunities await us and we must decide whether to take
the chance or play it safe. Find examples of this is the film.
While viewing the
film, you must find examples of Transcendental ideas and beliefs.
Look for people who display Transcendentalist beliefs/actions (give
examples and explain).
Also, look for
examples that defy the Transcendentalist ideas.
Look for people who do this (give examples and explain).
Why do you think they do?
Pooh of Walden Pond By Jason Arbaugh-Twitty, 1996 Originally published in The Philomathean, a journal of Bridgewater College in Bridgewater, Virginia, when Mr. Arbaugh-Twitty was an English major.
IT IS DOUBTFUL that A.A. Milne had read the Transcendental writings of Henry David Thoreau or followed them voraciously when he wrote and published Winnie-the-Pooh and subsequently The House at Pooh Corner in Great Britain. It is doubtful that Milne ever planned for Walden Pond's existence within the Hundred Acre Wood. It is doubtful that Milne, in his stories for his son, planned on creating a "how-to" book for living the ideal Transcendental life. In Pooh Milne created an eternal and universal hero that is never exactly right, exactly wrong, or exactly sure of his stance on any level of existence. Pooh simply lives by simple means and simple rules, but Pooh is far from simple. Pooh is complex and often misunderstood, and his naive, simplistic life is not one easily achieved nor easily enjoyed by just any inhabitant of the Hundred Acre Wood. Pooh is in fact a Transcendentalist, and a perfect model for children and adults that want a happy, peaceful life in harmony with both themselves and nature, free of strife and materialistic worries. [2] Thoreau, like Pooh, lived alone in the woods with a number of friends near to him but not overwhelmingly close. Thoreau lived frugally: eating what he gained by his own hand, building his own shelter (not elaborate but sufficient), and walking about in nature studying the patterns of life and gaining insight. Pooh never really realizes that he is gaining insight, and perhaps he is not really doing so. Pooh is free from complications. If one looks at him as a person and not a stuffed toy—throughout most of the books one sees him as a real character—one sees someone who has no concept of an outside, materialistic force that seems to drive creatures like Owl and Rabbit. Pooh is content as long as he visits with his friends regularly and has a "smackeral of something" around eleven o'clock each day, and hums a "new hum" every so often. Pooh's life is without the worry of planting a garden and gaining materialistic success (Rabbit), the endless pursuit of useless knowledge to confuse everyone else (Owl), the constant pessimism and depression that comes from too much interaction with unimportant worldly matters (Eeyore), and the nervous insecurity that is a result of an unsure character without a grasp on his true self (Piglet). [3] While Thoreau's vagabond ways are not truly practical, if even possible, in today's society, neither are Pooh's. However, the models and ideals that Pooh and Thoreau represent can be molded and shaped into concrete patterns that individuals can incorporate into their own lives in order to instill a certain amount of tranquility. One must shun every materialistic tie, and follow Pooh into the forest and find him/herself sitting with Pooh thinking "Grand Thoughts about Nothing, until he, too, closes his eyes and nods his head, and follows us on tip-toe into the Forest" (Milne, Corner unnumbered). In this forest, one may find a bit of Truth, a bit of joy, and a bit of one's self once thought lost with the loss of childhood. [4] Thoreau quotes Confucius in the opening pages of Walden as saying "To know that we know what we know, and that we do not know what we do not know, that is true knowledge" (1122). True knowledge lies in realizing limitations and emphasizing one's strengths. Pooh's knowledge seems little. In fact, he is characterized and referred to as "A Bear of Very Little Brain" (Milne 50). However, Pooh's uncomplicated reasoning and simplified thought processes allow his plans and schemes more success than Rabbit's or the others' more complicated and confusing ones. When Eeyore loses his tail, Pooh goes searching for it. He first goes to Owl, the resident scholar and philosopher, to seek help. Owl starts rambling about "customary procedure" or "Crustimoney Proseedcakell" (Milne 50) and confuses Pooh with his vast knowledge of nothing. Owl thinks Christopher Robin should write the reward signs since he wrote the signs for Owl's door. But Owl went on and on, using longer and longer words, until at last he came back to where he started, and he explained that the person to write out this notice was Christopher Robin. (Milne 51) For some time now Pooh had been saying "Yes" and "No" in turn, with his eyes shut, to all that Owl was saying, and having said, "Yes, yes," last time, he said "No, not at all," now, without really knowing what Owl was talking about. (Milne 52) [5] When Pooh goes outside to view the signs so they can begin to implement Owl's wondrous plan, he notices that the bellrope is Eeyore's tail. Pooh's innocence and ability to remain constantly calm and placid led him straight to the end of his quest without his knowing he had ever begun. His naive brilliance seems always to move him farther than Owl's intelligent ignorance, for in the beginning it was Owl that mistook Eeyore's tail for a bell-rope. Thoreau had a strong distaste for those who pretended great worldly knowledge yet had no practical sense to use it. Pretended knowledge can be viewed as a luxury, a materialistic gem, that has no place in the natural, spiritual, and intelligent world of the forest. Most of the luxuries, and many of the so called comforts