LINK TO ONLINE TEXTBOOK:
http://www.nexuslearning.net/books/Elements_of_Lit_Course6/default.htm
LINK TO KING LEAR POWERPOINT:
http://www.slideshare.net/anniekrespil/shakespeares-world-and-king-lear-7851569
Vocabulary, final quarter
stymie
hiatus
compendium
redoubtable
incantation
obstreperous
vicarious
parsimonious
embroil
paradigm
bulwark
repartee
vacillate
repudiate
abstruse
zeitgeist
gestalt
timorous
prosaic
pique
Literary Terms, final quarter
stage left/right
upstage/downstage
soliloquy
monologue
cue
director
stage manager
pun
satire
melodrama
closet drama
periphrasis
dystopic literature
aposiopesis
colloquialism
trope
zeugma
romantic irony
cosmic irony
GUIDELINES FOR LITERARY JOURNAL (50 points) Due April 24
Choose at least 1:
1) Prose fiction: 4-8 pages (all of my typing rules apply, as with the book
report).
2) Poetry: At least 24 lines (minimum of 8 words per line). May be more
than one poem.
3) Drama: 4-8 pages.
4) Personal essays: 3-6 pages, on a subject of intense interest to you.
Do NOT submit classroom essays of a research nature.
5) Attach a form to your submission with your name, title of the work,
phone number, and e-mail address. DO NOT PUT ANY OF THIS
INFORMATION ON THE SUBMISSION ITSELF!
6) 50 points extra credit if your work is chosen for THE WRITTEN
PORTRAIT.
GUIDELINES FOR SHAKESPEARE RESEARCH PAPER (due May 10; thesis due April 26)
--choose any Shakespeare play except HENRY V or KING LEAR
--thoroughly research Elizabethan history and culture, PLUS the time period in
which the play is set, if clearly different from Shakespeare's time
--write about how the play reveals the manners, values, and culture of
1590-1616, as well as any separate setting called for in the play (ancient
Rome, etc.)
--do not write in general terms but have a specific point or two in mind and
concentrate in those by way of a very-focused thesis statement
--your thesis statement must be cleared by me in advance by April 26
--use pages 240-259 in text as guidance
--4 to 5 pages; typed, double-spaced, Times New Roman font, 1-inch margins ONLY!
'A TALE OF TWO CITIES' READING ASSIGNMENT (due May 14)
--ALL students read Book 1 (first 6 chapters) and the final 3 chapters (Book
3, Ch. 13-15)
--PLUS, each group reads these chapters and will present plot, characters,
themes, motifs, and symbols to the class:
6TH BLOCK
--Group 1: Book 2, Ch. 1-3
--Group 2: Book 2, Ch. 4-6
--Group 3: Book 2, Ch. 7-9
--Group 4: Book 2, Ch. 10-12
--Group 5: Book 2, Ch. 13-15
--Group 6: Book 2, Ch. 16-18
--Group 7: Book 2, Ch. 19-21
--Group 8: Book 2, Ch. 22-24
--Group 9: Book 3, Ch. 1-3
--Group 10: Book 3, Ch. 4-6
--Group 11: Book 3, Ch. 7-9
--Group 12: Book 3, Ch. 10-12
7th BLOCK
--Group 1: Book 2, Ch. 1-6
--Group 2: Book 2, Ch. 7-12
--Group 3: Book 2, Ch. 13-18
--Group 4: Book 2, Ch. 19-24
--Group 5: Book 3, Ch. 1-6
--Group 6: Book 3, Ch. 7-12
GUIDELINES FOR PLAY REVIEWS (due by May 16)
1) 1 1/2 pages, typed, double-spaced
2) Make note of all the points below at a minimum. Write as a formal
essay, NOT as a list.
3) Points to consider:
1. Describe the sets (scenery) and lighting. What colors, textures,
and designs do you see? What do they make you expect?
2. Describe the first scene in particular. What kind of mood does it
establish for the play/film? What exposition is revealed?
3. What is the music like? How does it reinforce the action/
characters?
4. Summarize all of the action. Is it easy to follow? Who are the
protagonist/antagonist? What is the conflict? What are the crisis and
climax?
5. Describe the costumes. How do they reinforce the connections
between the characters? Do you notice similarities in colors/
textures/styles between characters who are related by blood or alliance?
Are there clashing colors/ textures/styles to show conflict between
characters? Do the costumes reveal anything specific to a character?
6. Is the acting clear? Do the actors make it easy to follow the plot?
Did you believe that the actors were who they pretended to be or did they
seem phony?
7. If there are fight scenes and/or musical numbers, do they help you
to understand the story? Do they reinforce the plot/characters or do they
seem to be there just for show?
