Lesson:
We opened the class period with a five-minute Brainwarmer, since we had not done that in a while.
Then we reviewed the various sentence openers we have learned so far, discussing them with more examples.
After that, we read through student homework, identifying the type of sentence openers the students had used for each sentence.
I was quite pleased with the progress in sentence variety that the class showed.
Assignment:
I offered the students four more basic model paragraphs to rewrite for greater sentence variety; student are to complete at least two of them. Students also have the option of including their brainwarmer as one of their reworked samples.
As before, these can be reworded, rearranged, and restructured, but no major information is to be added or omitted. Students are to use each of the six primary sentence openers at least once (and the seventh, optional opener, if desired) and should not use the same type of opener twice in a row. NOTE: the openers do NOT need to be used in any particular order.
These are due this coming Friday, March 20.
Monday, March 16, 2009
7th - 8th Writing, March 13
Lesson:
Almost the entire class was absent due to conflicting events. The one student attending received a private lesson.
Assignment:
The previous assignment will carry over for another week, and is due this coming Friday, March 20.
Almost the entire class was absent due to conflicting events. The one student attending received a private lesson.
Assignment:
The previous assignment will carry over for another week, and is due this coming Friday, March 20.
9th - 12th Writing, March 13
Lesson: We began the class period with a brief discussion of the students' experiences writing literary analyses about The Giver. After collecting their essays, we launched into our next unit of study, poetry.
Poetry differs from prose in several ways, including:
rich use of literary devices --- figures of speech such as similes and metaphors
reliance on sound devices --- rhythm, rhyme, assonance, alliteration, onomatopoeia, etc.
economy of expression --- worlds of thought and emotion packed in few words of carefully structured language
Poetry uses language not just for its obvious literal meaning, but also for its sound and shape, for the visual and auditory imagery it evokes, and for the tone and mood it creates.
We discussed poetry terms from a list I distributed.
We also learned how to determine and mark rhyme scheme (if any --- not all poetry rhymes, though most will). Mark the end of the first line and all lines that rhyme with it as a. The next non-a line and all lines that rhyme with it will be b, then the next new end rhyme will be c, and so on.
English (or Shakespearean) sonnets, for example, have a rhyme scheme of ababcdcdefefgg.
Finally, we discussed the process of scansion used to identify the rhythm and meter of a poem. We first "pound out" the meter (clap 'strong' or 'weak' while reciting the poem) to find the rhythm of stressed and unstressed syllables which allows us to identify the metrical foot used.
Metrical feet include:
Iamb */ The most common metrical foot in English, iamb consists of two syllable sounds, unstressed followed by stressed, as in "reTURN"
Trochee /* Often used in children's verse as it creates a 'rocking horse' rhythm, trochee consists of two syllable sounds, stressed followed by unstressed, as in "TOPsy".
Anapest **/ Anapest consists of three syllable sounds with the accented stress on the third syllable, as in "interVENE".
Dactyl /** Dactl consists of three syllable sounds with the accented stress on the first syllable, as in "MERrily".
These are the primary feet in which entire lines or entire poems might be written. However, it is common for a poet to include an occasional exception, whether for deliberate effect or just because it turns out to be unavoidable.
Such occasional feet include:
Spondee //: two stressed syllables, as in "FOOT BALL"
Pyrrhic **: two unstressed syllables, as in "in the"
Other metric feet exist, but these are the primary patterns.
Having noted the type of metrical foot, we then count the number of feet per line to determine line length.
1 foot per line: monometer
2 feet per line: dimeter
3 feet per line: trimeter
4 feet per line: tetrameter
5 feet per line: pentameter
6 feet per line: hexameter
7 feet per line: heptameter
Type of foot + line length = meter.
Thus, iambic pentameter (the most common in English poetry) consist of five iambs (*/) per line of poetry: */ */ */ */ */
Nevertheless, poetry is art, not science. Even the best poets do not adhere perfectly to rhyme or meter, and some do not even try. The essence of poetry is richness of expression and emotion, not meter.
Assignment:
Each student was given a packet of poems to be read and marked with notes. Students are to read each poem through multiple times, including at least one or two readings aloud, since poetry is meant to be heard as well as seen. (In fact, someone has described poetry as a composed and compact wave of energy which moves from eye to ear to inner ear to inner eye.)
Read each poem at least once or twice for meaning. What is the poem saying? What is its mood and tone? Note observations, ideas and questions.