of life, are not only indispensable, but positive hindrances to the elevation of mankind. With respect to luxuries and comforts, the wisest have ever lived a more simple and meagre life than the poor. (Thoreau 1123) [6] Owl lives in great luxury with his material wealth and printed signs on his door, but his spirituality will never lie in the same realm as that of Pooh, who is at home in the wild woods of his home; Pooh has more intelligence than any of his counterparts ever credit him with having. Pooh is poor yet very wise and rich, but Owl will never see that truth. Owl is a member of "... that seemingly wealthy, but most terribly impoverished class of all ..." (Thoreau 1124). [7] Eeyore is a strict pessimist. He is the constant dark cloud over everyone else's sunny day. He is always pondering this and contemplating that and the only answers he finds are negative. His constant darkness is a direct result of his constant thinking about everything. The following examples illustrate how different he and Pooh are on the same day and follow the previous comments on materialism, wealth, knowledge, and how the Transcendentalist (the wise man) fits in. To the materialistic man, knowledge, wealth, and the pretensions of both are all the same. The old gray donkey, Eeyore, stood by himself in a thistly corner of the forest, his front feet well apart, his head on one side, and thought about things. Sometimes he thought sadly to himself, "Why?" and sometimes he thought, "Wherefore?" and sometimes he thought, "Inasmuch as which?"—and sometimes he didn't quite know what he was thinking about. So when Winnie-the-Pooh came stumping along, Eeyore was very glad to be able to stop thinking for a little, in order to say "How do you do?" in a gloomy manner to him. (Milne 45) [8] Pooh, being faced with finding Eeyore's tail, starts out on a serious mission, but the pervading details in the narrative are of what Pooh sees despite the gravity of his task. It was a fine spring morning in the forest as he started out. Little soft clouds played happily in a blue sky, skipping from time to time in front of the sun as if they had come to put it out, and then sliding away suddenly so that the next might have his turn. (Milne 47) [9] Perhaps Pooh himself could have hummed this poem to Owl, Eeyore and Rabbit: Men say they know many things;
[10] "... the cost of a thing is the amount of what I will call life which is required to be exchanged for it, immediately or in the long run" (Thoreau 1131). The idea behind this statement is that the simplest structure or way of life is just as effective as the most expensive or elaborate one. A million dollar mansion costs more than a million dollars because one must work one-half to three quarters of one's life to pay for it. The missed experience due to working all the time voids the entire worth of the accomplishment and, therefore, one's life. By building a simple, sufficient shelter in a short amount of time, one is free to take the time to experience life to its fullest extent. This experience and the pleasures derived from it are what makes one's life wealthy. [11] No one in the forest knows it is Eeyore's birthday until Eeyore himself tells Pooh. Now Pooh is faced with the dilemma of finding a present for Eeyore. Pooh starts bringing a pot of honey to Eeyore, but, as it is a long trip, gets hungry on the way and stops to eat. When he is finished, he realizes that he has eaten all the honey. But Pooh, the simple genius that he is, decides to give Eeyore a "Useful Pot to Keep Things In" (Milne 81). Necessity, invention, self-preservation, and a thought for others led to Pooh's development of the perfect present. Others try to get Pooh's pot for their own present, but Pooh insists on each doing his share. Pooh's Transcendental nature demands that each care for himself if he is able to do so. Piglet is in a great hurry to be back to Eeyore's before Pooh, and in the process falls and bursts the balloon he is giving Eeyore. He [Piglet] held it [the balloon] very tightly against himself, so that it shouldn't blow away, and he ran as fast as he could so as to get to Eeyore's before Pooh did; for he thought that he would like to be the first one to give a present, just as if he had thought of it without being told by anybody. And running along, and thinking how pleased Eeyore would be, he didn't look where he was going . . . and suddenly he put his foot in a rabbit hole, and fell down flat on his face. BANG!!!???""!!! (Milne 83) [12] Greed, deception, and pride destroyed even the best of Piglet's intentions. "But Eeyore wasn't listening. He was taking the [busted] balloon out, and putting it back again, as happy as could be ..." (Milne 89). Simple, caring gifts are enough to please a friend. The love between friends makes the difference in Eeyore's birthday, not who was first with the present. There is no need for expensive gifts or huge parties. Pooh and Piglet give Eeyore gifts that they had and that are not really that nice, but the sentiment given along with the gift makes Eeyore very happy. This idea fits superbly with Thoreau's ideology. [13] Thoreau states "... I mean that they should not play life, or study it merely, while the community supports them at this expensive game, but earnestly live it from beginning to end" (1140). This means, easily enough, that one should do something and experience life instead of talking about it or doing it halfheartedly while pretending to grasp the same experience as those who are in the midst of life's parlor. Pooh is one to do something without a lot of pontification. Rabbit or Owl will plot and plan themselves into complacency and inactivity, but Pooh is always the one who seems to be first when doing or seeing something is involved. In The House at Pooh Corner, Rabbit's cousin Small is lost, and Rabbit concocts a grand scheme to find him. "Now," said Rabbit, "this is a
