Missing blogs, rearranged plans, confusion reigns . . . SO sorry.
Updated info: Short story objective quiz is postponed,micro-theme topics available in full tomorrow, and there will be "daily work" category work assigned on the "solid sentence" and essential similarities/differences material. That requires teaching and practice before assessment; there will be plenty of time to "test" you on these concepts with later material.
But new info: having said that Part II was "due" to be finished on Friday, or Monday, OK, no later than Tuesday-- tomorrow (Tuesday) there WILL be a reading check quiz on this. You will need to supply responses--not multiple choice or matching!
TODAY IN CLASS
People who missed the quick-write on Friday had the rare opportunity to do that at the start of class. We discussed the "boiler passage" at some length (considering how short it is); tomorrow I will show you a couple of pretty solid examples. In 3rd we went on to the "chain gang" paragraph (did not get to the actual "grove of death" paragraph"--3rd has some prep work to do for tomorrow (see below).
In 4th we had to catch up with the voyage to Africa on the French steamer; then we moved on to the boiler passage. I didn't have the chance to explain the work for tomorrow, and I'm going to shift that portion to in-class. (Don't worry, 3rd, this will even out in the long run!)
So, FOR TOMORROW
4th--READ the next several paragraphs carefully (chain gang, two kinds of devils, and then especially the three paragraphs about the individuals gathered in the shade, apparently near death: "Black shapes crouched . . . , " "They were dying slowly . . , " and "Near the same tree . . ."
3rd--I pointed out the exact paragraphs in class and asked you to do some sort of graphic organizer that gives categories--look at selection of detail, diction, imagery, allusion, and try to find PATTERNS that help us understand how Conrad is writing this. (Yes, Marlow's POV here, of course, but it's Conrad's style achievements that we're mostly interested in at the moment. We will make the transition to Marlow's "attitude" toward what he sees as a next step.)
Your categories should not just be what I listed above; you should try to nail down how Conrad is using language to achieve various effects. Just try it. Group together "stuff" that seems similar; see where it leads you.
FOR THE SHORT FICTION MICRO-ESSAYS
Fuller details tomorrow: but here is the one topic that everyone must do. It's an out-of-class Question 3--similar in structure to what you'd do closed book on the AP exam, but different in that you will be expected to incorporate quotations: 600 words or so including some well-chosen, finely honed quoted material. There will be some further guidance on the final assignment sheet, but this is the topic, with the restriction that you are writing here about "Metamorphosis." That WAS on the list of choices for 1989, and that is the only work you may use for responding to this question:
1989. In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make people see.” Write an essay in which you “make a good case for distortion”" as distinct from literary realism. Analyze how important elements of the work you choose are “distorted” and explain how these distortions contribute to the effectiveness of the work. Avoid plot summary.
This one will be due at the end of the week you are back from Thanksgiving; two more (choices available tomorrow) will be due after that week-end (so by Dec. 8/9). Plenty else will be going on; this just gives you some flexibility.
Updated info: Short story objective quiz is postponed,micro-theme topics available in full tomorrow, and there will be "daily work" category work assigned on the "solid sentence" and essential similarities/differences material. That requires teaching and practice before assessment; there will be plenty of time to "test" you on these concepts with later material.
But new info: having said that Part II was "due" to be finished on Friday, or Monday, OK, no later than Tuesday-- tomorrow (Tuesday) there WILL be a reading check quiz on this. You will need to supply responses--not multiple choice or matching!
TODAY IN CLASS
People who missed the quick-write on Friday had the rare opportunity to do that at the start of class. We discussed the "boiler passage" at some length (considering how short it is); tomorrow I will show you a couple of pretty solid examples. In 3rd we went on to the "chain gang" paragraph (did not get to the actual "grove of death" paragraph"--3rd has some prep work to do for tomorrow (see below).
In 4th we had to catch up with the voyage to Africa on the French steamer; then we moved on to the boiler passage. I didn't have the chance to explain the work for tomorrow, and I'm going to shift that portion to in-class. (Don't worry, 3rd, this will even out in the long run!)
So, FOR TOMORROW
4th--READ the next several paragraphs carefully (chain gang, two kinds of devils, and then especially the three paragraphs about the individuals gathered in the shade, apparently near death: "Black shapes crouched . . . , " "They were dying slowly . . , " and "Near the same tree . . ."
3rd--I pointed out the exact paragraphs in class and asked you to do some sort of graphic organizer that gives categories--look at selection of detail, diction, imagery, allusion, and try to find PATTERNS that help us understand how Conrad is writing this. (Yes, Marlow's POV here, of course, but it's Conrad's style achievements that we're mostly interested in at the moment. We will make the transition to Marlow's "attitude" toward what he sees as a next step.)
Your categories should not just be what I listed above; you should try to nail down how Conrad is using language to achieve various effects. Just try it. Group together "stuff" that seems similar; see where it leads you.
FOR THE SHORT FICTION MICRO-ESSAYS
Fuller details tomorrow: but here is the one topic that everyone must do. It's an out-of-class Question 3--similar in structure to what you'd do closed book on the AP exam, but different in that you will be expected to incorporate quotations: 600 words or so including some well-chosen, finely honed quoted material. There will be some further guidance on the final assignment sheet, but this is the topic, with the restriction that you are writing here about "Metamorphosis." That WAS on the list of choices for 1989, and that is the only work you may use for responding to this question:
1989. In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make people see.” Write an essay in which you “make a good case for distortion”" as distinct from literary realism. Analyze how important elements of the work you choose are “distorted” and explain how these distortions contribute to the effectiveness of the work. Avoid plot summary.
This one will be due at the end of the week you are back from Thanksgiving; two more (choices available tomorrow) will be due after that week-end (so by Dec. 8/9). Plenty else will be going on; this just gives you some flexibility.
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