learning goal: how does one of the basic elements of fiction enrich your reading of the novel, The Samurai’s Garden?
Press paragraphs sent; link to exam quote bank
time to read
during last 15′-20′, respond to email re basic elements of fiction
learning goal: Stephen, Matsu, Sachi–on which one of these characters do you find yourself focusing most? Why do you think this person draws you in more than the other two?
introduction to the day (5′)
reading time (45′)
writing time (20′): an email to email@example.com (subject: focal character); in body of email write 5-10-sentence response to question in today’s learning goal; send email by the end of class; begin your email by identifying how far you have read–i.e., what page number
How much or how little does the following description fit Macbeth: “Overcoming his queasiness, the soldier ends up submitting to the order, and is then haunted by the thought that he’s colluded in a crime” (Eyal Press, Beautiful Souls, 7).
paragraph due to TRNTN before this T/W class begins; be careful to acknowledge all sources of help–e.g., classmates, Sparknotes, etc.
find your copy of the novel, The Samurai’s Garden (see reading schedule distributed in class F/M)
read the first section (“Autumn”) of the novel by the end of the week (Fri May 4)
learning goal: How much or how little does the following description fit Macbeth: “Overcoming his queasiness, the soldier ends up submitting to the order, and is then haunted by the thought that he’s colluded in a crime” (E. Press, Beautiful Souls, 7).
15′ group discussion (give each a chance to talk)
start paragraph (specifics TBA, with email; due to TRNTN before next class begins)
start novel (see reading schedule)
learning goal: what does the Macduff-Malcolm dialogue tell us about both men and the condition of Scotland under Macbeth’s rule?
(20′ hmwrk reading time for B and D blocks)
As I read your recent paragraphs on Acts 1 and 2, I asked myself these questions: How well does this person understand the basic terms in the exercise–e.g., the term “conscience”? How clearly does the paragraph express a main idea in its response? How convincingly does the writer choose and explain lines form the play that illustrate the main idea? How well does the writer maintain clear focus on the development of this main idea? How well does the writer convey an understanding of the basic development of the plot and the characters in the play so far?
I asked other questions, too, but these are the main ones I used to assess the paragraphs. As benchmark, I used the performance category called “Proficient,” which typically corresponds to a grade in the 80s because, as our rubrics indicate, the strengths outweigh the paragraph’s weakness. In an “Advanced” paragraph, strengths CLEARLY outweigh weaknesses. On the other side of the benchmark, the category marked “Developing” indicates that strengths and weaknesses appear in equal amounts, which warrants a score somewhere in the 70s. The “Beginning” category means the writing is farther from proficiency because its strengths are outweighed by weaknesses.
If you received below a 90 and want to revise the paragraph for a new, averaged score, show me a written plan for revision, based on any marginal notes from me and the questions expressed above in the first paragraph of this announcement. Once I approve the plan, you’re good to go. Hand me the revised paragraph, which you staple to the earlier version.
As for the Conscience Meters, the aspects I observed include, but are not limited to, the following: clarity, legibility, thoroughness, line numbers cited, alignment of meter reading and quoted passage.
As you read these scenes, write brief notes on the reading-guide questions distributed during the M/T class.
Feel free to read these scenes with Shakespeare in Bits, if that site helps you digest the language.
learning goal: over the course of the play’s first two acts, which character–Lady Macbeth or Macbeth–undergoes the most significant change in conscience? What does this change reveal about this character and about the play overall so far?
during class, complete individual writing exercise TBA
during class, as time allows, begin reading assignment due by next class (3.1-3.4)
Before next class, finish reading Act Two.
Also, using the framework established with Act One, make a set of conscience meters for scenes 1, 2, and 3 in Act Two–for Macbeth and Lady Macbeth. The framework displays a meter reading and corresponding illustrative passage for each of the scenes.
Have the new set of conscience meters ready to present or submit by the start of class.
Somewhere on the sheet, acknowledge any person or other source which helped you complete this set of conscience meters.