Search, and I've Organized it—" [14] Pooh first makes a simpler list of priorities to begin his search, but while daydreaming on his way to find Piglet, he falls into a hole, a Heffalump trap as it is, and unknowingly lands on and "finds" Piglet. He has completed part of his task already through doing without extensive, mind-boggling Organization. He and Piglet sit in the hole for some time discussing Heffalumps and traps until Christopher Robin comes and rescues them. When Pooh is out of the hole, Piglet discovers Small crawling on Pooh's back. Pooh has found Small as well and with no help from Rabbit's extravagant Organization. Pooh walked out to search without thinking, which seems to be how Pooh does a lot of things, and came upon the answer to his problem without ever once going into one of Rabbit's thinking frenzies. Had their search been left up to Rabbit and his Organization, it is unclear whether or not Small would ever have been found. [15] Thoreau believes that nature is universal and unowned. He feels that no man has domain over nature, and one should sit surrounded by nature and the truths of life will be exposed to the one who takes the time to notice them. Pooh has his own Thoughtful Spot that he and Piglet share and he makes up a "hum" about it: This warm and sunny Spot [16] Pooh and Piglet decide to celebrate the beauty of living and of friendship and go to wish Rabbit, "whose life was made up of Important Things" (Milne Corner 30), a happy Thursday, but Rabbit is disappointed because he feels that they have come with no other reason than just wanting to visit with him. The triviality of Rabbit's constantly purposeful nature is pointedly expressed in the following conversation between Pooh and Piglet. "Rabbit's clever," said Pooh
thoughtfully. [17] Pooh's attitude toward life, as does Thoreau's, seems trivial, immature, and unrealistic at times. But however childlike and simplistic they are, they are both immensely successful. Both Thoreau and Pooh lived lives of contentment and free of want while in the woods. They lived simple lives full of joys, Grand Thoughts, and with lots of friends surrounding them. Actually some of Thoreau's friends are even represented by Pooh's. Owl is the great ponderer and genius yet never fully expresses himself so everyone can understand him and resembles Ralph Emerson. Eeyore, the dark cloud of the peaceful forest, who is constantly pessimistic and has given up on the world reminds one of Hawthorne and/or Melville. Rabbit is reminiscent of the busy, industrious, materialistic society that has no time to visit without purpose or cannot understand simply doing nothing. Piglet is yet another side of society. He is trapped between the worlds of Pooh and Rabbit. He represents that facet of society that is not quite sure where its ideals lie. He is drawn to the natural world of Pooh, yet feels like he should be busy like Rabbit. Mixed in with Owl's Brain and Eeyore's negativity, Piglet is lost and confused and forced to teeter unsurely back and forth between each world until one day when he finally decides which path is the correct one for him. Ideally, Piglet's life, minus the anxiety, could be the perfect mixture of the materialistic practicality that is necessary to survive in the mechanized world and the soft spirituality that nourishes and enriches one's life when it is realized that nature is a part of every person. [18] Pooh and Thoreau are both very calm and very in love with nature and the nature of the things and people around them. Pooh never condemns anyone or anything, and neither, really, does Thoreau. This is the beauty of Thoreau's philosophy. It is not forceful or vengeful, or even remotely domineering. Thoreau points out the faults in society, says why he has a distaste for them, and offers alternative solutions. He teaches a grand lesson in moderation, tolerance, and acceptance. In fact, all of Walden is not a handbook to better living or the perfect Transcendental life as it has been seen in modern times. It is no more than a suggestion, an alternative. Thoreau has too much respect for mankind to try to force his way of life upon the masses. After all, this lifestyle is not for every person. The forest needs Rabbits and Owls and Eeyores just as much as it needs Poohs. Thoreau believes that if one wants this way of life, it is there and not impossible to obtain. If one does not want it, then he/she does not have to live it. It is all very respectful of others' opinions. Likewise Pooh is respectful and observant of the people and events about him. He never condemns Rabbit or Owl or Eeyore, he merely ponders why they are like they are. He accepts them as they come to him, and then he goes on living his life the way he wants to. [19] Piglet often makes astute observations about the characters of the forest. These different characters can be seen also as representations of the different types of people one encounters in everyday life. Milne probably realized this connection, but never fully realized, if at all, its Transcendental ramifications. Every character has his/her own purpose for existence and assets. Each way of life is solely beneficial to a certain extent. However, when all of the ways of life are combined and polished into one person, Pooh or Thoreau, then the final ideal personality and ensuing way of life is formed. "There's Pooh," he thought to himself, "Pooh hasn't much Brain, but he never comes to any harm. He does silly things and they turn out right. There's Owl. Owl hasn't exactly got Brain, but he Knows Things. He would know the Right Thing to Do when Surrounded by Water. There's Rabbit. He hasn't Learnt in Books, but