agenda Mon/Tue Oct 31/Nov 1: start reading ANTIGONE

learning goal: what re your first impressions of the play?  Where do these impressions come from?

 

intro to play

start reading play aloud together

first impressions?

Advertisements

due Mon/Tue Oct 31/Nov 1: summary and book

To class, bring a printed copy of the chapter summary begun in last class, if you did not hand it in during that class.

Keep your name off of this print-out.  REMEMBER TO DOUBLE-SPACE.

Also, bring your copy of the text called The Oedipus Cycle.

agenda Thu/Fri Oct.27/8: summaries

learning goal:  what basic ingredients constitute a summary?

group practice: summarize a recent C & G  article in small groups; develop working definition of “summary” (what does it look like?  what does it do?)

individual task: in 5-10 sentences, summarize book chapter (TBA); submit printed draft (without name on the summary)  Please double-space before printing.

with any time remaining, work on a membean learning session

ANNOUNCEMENT re Revisions

If you want to revise a TURNITIN assignment for a new score, averaged with the original one, please note the following protocol, which also appears in the Announcements section of the class page on Whipple Hill.  

If you have questions about the process or the rationale behind it, please leave a comment on this post, or contact me privately–by email or  in person. 

By: B Brown
YOU MAY USE THE FOLLOWING PROTOCOL ANYTIME DURING THIS SEMESTER, AS LONG AS YOU SUBMIT THE INITIAL ANNOTATED RUBRIC BEFORE THE START OF EXAM REVIEW WEEK.
If you have received below a 90% on a TURNITIN assignment and want to revise for an average of the two scores, download the corresponding rubric from the “Grading Rubric” section of our class page on the school site. On this rubric, identify the assignment you want to revise.
Check the same boxes of the rubric that I did on TURNITIN. On the BACK of the sheet, explain your specific plans for revision, based on the rubric and my marginal comments, both Quickmarks and other comments.
Hand the completed sheet to me, and wait for its return before you start revising.

Once you have submitted your revised assignment to TURNITIN, return the annotated rubric sheet to me, as a signal for me to assess the new version.

SPECIAL NOTE: YOU ARE ELIGIBLE TO REVISE A SECOND ASSIGNMENT ONLY AFTER HAVING COMPLETED THE FIRST REVISION. A REVISION IS COMPLETE, ONCE YOU HAVE RETURNED THE ANNOTATED RUBRIC.

 

 

agenda Tue/Wed Oct 25/6: Poetry Day, Wayman, Cavafy

learning goal: what is diction, and how might it be related to the speaker of a poem?

 

Poetry Folders Table of Contents: Wayman, Cavafy; speaker, diction, concrete imagery

read aloud: “What Good Poems are For”

on poster paper, in groups: top tanka, or outstanding stanza

explain next original poem assignment: A Poem in Two Voices (due Poetry Day #8, Thu/Mon Nov 17/28)

examples of diction from three poems: “Dulce et Decorum Est,” “An Irish Airman Foresees his Death,” and “We Real Cool“

next CORE reflective writing due Poetry Day #7 (M/T Nov 7/8)

 

agenda Mon Oct 24 (H and E blocks): writing time

learning goal: what several changes to my current poem draft will sharpen the imagery and tighten the overall poem?

 

time to work on the poem assignment for next Poetry Day (Wed Oct 26): ten tanka or calendar poem

if you want, bring printed copy to Mr. Brown for feedback

due poetry day after next (Oct 25/6): original poem(s)

ENG10H World Literature

You have two cycles to consider and create an original poem, or set of poems.  Choose either the tanka form, or Tada Chimako’s “Calendar in Verse” as a model.

TANKA

This option means writing ten tanka.  Therefore, it makes sense for you to have more time than usual for this assignment.  Take the time to enjoy composing a set of such poems.  As you do, remember some of the tanka’s basic principles listed below.  Meeting these challenges requires patience, imagination and perseverance.

Basic Tanka Principles

1. A haiku + 2: in other words, five lines total.  The strict syllable count is 5-7-5-7-7.
2. Use concrete imagery, and watch for metaphorical possibilities in this imagery. (Remember that the term “imagery” denotes language appealing to any of our five senses.  It is not limited to the sense of sight.  Also, remember that concrete (specific) imagery is the most powerful kind.)
3. Ideally, the first three lines (the…

View original post 240 more words

agenda Thu/Fri Oct 20/1: the rest of “Rashomon”

learning goal: what film techniques emphasize certain aspects of Akutagawa’s original  short story, “In a Grove”?

watch and discuss rest of the 1950 film, directed by Japanese filmmaker Kurosawa

 

agenda Thu/Fri Oct 13/14: more revisions, more masterpieces

learning goal: what do these three Quickmarks have in common: “Active Voice,” “Adj Spec,” and “There is”?

warm-up: reactions to data about chosen masterpieces (10′)

Qmark instruction (15′) see learning goal

revision time (40′) for “SS assessment” about a masterpiece

submission time (5′) submit revision to TURNITIN (SS assessment | Revision 1)

due by midnight of day revisions start in class (Thu or Fri)

Masterpieces of short fiction

In the short story assessment, people were asked to define a masterpiece and identify which of the four stories we have studied comes closest to matching this definition.

Here are the results (letters represent course sections/numbers represent choices).

Gordimer’s “The Ultimate Safari”: A/5, E/3, H/6

Camus’s “The Guest”: A/1, E/0, H/7

Akutagawa’s “In a Grove”: A/5, E/5, H/0

Garcia-Marquez’s “A Very Old Man with Enormous Wings”: A/4, E/3, H/0

OR put another way

A block: Gordimer 5, Camus 1, Akutagawa 5, Marquez 4

E block: Gordimer 3, Camus 0, Akutagawa 5, Marquez 3

H block: Gordimer 6, Camus 7, Akutagawa 0, Marquez 0