8. What are the themes that are addressed by the playwright/
screenwriter? Are there any symbols that aid your understanding of the
themes?
9. Did you like it, hate it, sleep through it, or just not understand
it? Why?
COMMUNITY IMPROVEMENT PROJECT GUIDELINES
(300 points; start presentations May 16)
PURPOSE: This group project is intended to be a synthesis of the
language arts skills you have acquired in this course. By planning and
promoting a ?real-world? activity that will benefit your community, you will
experience the value of these skills in a non-school setting.
300 POINTS.
WHO: All of Mr. Kroenung?s Pre-IB 10 students.
WHEN: Presentations will begin on mid-May.
WHERE: In your regular classroom.
WHAT: A comprehensive plan to effect a positive change in the
community.
*YOU ARE NOT RESPONSIBLE FOR, NOR GRADED ON, ACTUAL IMPLEMENTATION OF THE
PROJECT! Most projects will likely not be adopted by the community, due to
factors beyond your control. Your assignment is to PLAN a project and attempt
to convince an authority to carry it out. Your grade is based on the plan
itself, as well as your presentation of it to the class.
MINIMUM REQUIREMENTS-- Your project must be:
*realistic
*long-lasting
*philanthropic
*have some artistic component
*educational
*safe
*affordable
*easy to maintain or continue
*presented in person or in writing to the authority empowered to actually
carry it out (group must provide proof of contact)
EXECUTION: There will be a written, spoken, and artistic component to
each group member's role in the project. Each person will speak an
approximately equal length of time during the presentation (at least 3
minutes). Each person will submit a 2 to 3-page typed description of the
project in general and your role in it. Each group will submit an artistic
representation of some aspect of your project.
SOME FORM OF MEDIA MUST BE USED BY THE GROUP AT THE
PRESENTATION (video, PowerPoint, audio tape, etc; be creative!).
COMPASSION WRITING CONTEST (April 12; 2 pages only; required; 50 points)
Write a story (fiction), essay (non-fiction), or poem that defines one of
the 5 elements of compassion:
1) Love (for your fellow man and the downtrodden, NOT romantic love)
2) Empathy
3) Understanding
4) Gratitude for all things
5) Giving selflessly for the happiness of all beings
Due to Mr. Kroenung no later than April 12. 50 points. Best 2 entries in
each class will be sent to the District-Rotary Club contest. $50 prize!
GUIDELINES FOR LITERARY JOURNAL (50 points) Due April 15)
1) Prose fiction: 4-8 pages (all of my typing rules apply, as with the book
report).
2) Poetry: At least 24 lines (minimum of 8 words per line). May be more
than one poem.
3) Drama: 4-8 pages.
4) Personal essays: 3-6 pages, on a subject of intense interest to you.
Do NOT submit classroom essays of a research nature.
5) Attach a form to your submission with your name, title of the work,
phone number, and e-mail address. DO NOT PUT ANY OF THIS
INFORMATION ON THE SUBMISSION ITSELF!
6) 50 points extra credit if your work is chosen for THE WRITTEN
PORTRAIT.
SHAKESPEARE ESSAY TEST INFO
Know the plot, symbols, themes, and motifs of KING LEAR, HENRY V, and THE
TEMPEST. The test will be a series of essays comparing and contrasting
selected issues which appear in the plays.
VOCABULARY and LITERARY TERMS REVIEW LIST
VOCABULARY
Enigma
Iconoclast
Parochial
Propensity
Evanescent
Irrefutable
Negligible
Innate
Salubrious
Sycophant
Spurious
Aloof
Lethargy
Taciturn
Placate
Capricious
LITERARY TERMS
Inciting incident
Antagonist
Motivation
Mood
Exposition
Round character
Diction
Connotation
Tone
Conflict
Denouement
Denotation
Dynamic character
Crisis
Stock character
Rising action
Flat character
BOOK REPORT #1 GUIDELINES
1st draft for peer-editing first class day in October; final draft due
the class after that
3-4 FULL pages
Typed, black ink, 12 point Times New Roman font, 1-inch margins, double-spaced
No pictures; no all italics or all bold (except for titles)
Give it a title besides the name of the book
Good introduction, good conclusion
Avoid all of the Writing Pet Peeves
Must be a non-Victorian British novel pre-approved by me, at least 250 pages
Summarize the plot or main points; include a character sketch of someone who
stood out; tell us why you chose the book and why it was good or bad
Attach a completed plot diagram (NOT part of your page count)
BOOK REPORT #2 GUIDELINES (100 points)
Due December 6 or 7, beginning of block (final draft due Dec. 8 or 9)
4-5 full pages (no more than 1 inch from bottom of 4th sheet)
Typed, black ink, 12 point Times New Roman font, 1-inch margins, double-
spaced
No pictures; no all italics or all bold (except for titles)
Give it a title besides the name of the book
Good introduction, good conclusion
Avoid all of the Writing Pet Peeves
Must be a Victorian novel, at least 250 pages. Do NOT do GREAT EXPECTATIONS.