he can always Think of a Clever Plan. There's Kanga. She isn't Clever, Kanga isn't, but she would be so anxious about Roo that she would do a Good Thing to Do without thinking about it. And then there's Eeyore. And Eeyore is so miserable anyhow that he wouldn't mind about this. But I wonder what Christopher Robin would do?" (Milne 131-133) [20] The above passage leads one to think that Christopher Robin must be the culmination of the ideal Transcendental person, at least in Piglet's view. If he is, why then does he not live in the forest with Pooh? All that is necessary to live the Transcendental lifestyle is love, a pure heart, and imagination. Christopher Robin possesses all of these, but he does not possess the will or the power to hold on to his innocence and gets trapped in modern society and is lost to the forest, one might conclude, forever. According to Thoreau, We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor. To affect the quality of the day, that is the highest of arts. Every man is tasked to make his life, even its details, worthy of the contemplation of his most elevated and critical hour. (1159) [21] Christopher Robin, however, recognizes that he is growing older and that, by doing so, he must give up Pooh and the forest lifestyle. Must he? Is it not possible to retain the innocence, love, and pureness of heart that created the forest upon entering the "real" world? Is it not possible to carry Pooh with him forever? In The House at Pooh Corner, Christopher Robin bids farewell to Pooh who has suddenly ceased existing as a real character and becomes a toy once again—only living in memories. Then, suddenly again, Christopher
Robin, who was still looking at the world, with his chin in his hands, called
out "Pooh!" [22] Christopher Robin knows the end is imminent and his anguish is obvious. He does not want to lose the part of him that so loves the forest—not the forest of childhood, but the forest of peace and joy that he found within himself to create. It is not a forest of pure imagination and stuffed animals that walk and talk. It is a forest where a boy becomes a man in his own right. It is a forest where people and friends come before business and progress. Doing Nothing is suddenly important, but not as important as a smackerel of something in the morning. Pooh, although he does not understand why one would give up the forest lifestyle (Transcendentalism), also feels their time's end coming. However, they both remain steadfast in their love for one another and their fight to stay alive. It leaves one with a small glimmer of hope for salvation, but the answer is still unclear. Pooh waited for him to go on, but
he was silent again. [23] Christopher Robin attempts one final time to stay with Pooh in the forest, but he knows he must one day leave Pooh behind. Pooh, however, the great Transcendentalist that he is, will live forever in the forest and in Christopher Robin's mind. Pooh's influence will always color Christopher Robin's perspectives, and hopefully one day soon he will realize that fact and return to Pooh and the forest. [24] The connections between Pooh and Thoreau are shadowy at times, but still somehow strong. Milne created a miracle of enlightenment in these books, and hopefully his son captured some of Pooh in his soul. Walden is timeless, still read avidly now one hundred years later, and so is Winnie-the-Pooh. [25]
Transcendentalism is built upon nature, honesty, simplicity, and love for one's
self and one's friends. No one is more representative of the Transcendental
ideal than Pooh. Pooh—a fat, lovable, honey-eating, fictional character—lives
inside of everyone who enjoys a "smackerel of something" special, "Grand
Thoughts About Nothing" in a "Thoughtful Spot," or a "Happy Thursday" visit to
friends. Pooh and the Transcendentalists could change the world if only Owl and
Rabbit would stop learning and working long enough to listen to the forest. The
bear knows many secrets and Truths that will never come from Owl's or Rabbit's
Brain. Works Cited · Milne, A.A. The House at Pooh Corner. New York: Puffin Books, 1992. · Milne, A.A. Winnie-the-Pooh. New York: Puffin Books, 1992. · Thoreau, Henry David. Walden. Heritage of American Literature Volume II, James E. Miller, Jr, ed. Fort Worth: Harcourt Brace Jovanovich, 1991. 1117-1271
Romanticism Elements of Romanticism 1) 1) Frontier: vast expanse, freedom, no geographic limitations 2) 2) Optimism: greater than in Europe because of the frontier 3) 3) Experimentation: in science and institutions 4) 4) Mingling of races: large scale immigration 5) 5) Growth of industrialization: north becomes industrial, south remains agricultural Romantic Subject Matter 1) 1) The quest for beauty 2) 2) The use of the far-away and non-normal in a. a. historical perspective: antiquing and interest in the past b. b. characterization and mood: grotesque, Gothicism and a sense of terror or fear 3) 3) Escapism from American problems 4) 4) Interest in external nature for itself and beauty 5) 5) Nature as source for the knowledge of the primitive 6) 6) Nature as a refuge 7) 7) Nature as revelation of God to the indivdual Romantic Attitudes 1) 1) Appeals to imagination; use of the "willing suspension of disbelief." 2) 2) Stress on emotion rather than reason; optimism, geniality. 3) 3) Subjectivity: in form and meaning. Romantic Techniques 1. 1. Remoteness of settings in time and space. 2. 2. Improbable plots. 3. 3. Inadequate or unlikely characterization. 4. 4. Authorial subjectivity. 5. 5. Socially "harmful morality;" a world of "lies." 6. 6. Organic principle in writing: form rises out of content, non-formal. 7. 7. Experimentation in new forms: picking up and using obsolete patterns. 8. 8. Cultivation of the individualized, subjective form of writing.
