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ENG10H World Literature

~ agenda, homework, etc.

ENG10H World Literature

Category Archives: writing

revised revision deadlines

07 Monday May 2018

Posted by bllbrwn423 in general information, writing

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The revision protocol below contains deadlines for application and submission.  Both deadlines have changed.  The new deadline for applying to revise is Wed May 9, 3pm.  The new deadline for submitting revisions to TURNITIN is Wed May 16.

It is still true of the protocol that you may revise one assignment at a time.  Do not start a new revision application, until I have scored the previous revision.

 

You may use the following REVISION PROTOCOL anytime during this semester,
As long as you submit the annotated rubric by Mon May 7, 2018.
All revisions due to TURNITIN by Mon May 14, 2018.
If you have received below a 90% on a TURNITIN assignment and want to revise for an average of the two scores, download and print the the rubric that corresponds to this assignment.  To find the right rubric, see the links below, or the Canvas page called “rubrics, templates, models.”
On this rubric, identify the assignment you want to revise.
Check the same boxes of this 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 approved rubric 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.

short writing rubric
content writing rubric

agenda M/T May 7/8: Poetry Day–walls and games

06 Sunday May 2018

Posted by bllbrwn423 in agenda, direct instruction, listening, poetry, writing

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learning goal: how do you explain the human impulse to express experiences and emotions–for example the drive to create poetry?

Table of Contents: Borling; haiku

off-the-wall poetry: example and experiment (John Borling)

the haiku-who-am-I poetry game; play with a classmate

agenda F/M Apr 13/16: Poetry Day

13 Friday Apr 2018

Posted by bllbrwn423 in agenda, direct instruction, feedback, poetry, writing

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learning goal: how does concrete imagery help a poem, usually? or how does a metaphor do this, much of the time?

table of contents: Shakespeare, tetrameter, iambic, speaker

lessons from recent student poems, described by the teacher (list these on today’s blank sheet for your poetry folder)

Fear Poems (hunting in the halls) (cf. Macbeth 3.5)

assignment for next poetry day: a finished copy of the fear poem begun in today’s class, and a CORE Reflection on one of your original poems (including today’s fear poem), written for this class, or for some other audience or purpose (ineligible poems are ones for which you have already submitted a PDF)

agenda W/Th Feb 28/Mar1: Poetry Day, Poetry Contests

28 Wednesday Feb 2018

Posted by bllbrwn423 in agenda, general information, poetry, writing

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learning goal: which of my stronger poems do I want to enter in one of this year’s poetry contests?

extra credit opportunities

book drive (3 books by Mar 8): on index card–your name, date, book titles

“Agatha Rex” (Tue, Wed Mar 6,7): incontrovertible evidence of attendance at whole play

Hafez warm-ups: listening and experimenting

poetry contests

National Student Poetry Contest (deadline Mon April 30): http://libraryofpoetry.com

HIES Contest (deadline Wed Mar 7): http://hiespoetrycontest.wikispaces.com/

time to prepare poems for one, or both, of the contests

wyrd sisters’ lines from Macbeth

agenda T/W Feb 20/21: rugs, paragraphs, booklets

20 Tuesday Feb 2018

Posted by bllbrwn423 in agenda, assessment, drawing, The Kite Runner, writing

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learning goal: what literary motifs in The Kite Runner adapt themselves most forcefully to a visual motif in your original Persian-rug design?

sophs20feb18

By the end of this class, submit the complete assignment either for the carpet card or the KR paragraph.  The other assignment, if necessary, you may submit sometime before the next class on Th/F Feb 22/23. (Remember that submitting the carpet-card assignment means handing me the card and submitting the artist’s statement to TURNITIN.

carpet cards: type artist’s statement under these terms–100 words, 12 pt. font, 1.8″ margins on both sides; submit text to TURNITIN; this may mean pruning the existing text of your artist’s statement; I recommend printing and taping the new text to back of your rug; below you will find the current text of my artist’s statement*.

KR paragraphs:  if you are working on “Paragraph 2 (student art),” feel free to leave class in order to view the art piece in person across from the Campus Store entrance; finally, remember to use the complete template with pledge-header and acknowledgment-footer, whether or not you have someone/some source to acknowledge

KR booklets: turn them in by the end of class (you may want to keep them during class, as reference for the other projects)

 

*

The main visual motif represents companionship.  The interlocking designs symbolize Amir and Hassan’s relationship.  Although largely through Amir’s immaturity the companionship suffers harm, that injury is not irredeemable for Amir.  Another prominent motif is the three concentric circles that represent the idea of gaining perspective by walking in someone else’s shoes.  Gradually, Amir understands Hassan’s painful experiences.  Most readers see this pain before Amir, making them more empathetic as people themselves. The other major motif, a half-moon arc, represents the idea of a bridge.  This idea combines the other two by suggesting a way to make our companionships and relationships more empathetic—in other words, by building bridges instead of walls.                                         Bill Brown 20 Feb 2018

 

 

 

 

agenda T/W Feb 20/21: bookmark, paragraph

16 Friday Feb 2018

Posted by bllbrwn423 in agenda, drawing, submission, writing

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learning goal: describe how three significant motifs weave together in the novel.  What does this weaving mean to your overall understanding of the novel?