Briefly summarize main points, then analyze the work in terms of: plot,
character, point-of-view, symbolism, archetypes, and theme.
GUIDELINES FOR ODYSSEY ESSAY
1) 3-4 pages, doubled-spaced, 12-point Times New Roman font.
2) Discuss the role of archetypes and motifs in THE ODYSSEY,
particularly as they support one of the themes of Loyalty or Hospitality
(choose only 1 theme; develop it in more detail than I have given it here).
Give evidence for your opinion.
3) Formal essay--all Pet Peeve rules apply.
GUIDELINES FOR 3rd BOOK REPORT (1st draft due March 1/2; final due March
3/4)
1) For EVERY book report: 1-inch margins, 12-point Times New Roman
or Courier font; double-spaced; do not type the whole paper in bold,
italics, or color; give it a title besides merely the name of the book;
watch your Writing Pet Peeves; good introduction and conclusion.
2) CHOOSE 2 BOOKS; both books must be non-fiction, dealing with a similar
topic, and appropriate for school.
3) Have a good intro and conclusion. Avoid Pet Peeves. Discuss the
books' topics and themes in general, then compare/contrast them in
detail. Talk about content, writing style, and any prejudices/biases the
authors may display.
4) 3-4 pages.
MIDTERM EXAM REVIEW
Vocabulary 1st quarter
Evanescent
Negligible
Lethargy
Capricious
Enigma
Propensity
Sycophant
Spurious
Parochial
Taciturn
Irrefutable
Iconoclast
Aloof
Innate
Placate
Salubrious
Literary Terms 1st quarter
Denotation
Connotation
Protagonist
Antagonist
Conflict
Exposition
Inciting incident
Rising action
Crisis
Climax
Denouement
Dynamic character
Static character
Round character
Flat character
Stock character
Motivation
Tone
Mood
Diction
Vocabulary 2nd quarter
Magnanimous
Elucidate
Dulcet
Augment
Perfunctory
Latent
Quixotic
Charlatan
Deprecate
Morose
Astute
Intrepid
Prodigious
Zealot
Endemic
Arbiter
Demagogue
Temerity
Debacle
Relegate
Anomaly
Literary Terms 2nd quarter
Simile
Metaphor
Personification
Implied metaphor
Dead metaphor
Verbal irony
Situational irony
Dramatic irony
Foil
Deus ex machina
Peripeteia
Catharsis
Genre
Hubris
Climactic plot
Episodic plot
Subplot
Objective narration
Antihero
Stream-of-consciousness narration
Bildungsroman
LIFE OF PI/SAMURAI'S GARDEN essay: 2 pages, double-spaced, 1-inch margins,
Times New Roman 12-point font); due Nov. 30
The Hero/Villain Archetypes
THE CHIEF -- This man is the quintessential alpha hero. The born leader or
the conqueror. He's tough, decisive, goal-oriented. He can be overbearing and
inflexible, and his motto is, "Do something or get out of the way!" In his
work he tends to be at the top of his career field---maybe the CEO of a
major corporation, or the prince. Some examples of Chiefs: John Wayne in most
ofhis movies, Captain Kirk of Star Trek, Marlon Brando in The Godfather. If
this man were trapped in a basement with an unconscious heroine and a bomb
ticking, his first reaction would be anger, which he would, of course want to
take out on someone else. He can never admit he's made a mistake, and since
he's been trapped, well...he knows he's made a mistake. He's used to being in
charge, so he's going to make a command decision about what to do, and he's
going to make it quickly and act on it. This is the guy who'd get on his cell
phone and demand that someone come get him out. Or, because he's a planner,
he might have told someone ahead of time to come looking for him if he didn't
return.
THE BAD BOY -- He's the rebel, perhaps the boy from the wrong side of the
tracks. He can be bitter and volatile, a crushed idealist, but he's also
charismatic and street smart. He hates authority and doesn't buckle under to
anyone, which is why he often chooses jobs where he's his own boss. In
western historicals, he's the perfect outlaw. Some examples of Bad Boys:
James Dean, Patrick Swayze in Dirty Dancing, Jack Nicholson often plays Bad
Boy roles. If this man were trapped in the basement with an unconscious
heroine and a bomb ticking, he'd be very physical. He's going to be resentful
and have a bad attitude, but he's used to being in tight spots. He's a Bad
Boy, after all. He might pick the lock or just beat his way out
and really enjoy it!