GOTHIC: The word Gothic originally only referred to the Goths, one of the Germanic tribes that helped destroy Rome. Their now-extinct language, also called Gothic, died out completely. The term later came to signify "Germanic," then "medieval," especially in reference to the medieval architecture and art used in western Europe between 1100 and 1500 CE. (The earlier art and architecture of medieval Europe between 700-1100 CE is known as "Romanesque.") Characteristics of Gothic architecture include the pointed arch and vault, the flying buttress, stained glass, and the use of gargoyles and grotesques fitted into the nooks and crannies unoccupied by images of saints and biblical figures. A grotesque refers to a stone carving of a monstrous or mythical creature either in two dimensions or full-relief, but which does not contain a pipe for transferring rainwater. A gargoyle is a full-relief stone carving with an actual pipe running through it, so that rainwater will flow through it and out of a water-spout in its mouth. Manuscripts from the Gothic period of art likewise have strange monsters and fantastical creatures depicted in the margins of the page, and elaborate vine-work or leaf-work painted along the borders. The term has come to be used much more loosely to refer to gloomy or frightening literature. Contrast with horror story, Gothic literature and Gothic novel (below). GOTHIC LITERATURE: Poetry, short stories, or novels designed to thrill readers by providing mystery and blood-curdling accounts of villainy, murder, and the supernatural. As J. A. Cuddon suggests, the conventions of gothic literature include wild and desolate landscapes, ancient buildings such as ruined monasteries; cathedrals; castles with dungeons, torture chambers, secret doors, and winding stairways; apparitions, phantoms, demons, and necromancers; an atmosphere of brooding gloom; and youthful, handsome heroes and fainting (or screaming!) heroines who face off against corrupt aristocrats, wicked witches, and hideous monsters. Conventionally, female characters are threatened by powerful or impetuous male figures, and description functions through a metonymy of fear by presenting details designed to evoke horror, disgust, or terror (see Cuddon's discussion, 381-82). The term Gothic originally was applied to a tribe of Germanic barbarians during the dark ages and their now-extinct language, but eventually historians used it to refer to the gloomy and impressive style of medieval architecture common in Europe, hence "Gothic Castle" or "Gothic Architecture." The term became associated with ghost stories and horror novels because early Gothic novels were often associated with the Middle Ages and with things "wild, bloody, and barbarous of long ago" as J. A. Cuddon puts it in his Dictionary of Literary Terms (381). See Gothic, above, and Gothic novel, below.
GOTHIC NOVEL: A type of romance wildly popular between 1760 up until the 1820s that has influenced the ghost story and horror story. The stories are designed to thrill readers by providing mystery and blood-curdling accounts of villainy, murder, and the supernatural. As J. A. Cuddon suggests, the conventions include wild and desolate landscapes; ancient buildings such as ruined monasteries, cathedrals, and castles with dungeons, torture chambers, secret doors, and winding stairways; apparitions such as phantoms, demons, and necromancers; an atmosphere of brooding gloom; and youthful, handsome heroes and fainting (or screaming!) heroines who face off against corrupt aristocrats, wicked witches, and hideous monsters. Conventionally, female characters are threatened by powerful or impetuous male figures, and description functions through a metonymy of fear by presenting details designed to evoke horror, disgust, or terror (see Cuddon's discussion, 381-82). The term Gothic originally was applied to a tribe of Germanic barbarians during the dark ages and their now-extinct language, but eventually historians used it to refer to the gloomy and impressive style of medieval architecture common in Europe, hence "Gothic Castle" or "Gothic Architecture." The term became associated with ghost stories and horror novels because early Gothic novels were often associated with the Middle Ages and with things "wild, bloody, and barbarous of long ago" as J. A. Cuddon puts it in his Dictionary of Literary Terms (381). Alternatively, the label gothic may have come about because Horace Walpole, one of the early writers, wrote his works in a faux medieval castle). The best known early example is Horace Walpole's The Castle of Otranto. Later British writers in the Gothic tradition include "Monk" Lewis, Charles Maturin, William Beckford, Ann Radcliffe, and Mary Shelley. American Gothic writers include Charles Brockden Brown, Nathaniel Hawthorne, and Edgar Allan Poe. Famous novels such as Mary Shelley's Frankenstein and Bram Stoker's Dracula are also considered gothic novels. In modern cartoons, Scooby Doo would also fall into the category of mock gothic drama in animated form. Gothic novels are also called gothic romances. GOTHIC ROMANCE: Another term for a Gothic novel.