Then read though for rhyme scheme and mark that.
Then scan for meter. Pound out and/or mark to determine the type of metric foot (iamb, trochee, etc.) and number of feet per line. What meter is that?
Continue to reread and make notes for individual poetic elements such as simile, metaphor, alliteration, etc. Work through the list of terms; observe all you can.
Bring the notated poems back to class on March 20. We will discuss how to write poetry explication from there.
Poetry differs from prose in several ways, including:
rich use of literary devices --- figures of speech such as similes and metaphors
reliance on sound devices --- rhythm, rhyme, assonance, alliteration, onomatopoeia, etc.
economy of expression --- worlds of thought and emotion packed in few words of carefully structured language
Poetry uses language not just for its obvious literal meaning, but also for its sound and shape, for the visual and auditory imagery it evokes, and for the tone and mood it creates.
We discussed poetry terms from a list I distributed.
We also learned how to determine and mark rhyme scheme (if any --- not all poetry rhymes, though most will). Mark the end of the first line and all lines that rhyme with it as a. The next non-a line and all lines that rhyme with it will be b, then the next new end rhyme will be c, and so on.
English (or Shakespearean) sonnets, for example, have a rhyme scheme of ababcdcdefefgg.
Finally, we discussed the process of scansion used to identify the rhythm and meter of a poem. We first "pound out" the meter (clap 'strong' or 'weak' while reciting the poem) to find the rhythm of stressed and unstressed syllables which allows us to identify the metrical foot used.
Metrical feet include:
Iamb */ The most common metrical foot in English, iamb consists of two syllable sounds, unstressed followed by stressed, as in "reTURN"
Trochee /* Often used in children's verse as it creates a 'rocking horse' rhythm, trochee consists of two syllable sounds, stressed followed by unstressed, as in "TOPsy".
Anapest **/ Anapest consists of three syllable sounds with the accented stress on the third syllable, as in "interVENE".
Dactyl /** Dactl consists of three syllable sounds with the accented stress on the first syllable, as in "MERrily".
These are the primary feet in which entire lines or entire poems might be written. However, it is common for a poet to include an occasional exception, whether for deliberate effect or just because it turns out to be unavoidable.
Such occasional feet include:
Spondee //: two stressed syllables, as in "FOOT BALL"
Pyrrhic **: two unstressed syllables, as in "in the"
Other metric feet exist, but these are the primary patterns.
Having noted the type of metrical foot, we then count the number of feet per line to determine line length.
1 foot per line: monometer
2 feet per line: dimeter
3 feet per line: trimeter
4 feet per line: tetrameter
5 feet per line: pentameter
6 feet per line: hexameter
7 feet per line: heptameter
Type of foot + line length = meter.
Thus, iambic pentameter (the most common in English poetry) consist of five iambs (*/) per line of poetry: */ */ */ */ */
Nevertheless, poetry is art, not science. Even the best poets do not adhere perfectly to rhyme or meter, and some do not even try. The essence of poetry is richness of expression and emotion, not meter.
Assignment:
Each student was given a packet of poems to be read and marked with notes. Students are to read each poem through multiple times, including at least one or two readings aloud, since poetry is meant to be heard as well as seen. (In fact, someone has described poetry as a composed and compact wave of energy which moves from eye to ear to inner ear to inner eye.)
Read each poem at least once or twice for meaning. What is the poem saying? What is its mood and tone? Note observations, ideas and questions.
Then read though for rhyme scheme and mark that.
Then scan for meter. Pound out and/or mark to determine the type of metric foot (iamb, trochee, etc.) and number of feet per line. What meter is that?
Continue to reread and make notes for individual poetic elements such as simile, metaphor, alliteration, etc. Work through the list of terms; observe all you can.
Bring the notated poems back to class on March 20. We will discuss how to write poetry explication from there.
Monday, March 9, 2009
4th - 6th Writing, March 6
Lesson:
We spent most of the class period reading aloud and evaluating country reports. It was evident that the students worked diligently on these.
We spent the last part of the class period reminding students about various ways to begin sentences for more variety.
Borrowed from the Institute in Excellence guidelines from Andrew Pudewa, those basic sentence openers include:
1. Subject
2. Prepositional phrase
3. "-ly" (Adverb)
4. "-ing" (Participle)
5. Clause (Dependent clause)
6. VSS (Very short sentence)
7. "-ed" (Past participle --- optional, for more advanced students)
Examples:
1. Subject: A hare always boasted about how fast he could run.
2. Preposition phrase: In his opinion, he was the speediest animal around.
3. "ly"/Adverb: Surprisingly, the slow tortoise challenged the arrogant hare to a race.