THE BEST FRIEND -- This is the beta hero. He's kind, responsible, decent. Mr.
Nice Guy. He doesn't enjoy confrontation and can sometimes be unassertive
because he doesn't want to hurt anyone's feelings. But he'll always be there.
This is the guy, who in school was often unappreciated. Women didn't realize
what all he had to offer until he was an adult. Examples of Best Friends: Tom
Hanks almost always plays a Best Friend in his movies, Bill Pullman in While
You Were Sleeping, Jimmy Stewart in It's a Wonderful Life. Trapped in the
basement, this man would at first be incredulous. "I can't believe this is
happening!" But his first act would be to care for the heroine. He, of all
the archetypes, would seek her help. He's practical, down to earth, so he'd
assess what could be done and get to work. He'll be very determined because
he's responsible for the heroine. He's a people person and he'll always put
their needs first.
THE CHARMER -- Fun, irresistible, a smooth operator, yet not necessarily
responsible or dependable. He might be a playboy or a rogue, and he's not
going to have an easy time committing to a woman. He's not crazy about hard
work, and he might be in sales, or a gambler in the wild west. Examples of
Charmers: Ferris Bueller, or Tom Selleck in Magnum P.I. Light comedy also
works well with this hero. If this guy's trapped in the basement, he'll be
smooth. He might try to talk his way out with the bad guys. Only as a last
resort would he do something physical, like break out. If he's rescued
it might be by an old girlfriend who happens along. After all, he's a playboy
and knows everyone!
THE LOST SOUL -- This man is tortured, secretive, brooding, and unforgiving.
But he's also vulnerable. He might be a wanderer or an outcast. In work he's
creative, but probably also a loner, so he might be an undercover cop, or do
something artistic. Examples of Lost Souls: Heathcliff, Hamlet, Nicholas Cage
in Moonstruck. If a Lost Soul is trapped in the basement, he'll be
fatalistic. His whole life's been a series of despairing events and this will
be just another in the long line of doom and gloom. He won't care about
saving himself, the only reason he'll try to get out is for the heroine's
sake. He might go crazy, bashing against doors and windows with a surge of
adrenaline. He's able to call up enormous physical strength in a situation
like this. He's the most likely to know of a hidden tunnel through which they
can escape, since he's lived most of his life in the shadows. Rescue? Not
likely, unless it's via the heroine. The Lost Soul has no friends.
THE PROFESSOR -- The first time you meet him, this guy might not be your idea
of a hero -- logical, introverted, inflexible. But he is genuine about his
feelings, and he's also honest and faithful. At work he likes numbers and
cold, hard facts, thank you very much. Examples: Spock in Star Trek, Jeff
Goldblum in Independence Day, and Kelsey Grammer on Frasier. If you pair him
with a ditzy heroine, he'd be a great hero for light comedy. Put a Professor
in a basement with an unconscious heroine and a ticking bomb and he'll be
totally calm. This man will look at the bomb itself, analyze all the facts of
the situation, make calculations, and see all the small details around him.
He'll think his way out.
THE SWASHBUCKLER -- Action, action, and more action for this hero. He's
physical and daring. He has no fear, he's a daredevil, or an explorer. Give
him thrills and chills and he's happy. Examples: Indiana Jones, Jackie Chan,
Michael Douglas in Romancing the Stone. A bomb in the basement? What an
adventure! The Swashbuckler might use the explosion of the bomb itself to
blast a way out. However he does it, it's liable to be a show. If he's
rescued it'll be pure chance, and he'll be slightly offended because, after
all, "He could have gotten them out himself!"
THE WARRIOR -- He's the reluctant rescuer, the knight in shining armor. He's
noble, tenacious, relentless, and always sticks up for the underdog. If a
protector is what you're looking for, this is your man. He won't buckle under
to rules, or play the game just to get along. Examples: Hercules, Dirty
Harry, and Stephan Segal and Bruce Willis often play Warriors in their
movies. He's the FBI agent or the Navy SEAL. Trap this man in a basement and
his reaction is going to be pure outrage. "How dare the villain do this to
the heroine!" He's a protector, so his focus is going to be on rescuing the
heroine. Like the Professor, he's going to see the components of the things
around him and use them to make a weapon or figure a way to get out. It's
possible he's had Special Forces training, and he's naturally a warrior in
every way. He's not going to be rescued. This man IS the cavalry. Any rescue
would come through the heroine.