Transcendentalism Major Authors Ralph Waldo Emerson, Henry David Thoreau, and Margaret Fuller Central Arguments *Often the transcendentalists disagreed with each other. On these points they did agree. 1) 1) The intuitive faculty (as opposed to rationality or sense) is the means for a union of the individual psyche and the world psyche (the Oversoul, life-force, prime mover and God). 2) 2) An individual is the spiritual center of the universe. Within the self or the individual are found the clues or the secrets to nature, history and the cosmos. 3) 3) The structure of the universe duplicates the structure of the individual self. All knowledge begins with self-knowledge. 4) 4) Nature is a living mystery. It is full of signs. 5) 5) Virtue and happiness depend upon self-realization. In order for self-realization to occur one must reconcile the desire to embrace the whole world with the desire to remain unique and separate from the world. 6) 6) Transcendentalism is a religious, philosophical and literary movement. Some Reasons for the Rise of Transcendentalism 1) 1) The erosion of Calvinism 2) 2) The impact of science and technology on the secularization (separation from religion) of modern thinking 3)The impact of European Ideas on Americans traveling abroad
Principles Of Realism
Identifying Characteristics Of Realistic Writing
Realistic Characterization Realists believe that humans control their destinies; characters act on their environment rather than simply reacting to it. Character is superior to circumstance. The Use Of Symbolism And Imagery The Realists use of symbolism is controlled and limited; they depend more on the use of images. Realistic Techniques
Notes taken from: PAL Perspectives in American Literature http://www.csustan.edu/english/reuben/pal/chap3/3intro.html
Inductive and Deductive Reasoning If you start with the pieces and move to the whole, you are using inductive reasoning. If you start from the whole, and define it by its parts, you're using deductive reasoning. (http://www.csudh.edu/dearhabermas/beaucoup01.htm)
Deductive
All men are mortal
The argument begins with a universal truth, “All men are mortal,” and ends up with a particular truth: “Socrates is mortal.”
Inductive Every mammal that has ever been examined has hair Therefore, all mammals have hair
Here, specific instances of mammals being found with hair is said to justify the general conclusion that all mammals have hair. (http://www.memoriapress.com/articles/How-to-Teach-Logic.html)
The Three Appeals of Argument Aristotle postulated three argumentative appeals: logical, ethical, and emotional. Strong arguments have a balance of all of three, though logical (logos) is essential for a strong, valid argument. Appeals, however, can also be misused, creating arguments that are not credible. (http://www.csudh.edu/dearhabermas/beaucoup01.htm) Logical Appeal (logos) Logical appeal is the strategic use of logic, claims, and evidence to convince an audience of a certain point. When used correctly, logical appeal contains the following elements...
When used poorly, logical appeals may include...
Ethical Appeal (ethos) Ethical appeal is used to establish the writer as fair, open-minded, honest, and knowledgeable about the subject matter. The writer creates a sense of him or herself as trustworthy and credible. When used correctly, the writer is seen as...
When used incorrectly, the writer can be viewed as...
Emotional Appeal (pathos) Not surprisingly, emotional appeals target the emotions of the reader to create some kind of connection with the writer. Since humans are in many ways emotional creatures, pathos can be a very powerful strategy in argument. For this same reason, however, emotional appeal is often misused...sometimes to intentionally mislead readers or to hide an argument that is weak in logical appeal. A lot of visual appeal is emotional in nature (think of advertisements, with their powerful imagery, colors, fonts, and symbols). When done well, emotional appeals...
When used improperly, emotional appeals...