4. "ing"/Participle: Running as fast as he could, the hare was soon far ahead of the plodding tortoise.
5. Clause: Since he was sure he would win, the confident hare lay down for a nap and slept while the tortoise passed him by and crossed the finish line.
6. VSS: The tortoise had won!
7. "ed" /Past Participle: Pleased, he declared, "Slow and steady wins the race."
Assignment: I provided each student with two starter stories and some accompanying handouts. The students are to rewrite the two sample paragraphs for more variety. Each rewritten paragraph should contain all six of the sentence openers listed here. However, the openers do not need to be in the numbered order given here. Any sentence can begin with any opener that will work for it, and the sentences can be reworked as needed, as long as the ideas stay the same.
Students are not to do any topic research; the rewritten paragraphs should include the same information, with nothing significant added or omitted.
We spent most of the class period reading aloud and evaluating country reports. It was evident that the students worked diligently on these.
We spent the last part of the class period reminding students about various ways to begin sentences for more variety.
Borrowed from the Institute in Excellence guidelines from Andrew Pudewa, those basic sentence openers include:
1. Subject
2. Prepositional phrase
3. "-ly" (Adverb)
4. "-ing" (Participle)
5. Clause (Dependent clause)
6. VSS (Very short sentence)
7. "-ed" (Past participle --- optional, for more advanced students)
Examples:
1. Subject: A hare always boasted about how fast he could run.
2. Preposition phrase: In his opinion, he was the speediest animal around.
3. "ly"/Adverb: Surprisingly, the slow tortoise challenged the arrogant hare to a race.
4. "ing"/Participle: Running as fast as he could, the hare was soon far ahead of the plodding tortoise.
5. Clause: Since he was sure he would win, the confident hare lay down for a nap and slept while the tortoise passed him by and crossed the finish line.
6. VSS: The tortoise had won!
7. "ed" /Past Participle: Pleased, he declared, "Slow and steady wins the race."
Assignment: I provided each student with two starter stories and some accompanying handouts. The students are to rewrite the two sample paragraphs for more variety. Each rewritten paragraph should contain all six of the sentence openers listed here. However, the openers do not need to be in the numbered order given here. Any sentence can begin with any opener that will work for it, and the sentences can be reworked as needed, as long as the ideas stay the same.
Students are not to do any topic research; the rewritten paragraphs should include the same information, with nothing significant added or omitted.
7th - 8th Writing, March 6
Lesson:
We spent the class period discussing the students' reactions to The Cask of Amontillado by Edgar Allen Poe.
After defining a few vocabulary terms, we identified basic literary elements. This story is set in an undisclosed European city (presumably in Italy) at an undisclosed time (probably late 1700s or early 1800s). The action occurs from dusk into darkness "in the supreme madness of the carnival season" (similar to Mardi Gras) and descends progressively from street level to the deepest recesses of ancient catacombs.
The protagonist (though not the typical "good guy") is Montressor. Montressor is a French name meaning "My treasure". It is the name of a noble French family and their accompanying castle and small town. The Montresor motto in our story is the actual motto of the Scottish royal family and also of the Scottish Order of the Thistle, a knighthood which sometimes included knights from non-Scottish European noble families. However, the coat of arms is quite different. Poe apparently borrowed ideas from different times and places to weave his tale of horror.
The antagonist is Fortunato, an Italian nobleman and wine connoisseur, whose very name is ironic, considering his fate. (Since he mentions his Lady Fortunato, we may conclude that he is, himself, Lord Fortunato.)
The tale is told in Montressor's words, which, since Montressor is at least twisted, if not insane, categorizes our reading as being in the first person unreliable point of view.
The story is rich in symbolism, irony, and word play, which we discussed at length.
Assignment:
Each student will write a five-paragraph literary analysis essay about Poe's The Cask of Amontillado. Each essay will follow standard format, with the three body paragraphs discussing setting, character, and theme, in that order. Various other literary elements, such as Poe's use of irony and symmbolism, should be discussed wherever appropriate.
We spent the class period discussing the students' reactions to The Cask of Amontillado by Edgar Allen Poe.