THE HEROINE/VILLAINESS ARCHETYPES
The BOSS: a real go-getter, she climbs the ladder of success. This is a
take-charge female, who accepts nothing but respect. Reaching her goal post
the most important thing in life to her, and she isn't bothered by a few
ruffled feathers along the way. Think Annette Bening in American Beauty,
Candice Bergen in Murphy Brown, Cate Blanchett in Elizabeth.
The Seductress: an enchantress, she gets her way. This is a lady who is long
accustomed to sizing up everyone in a room the minute she enters. Mysterious
and manipulative, she hides a streak of distrust a mile wide and ten miles
deep. Cynicism guides her every action, and her tough sense of survival gives
her the means to do whatever is necessary to come out ahead. Think Liz Taylor
in Cleopatra, Sharon Stone in Basic Instinct, Vivian Leigh in Gone With the
Wind, Madonna in Evita.
The SPUNKY KID: gutsy and true, she is loyal to the end. She is a favorite of
many writers, and for good reason. You can't help but root for her. She's
the girl with moxie. She's not looking to be at the top of the heap; she just
wants to be in her own little niche. She's the team player, the one who is
always ready to lend a hand. Think Meg Ryan in Sleepless in Seattle, Melanie
Griffith in Working Girl, Mary Tyler Moore in The Mary Tyler Moore Show,
Whoopi Goldberg in Sister Act, Fiona in Shrek.
The FREE SPIRIT: eternal optimist, she dances to unheard tunes. Playful and
fun-loving, she travels through life with a hop, skip and a jump, always
stopping to smell the flowers and admire the pretty colors. She acts on a
whim and follows her heart, not her head. Think Jenna Elfman in Dharma &
Greg, Lucille Ball in I Love Lucy, Alicia Silverstone in Clueless.
The WAIF: a distressed damsel, she bends with the wind. She's the original
damsel in distress. Her child-like innocence evokes a protective urge in the
beastliest of heroes. But don't be fooled, because the WAIF has tremendous
strength of will. She won't fight back; she'll endure. Think Judy Garland
in the Wizard of Oz, Marilyn Monroe in The Misfits, Peta Wilson in La Femme
Nikita, Demi Moore in Ghost, Halle Barry in Monster's Ball.
The LIBRARIAN: controlled and clever, she holds back. She's prim and proper,
but underneath that tight bun lurks a passionate woman. Dressed to repress,
she might be the know-it-all whose hand is always up in class, or maybe she
is the shy mouse hiding in the library. Think Kathleen Turner in Romancing
the Stone, Ellen Barkin in The Big Easy, Shelley Long in Cheers, Gillian
Anderson in The X-Files.
The CRUSADER: a dedicated fighter, she meets her commitments. No shrinking
violet, no distressed damsel, here. This lady is on a mission, and she
marches right over anyone in her way. Tenacious and headstrong, she brushes
off any opposition to her goal. Think Diana Rigg in The Avengers, Sigourney
Weaver in Alien, Sarah Michelle Gellar in Buffy, the Vampire Slayer, Lucy
Lawless in Xena, Warrior Princess.
The NURTURER: serene and capable, she nourishes the spirit. Not always Suzy
Homemaker, this lady takes care of everyone. She is a wonderful listener, and
a joy to have around, this heroine takes care of everyone. She's serene,
capable and optimistic. Think Michelle Pfeiffer in Ladyhawke, Alicia Nash in
A Beautiful Mind, Julie Andrews in Mary Poppins.
VILLAIN ARCHETYPES
The TYRANT: the bullying despot, he wants power at any price. He ruthlessly
conquers all he surveys, crushing his enemies beneath his feet. People are
but pawns to him, and he holds all the power pieces. Hesitate before getting
in this man's way -- he'll think nothing of destroying you.
The BASTARD: the dispossessed son, he burns with resentment. He can't have
what he wants, so he lashes out to hurt those around him. His deeds are often
for effect -- he wants to provoke action in others. He proudly announces his
rebellious dealings. Don't be fooled by his boyish demeanor -- he's a
bundle of hate.
The DEVIL: the charming fiend, he gives people what he thinks they deserve.
Charisma allows him to lure his victims to their own destruction. His ability
to discover the moral weaknesses in others serves him well. Close your ears
to his cajolery -- he'll tempt you to disaster.
The TRAITOR: the double agent, he betrays those who trust him most. No one
suspects the evil that lurks in his heart. Despite supportive smiles and
sympathetic ears, he plots the destruction of his friends. Never turn your
back on him -- he means you harm.