Effectiveness vs. Credibility Credible (credibility) means an argument is logically sound and well-supported with strong evidence and reasoning. Effective (effectiveness) means an argument works in convincing or persuading its audience. Many arguments that are effective are also credible. . . but there are also many that aren't. (the information above is from http://www.uwc.ucf.edu/Writing%20Resources/Handouts/appeals.htm) TP-CASTT Another method of analyzing poetry is the TP-CASTT method of analysis (a close cousin of the method we have been using.) The following is a breakdown of this method: Title: Ponder the title before reading the poem Paraphrase: Translate the poem into your own words Connotation: Contemplate the poem for meaning beyond the literal level Attitude: Observe both the speaker’s and the poet’s attitude (tone). Shifts: Note shifts in speakers and attitudes Title: Examine the title again, this time on an interpretive level Theme: Determine what the poet is saying 1. Look at the title and attempt to predict what the poem will be about. 2. Paraphrase the literal meaning or “plot” of the poem. A true understanding of the poem must evolve from comprehension of “what’s going on in the poem.” 3. For poetry, connotation indicates that students should examine any and all poetic devices, focusing on how such devices contribute to the meaning, the effect, or both of a poem. Students may consider imagery (especially simile, metaphor, personification), symbolism, diction, point of view, and sound devices (alliteration, onomatopoeia, rhythm, and rhyme). 4. Having examined the poem’s devices and clues closely, you are ready to explore the multiple attitudes that may be present in the poem. 5. Rarely does a poet begin and end the poetic experience in the same place. Discovery of a poet’s understanding of an experience is critical to the understanding of a poem. Trace the feelings of the speaker from the beginning to the end, paying particular attention to the conclusion. Look for the following to find shifts:
6. Examine the title again, this time on an interpretive level. 7. Identify the theme by recognizing the human experience, motivation, or condition suggested by the poem. First summarize the plot (in writing or orally); next, list the subject or subjects of the poem (moving from literal subjects to abstract concepts such as war, death, discovery); then, to determine what the poet is saying about each subject and write a complete sentence. Example: Plot: In “Janet Walking” Janet awakens one morning and runs to greet her pet chicken only to discover that a bee had stung and killed the bird. The discovery desolates Janet to such a degree that her father cannot comfort her. Subjects: 1. A child’s first experience of death 2. loss of a pet 3. innocence Themes: 1. Children become aware of the inevitability of death and are transformed by the knowledge. 2. The death of innocence is inevitable Introduction to RomanticismRomanticism has very little to do with things popularly thought of as "romantic," although love may occasionally be the subject of Romantic art. Rather, it is an international artistic and philosophical movement that redefined the fundamental ways in which people in Western cultures thought about themselves and about their world. Historical ConsiderationsIt is one of the curiosities of literary history that the strongholds of the Romantic Movement were England and Germany, not the countries of the romance languages themselves. Thus it is from the historians of English and German literature that we inherit the convenient set of terminal dates for the Romantic period, beginning in 1798, the year of the first edition of Lyrical Ballads by Wordsworth and Coleridge and of the composition of Hymns to the Night by Novalis, and ending in 1832, the year which marked the deaths of both Sir Walter Scott and Goethe. However, as an international movement affecting all the arts, Romanticism begins at least in the 1770's and continues into the second half of the nineteenth century, later for American literature than for European, and later in some of the arts, like music and painting, than in literature. This extended chronological spectrum (1770-1870) also permits recognition as Romantic the poetry of Robert Burns and William Blake in England, the early writings of Goethe and Schiller in Germany, and the great period of influence for Rousseau's writings throughout Europe. The early Romantic period thus coincides with what is often called the "age of revolutions"--including, of course, the American (1776) and the French (1789) revolutions--an age of upheavals in political, economic, and social traditions, the age which witnessed the initial transformations of the Industrial Revolution. A revolutionary energy was also at the core of Romanticism, which quite consciously set out to transform not only the theory and practice of poetry (and all art), but the very way we perceive the world. Some of its major precepts have survived into the twentieth century and still affect our contemporary period. (above information from internet) Scarlet Letter Final Paper
Write a multiple paragraph essay in response to one of the following prompts:
--Discuss the characters in the novel The Scarlet Letter. Discuss how they are developed and their actions move the plot along. How do they help relay Hawthorne's message?
-or-
--Discuss how the hypocrisies evident in Hawthorne's allegory The Scarlet Letter. What lesson is being relayed?
Be sure to include quotes from the book to support your statements, and parenthetically document page numbers of your quotes. You must turn in all rough drafts along with your final copy (typing is preferred). It is due on Friday, November 30, 2007.
Registers of Language
Frozen--Language that is always the same--it doesn't change (Lord's Prayer, Pledge of Allegiance, etc)
Formal-The standard sentence syntax and word choice of work and school. Has complete sentences and specific word choices.
Consultative-Formal register when used in conversation. discourse pattern not quite as direct as formal register.
Casual-Language between friends and is characterized by a 400-800 word vocabulary. Word choice general and not specific. Conversation dependent upon nonverbal assists. Sentence syntax often incomplete.
Intimate-Language between lovers or twins. Language of sexual harassment.
Adapted from Martin Joos's research by Ruby K. Payne, A Framework for Understanding Poverty.
Active Reading Clarify Question Predict Have a conversation with what you are reading Evaluate
Predict Visualize Connect Make it mean something to you while you are reading and revisit it when you are done Clarify Evaluate
Reading for SOAPS Notes (A refresher from last year!) What is the Subject? the general topic, content, ideas contained in the text. What is the Occasion? the time and place of the piece, the situation that provoked the writer to write? Who is the Audience? the group of readers to whom the piece is directed. What is the Purpose? the reason behind the text. Who is the Speaker? the voice behind the text, what do you know about him/her from reading the text?