After defining a few vocabulary terms, we identified basic literary elements. This story is set in an undisclosed European city (presumably in Italy) at an undisclosed time (probably late 1700s or early 1800s). The action occurs from dusk into darkness "in the supreme madness of the carnival season" (similar to Mardi Gras) and descends progressively from street level to the deepest recesses of ancient catacombs.
The protagonist (though not the typical "good guy") is Montressor. Montressor is a French name meaning "My treasure". It is the name of a noble French family and their accompanying castle and small town. The Montresor motto in our story is the actual motto of the Scottish royal family and also of the Scottish Order of the Thistle, a knighthood which sometimes included knights from non-Scottish European noble families. However, the coat of arms is quite different. Poe apparently borrowed ideas from different times and places to weave his tale of horror.
The antagonist is Fortunato, an Italian nobleman and wine connoisseur, whose very name is ironic, considering his fate. (Since he mentions his Lady Fortunato, we may conclude that he is, himself, Lord Fortunato.)
The tale is told in Montressor's words, which, since Montressor is at least twisted, if not insane, categorizes our reading as being in the first person unreliable point of view.
The story is rich in symbolism, irony, and word play, which we discussed at length.
Assignment:
Each student will write a five-paragraph literary analysis essay about Poe's The Cask of Amontillado. Each essay will follow standard format, with the three body paragraphs discussing setting, character, and theme, in that order. Various other literary elements, such as Poe's use of irony and symmbolism, should be discussed wherever appropriate.
9th - 12th Writing, March 6
Lesson:
We spent the class period discussing the students' opinions and ideas of The Giver by Lois Lowry. All agreed that it was well-written, easy to read, intriguing, and thought-provoking.
Among their observations:
This fictional novel, set in an undisclosed future time and place, discusses what at first appears and then is eventually discovered behind the scenes of a utopian (or rather, dystopian) society, where emotion, memory, autonomy, and even color have been relinquished for safety and Sameness.
The point of view is third-person limited omniscient, as the narrator relates the inner thoughts and feelings of the protagonist Jonas, and the observed actions of other characters.
The plot conflict is primarily person vs. society, with elements of person vs. self and person vs. nature.
The title itself has some significance --- who is the Giver?
The ending is deliberately written to be ambiguous --- do Jonas and Gabe live or die?
Assignment:
Students are to write a five-paragraph literary analysis of The Giver. This may follow the usual format in which the three body paragraphs are devoted, in turn, to the author's use of setting, character, and theme. Students also have the option of choosing a particular aspect of the author's work to explore. In any case, the essays should include mention of the various literary elements we have been used to including.
Students who choose to explore a theme must be certain to analyze this from the novel itself, and not just use the story as a jumping-off point for an essay about a theme. In other words, it WOULD be valid to discuss how the author establishes the tradition of ceremonial "release" to Elsewhere, and then allows Jonas to discover that "release" means death by euthanasia. It would NOT be valid simply to discuss euthanasia in abstract.
We spent the class period discussing the students' opinions and ideas of The Giver by Lois Lowry. All agreed that it was well-written, easy to read, intriguing, and thought-provoking.
Among their observations:
This fictional novel, set in an undisclosed future time and place, discusses what at first appears and then is eventually discovered behind the scenes of a utopian (or rather, dystopian) society, where emotion, memory, autonomy, and even color have been relinquished for safety and Sameness.
The point of view is third-person limited omniscient, as the narrator relates the inner thoughts and feelings of the protagonist Jonas, and the observed actions of other characters.
The plot conflict is primarily person vs. society, with elements of person vs. self and person vs. nature.
The title itself has some significance --- who is the Giver?
The ending is deliberately written to be ambiguous --- do Jonas and Gabe live or die?
Assignment:
Students are to write a five-paragraph literary analysis of The Giver. This may follow the usual format in which the three body paragraphs are devoted, in turn, to the author's use of setting, character, and theme. Students also have the option of choosing a particular aspect of the author's work to explore. In any case, the essays should include mention of the various literary elements we have been used to including.
Students who choose to explore a theme must be certain to analyze this from the novel itself, and not just use the story as a jumping-off point for an essay about a theme. In other words, it WOULD be valid to discuss how the author establishes the tradition of ceremonial "release" to Elsewhere, and then allows Jonas to discover that "release" means death by euthanasia. It would NOT be valid simply to discuss euthanasia in abstract.
Monday, March 2, 2009
All Writing Classes, February 27
All classes were canceled due to illness.
All lessons previously assigned will carry over an extra week.
All lessons previously assigned will carry over an extra week.
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