The OUTCAST: the lonely outsider, he wants desperately to belong. Tortured
and unforgiving, he has been set off from others, and usually for good cause.
He craves redemption, but is willing to gain it by sacrificing others. Waste
no sympathy on him - he'll have none for you.
The EVIL GENIUS: the malevolent mastermind, he loves to show off his superior
intelligence. Intellectual inferiors are contemptible to him and that
includes just about everyone. Elaborate puzzles and experiments are his
trademark. Don't let him pull your strings --the game is always rigged in
his favor.
The SADIST: the savage predator, he enjoys cruelty for its own sake. Violence
and psychological brutality are games to this man; and he plays those games
with daring and skill. Run, don't walk, away from this man -- he'll tear
out your heart, and laugh while doing it.
The TERRORIST: the dark knight, he serves a warped code of honor. Self-
righteous, he believes in his own virtue, and judges all around him by a
strict set of laws. The end will always justify his nefarious means, and no
conventional morality will give him pause. Don't try to appeal to his sense
of justice -- his does not resemble yours.
VILLAINESS ARCHETYPES
The BITCH: the abusive autocrat, she lies, cheats, and steals her way to the
top. Her climb to success has left many a heel mark on the backs of others.
She doesn't care about the peons around her -- only the achievement of her
dreams matters. Forget expecting a helping hand from her -- she doesn't
help anyone but herself.
The BLACK WIDOW: the beguiling siren, she lures victims into her web. She
goes after anyone who has something she wants, and she wants a lot. But she
does her best to make the victim want to be deceived. An expert at seduction
of every variety, she uses her charms to get her way. Don't be fooled by her
claims of love --it's all a lie.
The BACKSTABBER: the two-faced friend, she delights in duping the
unsuspecting. Her sympathetic smiles enable her to learn her victims'
secrets, which she then uses to feather her nest. Her seemingly helpful
advice is just the thing to hinder. Put no faith in her -- she'll betray
you every time.
The LUNATIC: the unbalanced madwoman, she draws others into her crazy
environment. The drum to which she marches misses many a beat, but to her, it
is the rest of the world that is out of step. Don't even try to understand
her logic -- she is unfathomable.
The PARASITE: the poisonous vine, she collaborates for her own comfort. She
goes along with any atrocity, so long as her own security is assured. She
sees herself as a victim who had no choice, and blames others for her crimes.
Expect no mercy from her -- she won't lift a finger to save anyone but
herself.
The SCHEMER: the lethal plotter, she devises the ruin of others. Like a cat
with a mouse, she plays with lives. Elaborate plans, intricate schemes;
nothing pleases her more than to trap the unwary. Watch out for her complex
designs -- she means you no good.
The FANATIC: the uncompromising extremist, she does wrong in the name of
good. She justifies hers action by her intent, and merely shrugs her
shoulders at collateral damage. Anyone not an ally is an enemy, and
therefore, fair game. Give up any hope of showing her the error of her ways
--she firmly believes you are wrong, wrong, wrong.
The MATRIARCH: the motherly oppressor, she smothers her loved ones. She knows
what's best and will do all in her power to controls the lives of those who
surround her -- all for their own good. A classic enabler, she sees no fault
with her darlings, unless they don't follow her dictates. Don't be lured
into her family nest -- you'll never get out alive.
HOW TO READ LITERATURE LIKE A PROFESSOR ESSAY (100 points)
Due first class in November
Pre-IB: analyze THE BOOK THIEF, using Foster's techniques
3 full pages (no more than 1 inch from bottom of 3rd sheet)
Typed, black ink, 12 point Times New Roman font,
1-inch margins, double-spaced
No pictures; no all italics or all bold (except for titles)
Give it a title besides the name of the book
Good introduction, good conclusion
Avoid all of the Writing Pet Peeves
FINAL EXAM REVIEW, 1st SEMESTER
Vocab and Terms (25)
Magnanimous
Elucidate
Augment
Latent
Charlatan
Deprecate
Astute
Intrepid
Prodigious
Demagogue
Debacle
Relegate
Personification
Implied metaphor
Verbal irony
Situational irony
Dramatic irony
Foil
Deus ex machina
Peripeteia
Catharsis
Objective narration
Antihero
Stream-of-consciousness narration
Authors (5)
Thomas C. Foster
Anonymous
Geoffrey Chaucer
Giovanni Boccaccio
Sir Thomas Malory
Works (9)
How to Read Literature Like a Professor
Beowulf
Gilgamesh
Lord Randall
Get Up and Bar the Door
The Canterbury Tales
Federig's Falcon
Le Morte d'Arthur
Sir Gawain and the Green Knight
Terms, Characters, Plots (20)
motif
archetype
epic
epic hero
foil
ballad
vernacular
iambic pentameter
frame story
romance
romance hero
Grendel
Enkidu
Wife of Bath
Lord Randall
Arthur
Mordred
Morgan le Fay
Sir Bedivere
Green Knight
The Hero's Journey
Joseph Campbell's monomythic structure
A hero ventures forth from the world of common day into a region of
supernatural wonder: fabulous forces are there encountered and a decisive
victory is won: the hero comes back from this mysterious adventure with the
power to bestow boons on his fellow man.