Concept/Emotion/Thoughts Chart
Grammar Notes Eight Parts of Speech 1. Noun- person, place, thing 2. Verb- indicates action or state of being State of Being Verbs: am is are was were be being been do does did have has had may must might shall should can could will would taste feel look smell 3. 3. pronoun-takes the place of a noun 4. adjective-modifies (describes) nouns and pronouns. Answers questions---what kind, how many, and which one(s) 5. adverbs-modifies (describes) verbs, adjectives, and other adverbs---usually ends in –ly. Answers the questions—how, when, where, and to what extent. 6. preposition-relates its object to another word in the sentence. about beneath in past above beside inside since across between into through after beyond like to against but (except) near toward along by of under among concerning off until around down on up at during onto upon before except out with behind for outside within below from over without 7. interjection-shows excitement or emotion. 8. conjunction-combines words, phrases, and clauses.
Additional Definitions subject whom or what the sentence is about predicate what happens or what the subject does predicate noun a noun in the predicate that is the same as the subject predicate adjective an adjective in the predicate that describes the subject common noun name given to a common group of persons, places, or things proper noun particular person, place, or thing. Always capitalized direct object noun that receives the action and answers the question what or whom (the words to and for NEVER come before a direct object). indirect object noun that tells to whom or for whom the action applies. It sits between the verb and direct object (the words to and for NEVER come before a direct object).
Pronoun Notes subject pronouns object pronouns singular singular I, he, she, you me, him, her, you
plural plural we, they us, them
Finding and charting S-V-IO-DO-PN-PA 1. Find the subject 2. Find the verb---be sure it is the whole verb 3. Is it an action? If yes--cross off PA and PN and go to step 4—if it is not an action, go to step 6 4. Now look for something that answers the question what or whom—is the word a noun (person, place, or thing)? Do the words to, for, in, with, over, etc., come before it? If those words do not come before it, and it is a noun, and it answers the question what or whom, then it is your direct object. It should not answer the question where! 5. If there is a direct object, now look for an indirect object. Is there a word that sits between the verb and the direct object? Is it a noun? Do the words to, for, in, with, over, etc., come before it? If those words do not come before it, and it is a noun, then it is your indirect object. You must have a direct object to have an indirect object. Now go to step 9. 6. If the verb is not an action cross off IO and DO 7. Next ask yourself if the subject equals something. 8. Is the word it equals a noun (person, place, or thing)—it is a PN. If it is an adjective (describing word)---it is a PA. You cannot have a PN and a PA in the same sentence. 9. Now, look to see if there is a DO for that sentence in the chart. If so, it is transitive. If not, it is intransitive.
Definitions Clause: Has a subject and a verb Independent Clause: Has a subject and a verb. Can stand alone Dependent Clause: Has a subject and a verb. Cannot stand alone (also called subordinate clause) Adjective Clause: A subordinate clause used as an adjective to modify a noun or pronoun Adjective Phrase: a phrase that modifies a noun or pronoun Adverb Phrase: is a prepositional phrase used as an adverb. They usually modify verbs. Adverb Clause: A subordinate clause used as an adverb Phrase: Does not have a subject and a verb Compound Sentence two independent clauses combined with a comma and a conjunction or a semicolon. Complex Sentence an independent clause and a dependent clause. Simple Sentence one independent clause (it could also be combined with a phrase). Examples Clause: I ran Independent Clause: I ran to the store Dependent Clause: After I ran to the store Adjective Clause (in bold italics): I know the cave that you are talking about. Adjective Phrase (in bold italics): I bought a box of apples. Adverb Clause (in bold italics): When we arrived in Seattle, it was cold. Adverb Phrase (in bold italics): Pam sat in the rocking chair. Phrase: In an hour Compound Sentence Example: I, conj I. or I; I.
I went to the store, and I bought milk. or I went to the store; I bought milk. Complex Sentence Example: I D. or D, I.
After I ran to the store, I went to the bank. or I went to the bank after I ran to the store. Simple Sentence Example: I. or P, I. or I P.
I went to the store. After school, I went to the store. I went to the store after school.
Sentence Types and Examples Declarative sentence: makes a statement; declare something; ends with a period. Example: I saw a movie.
Imperative sentence: commands you do something; ends with a period. Example: Take out the garbage.
Exclamatory sentence: exclaims something with great emotion; always ends with an exclamation point. Example: I won the lottery!
Interrogatory sentence: asks a question; ends with a question mark. Example: Did you order the salmon?
Indirect question: Indirectly states what someone asked; ends with a period. Example: She asked if she could have more water. Poetry Notes/Definitions
The following information will be helpful when writing a literary analysis of a poem. It was borrowed from: http://www.brocku.ca/english/jlye/criticalreading.html#pgenre
CRITICAL READING: A GUIDEA Guide Designed for His Year 1 Students
| |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