TIME IN CLASS: to complete the two projects due–(1) Persian rug bookmark and (2) one of the two paragraphs described in the instructions from last week (T/W Feb 13/14)*.

*KR: Two paragraphs and bookmark

Paragraph 1 (main idea)

A main idea you want to express about the novel as a whole, or about some particular aspect of the novel—for example, a character, theme, setting, or conflict.  What is the idea you want to express?  Why do you want to spend time trying to communicate it to others?

Recommendation: though not required, consulting the “Questions” section of your booklet’s interior may well produce a meaningful idea you want to express in this assignment. 

Paragraph 2 (student art)

How does one of the three pieces of student art (a painting, a photograph, and drawing) help you think about Hosseini’s novel in a new way?  What is the new thought, and how does this piece of art contribute to this new way of thinking about the book?

Recommendation: After viewing the student pieces in today’s agenda (T/W Feb 13/14), go see the actual art works; as of today, all three hang on the wall opposite the entrance to the campus shop.

Bookmark

Using the description of a 2014 HIES project (see other side of this sheet), create a bookmark.  One side of the bookmark shows an original Persian carpet design.  The other side briefly explains the design’s motifs and their significance to an understanding of the novel.

Recommendation: for ideas, review the Persian carpet design in the header of our course blog.

General Instructions

Complete the bookmark and one of the paragraphs (you choose) by the class on Tue/Wed Feb 20/21.  Submit the paragraph to the corresponding box in TURNITIN.

To be accepted, paragraphs must use the prescribed template, with the acknowledgment-footer describing sources for ideas or details originating from outside your own mind.  For example, if conversations or other types of exchanges with classmates produce ideas or details in the paragraph that would not otherwise be there, acknowledge that person or persons.  This is just one example of a situation requiring clear acknowledgment in the prescribed footer.  Paragraphs without the complete template will not be accepted.

General Recommendations

Unless you have another basic model in mind, I recommend the 11-part-paragraph structure for both paragraphs 1 & 2.  It continues to work for me in my personal and professional writing.

Actual passages from the novel itself will make your paragraphs more compelling.  Be sure, however, that the passages you choose to include support your ideas rather than overwhelm or outweigh them.  In other words, use more of your own sentences than Hosseini’s.

MOTIFS* IN VISUAL AND LITERARY ART (March 2014)

After reading Khaled Hosseini’s novel, The Kite Runner, set primarily in Afghanistan, students designed their own Persian rugs to represent motifs in the story.  The visual elements in these carpets embody literary elements seen by the artist as important to the novel.  Under each rug is the artist’s statement explaining the motifs, their relationships to one another and the significance of these motifs to an understanding of the overall novel.

In this novel, two young boys from different ethnic groups grow up as close friends.  The older boy’s inaction harms their relationship, and the rest of the story concerns that boy’s need to make amends for his mistakes.  Throughout the novel, readers learn about the history and culture of Kabul and neighboring Pakistan, as well as the daily lives of Afghani immigrants in California.

*Motifs, as defined by students at UNC Pembroke, are recurring objects, concepts or structures in a literary work. (http://www2.uncp.edu/home/canada/work/allam/general/glossary.htm)

 

due Th/F Feb 15/16: original ghazal

05 Monday Feb 2018

Posted by bllbrwn423 in homework, poetry, writing

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bring to this class an original ghazal, which includes the following ingredients:

multiple couplets–between 5 and 12 couplets

shared repeated word, or repeated phrase (refrain)–appears at end of second line in couplet

internal rhyme scheme/pattern: second line of couplet, right before refrain

signature couplet at end

no enjambments between couplets

in opening couplet only, both lines contain rhyme (qafia) and refrain (radif)

lines have similar length (hint: longer lines  give you more room to play with rhyme and refrain)

see color-coded version of Hollander poem, with occasional comments, here

 

 

 

 

agenda T/W Jan 16/17: Whale Rider

16 Tuesday Jan 2018

Posted by bllbrwn423 in agenda, assessment, email, writing

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learning goal: what do you learn from Pai and the struggles she faces?

WR exercise

several people who need to see rest of film:

Pt. 1:  Sam (D); Jack, Sarah (H)

Pt. 2: Jean (B); Miller, Emma (D); Ruthie (H)

 

HW: bring The Kite Runner to next class

agenda W/Th Jan 3/4: leaning into learning

03 Wednesday Jan 2018

Posted by bllbrwn423 in agenda, assessment, email, reading, writing

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learning goal: what is one small or large lesson you take from reading at least 2 of the model Camus paragraphs?

email assignment TBA in class

Revision Protocol.updated 29Nov17

29 Wednesday Nov 2017

Posted by bllbrwn423 in general information, writing

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YOU MAY USE THE FOLLOWING PROTOCOL ANYTIME DURING THIS SEMESTER,
AS LONG AS YOU SUBMIT THE INITIAL ANNOTATED RUBRIC BY Mon Dec 4, 2017. All revisions due to TURNITIN by Mon Dec 11, 2017.
If you have received below a 90% on a TURNITIN assignment and want to revise for an average of the two scores, download and print the corresponding rubric from the links below, or  from the Canvas page called “rubrics, templates, models.”
On this rubric, identify the assignment you want to revise.
Check the same boxes of this 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 approved rubric 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.

short writing rubric
content writing rubric
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