The Hero With a Thousand Faces
SHORT VERSION
Miraculous Birth
Initiation
Withdrawal
Trial and Quest
Death
Descent into the underworld
Resurrection and rebirth
Ascension, apotheosis, and atonement
LONG VERSION
DEPARTURE
--The Call to Adventure--destiny has summoned the hero; sometimes the call to
adventure happens of the character's own volition; visits wondrous lands such
as a distant land, a forest, a kingdom underground, beneath the waves, or
above the sky, a secret island, lofty mountaintop, or profound dream state.
--Refusal of the Call--This may be from a sense of duty or obligation, fear,
insecurity, a sense of inadequacy. Walled in boredom, hard work, or 'culture,'
the subject loses the power of significant affirmative action and becomes a
victim to be saved.
--Supernatural Aid--his or her guide and magical helper appears, or becomes
known. More often than not, this supernatural mentor will present the hero
with one or more talismans or artifacts that will aid them later in their
quest.
--The Crossing of the First Threshold--the person actually crosses into the
field of adventure, leaving the known limits of his or her world and venturing
into an unknown and dangerous realm where the rules and limits are not known.
--Belly of the Whale--represents the final separation from the hero's known
world and self. By entering this stage, the person shows willingness to
undergo a metamorphosis.
INITIATION
--The Road of Trials--a series of tests, tasks, or ordeals that the person
must undergo to begin the transformation. Often the person fails one or more
of these tests, which often occur in threes.
--The Meeting With the Goddess--the person experiences a love that has the
power and significance of the all-powerful, all encompassing, unconditional
love that a fortunate infant may experience with his or her mother. This is a
very important step in the process and is often represented by the person
finding the other person that he or she loves most completely.
--Woman as Temptress--temptations that may lead the hero to abandon or stray
from his or her quest, which does not necessarily have to be represented by a
woman. Woman is a metaphor for the physical or material temptations of life,
since the hero-knight was often tempted by lust from his spiritual journey.
--Atonement with the Father--the person must confront and be initiated by
whatever holds the ultimate power in his or her life.
--Apotheosis--When someone dies a physical death, or dies to the self to live
in spirit, he or she moves beyond the pairs of opposites to a state of divine
knowledge, love, compassion and bliss. A more mundane way of looking at this
step is that it is a period of rest, peace and fulfillment before the hero
begins the return.
--The Ultimate Boon--the achievement of the goal of the quest. It is what the
person went on the journey to get. All the previous steps serve to prepare and
purify the person for this step.
RETURN
--Refusal of the Return--Having found bliss and enlightenment in the other
world, the hero may not want to return to the ordinary world to bestow the
boon onto his fellow man.
--The Magic Flight--Sometimes the hero must escape with the boon, if it is
something that the gods have been jealously guarding. It can be just as
adventurous and dangerous returning from the journey as it was to go on it.
--Rescue from Without--Just as the hero may need guides and assistants to set
out on the quest, oftentimes he or she must have powerful guides and rescuers
to bring them back to everyday life, especially if the person has been wounded
or weakened by the experience.
--The Crossing of the Return Threshold--The trick in returning is to retain
the wisdom gained on the quest, to integrate that wisdom into a human life,
and then maybe figure out how to share the wisdom with the rest of the world.
This is usually extremely difficult.
--Master of Two Worlds--This step is usually represented by a transcendental
hero like Jesus or Buddha. For a human hero, it may mean achieving a balance
between the material and spiritual. The person has become comfortable and
competent in both the inner and outer worlds.
--Freedom to Live--Mastery leads to freedom from the fear of death, which in
turn is the freedom to live. This is sometimes referred to as living in the
moment, neither anticipating the future nor regretting the past.
INFORMATIVE SPEECH GUIDELINES
(due February 2nd-Day 1 or 3rd-Day 2)
1) No less than 4 minutes, no more than 5 minutes (practice your speech and
know how long it is! You lose a letter grade if it is too short or too long)
2) Must be an explanatory speech about something you already know (don't do
research). This may be a hobby, a favorite book, a skill, etc. Visual aids
are encouraged.
3) Pet Peeves to avoid here: no intro or conclusion, disorganized thoughts,
mumbling your words, low volume, no eye contact with audience, no gestures,
up-talking (making every sentence sound like a question), wandering
aimlessly with your feet.
GUIDELINES FOR 4TH (DRAMA) BOOK REPORT (100 points)
1) For EVERY book report: 1-inch margins, 12-point Times New Roman
or Courier font; double-spaced; do not type the whole paper in bold,
italics, or color; give it a title besides merely the name of the book;
watch your Writing Pet Peeves; good introduction and conclusion.
2) This report is ORAL, NOT WRITTEN! 4-5 minutes.
3) Read 2 full-length plays, 1 from before 1800 and 1 from the 20th
century; at least one of the plays must be translated from another
language into English.
4) Describe the general plots/themes/motifs found in each play.
5) What characters/themes/motifs/archetypes appear in each?
6) How does the time period/culture in which the author lived affect the
writing style/topic/theme of the book?
7) Compare the protagonists of each play.
COMPASSION WRITING CONTEST (2 page maximum)
(required-50 points)
Write a story (fiction), essay (non-fiction), poem (at least 12 lines),
that defines one of the 5 elements of compassion:
1) Love
2) Empathy
3) Understanding
4) Gratitude for all things
5) Giving selflessly for the happiness of all beings
2-page maximum.
Due to Mr. Kroenung no later than April 10. 50 points. Best 2 entries in
each class will be sent to the District-Rotary Club contest. $50 prize!
GUIDELINES FOR 4TH (DRAMA) BOOK REPORT (100 points)
1) For EVERY book report: 1-inch margins, 12-point Times New Roman
or Courier font; double-spaced; do not type the whole paper in bold,
italics, or color; give it a title besides merely the name of the book;
watch your Writing Pet Peeves; good introduction and conclusion.
2) This report is ORAL, NOT WRITTEN! 4-5 minutes.
3) Read 2 full-length plays, 1 from before 1800 and 1 from the 20th
century; at least one of the plays must be translated from another
language into English.
4) Describe the general plots/themes/motifs found in each play.
5) What characters/themes/motifs/archetypes appear in each?
6) How does the time period/culture in which the author lived affect the
writing style/topic/theme of the book?
7) Compare the protagonists of each play.
Vocabulary�1st quarter
Evanescent
Negligible
Lethargy
Capricious
Enigma
Propensity
Sycophant
Spurious
Parochial
Taciturn
Irrefutable
Iconoclast
Aloof
Innate
Placate
Salubrious
Literary Terms�1st quarter
Denotation
Connotation
Protagonist
Antagonist
Conflict
Exposition
Inciting incident
Rising action
Crisis
Climax
Denouement
Dynamic character
Static character
Round character
Flat character
Stock character
Motivation
Tone
Mood
Diction
BOOK REPORT #2 GUIDELINES (100 points)
Due December 8/9, beginning of block (1st draft due Dec. 6/7)
3-4 full pages (no more than 1 inch from bottom of 3rd sheet)
Typed, black ink, 12 point Times New Roman font,1-inch margins, double-spaced
No pictures; no all italics or all bold (except for titles)
Give it a title besides the name of the book
Good introduction, good conclusion
Avoid all of the Writing Pet Peeves
Must be at fiction, at least 250 pages, translated into English from another
language.
Briefly summarize main points, then analyze the work in terms of: plot,
character, point-of-view, symbolism, archetypes, and theme.
GUIDELINES FOR PRE-IB 10 SHORT STORY
(100 points; draft February 23/24; final due Feb. 25/28)
1) 5-8 pages, typed, double-spaced, 1-inch margins, 12-point Times New Roman
font.
2) The story must contain at least 3 characters, 1 in each of these age
ranges: over 60, 30-50, and 21 or younger. One of these must be the
protagonist. Additional characters may be any age.
3) At least 1 dynamic character.
4) 1 round character.
5) A single setting and single main event.
6) 1st-person point-of-view.
7) No melodramas or soap operas; use some subtlety of emotion and expression,
please (avoid car wrecks, drug overdoses, shootouts, terrorist attacks, etc.)
8) A detailed plot chart is due to me for approval BEFORE you may write the
story.
9) The story must contain all of the elements below (1 each unless otherwise
specified). Underline the element where it occurs in the story and hand-write
its number in the left-hand margin:
1) simile (3 per page)
2) metaphor (2 per page)
3) sense imagery (5 per page)
4) hyperbole
5) verbal irony
6) situational irony
7) dramatic irony
8) dialogue (about 1/3 of story)
9) internal conflict
10) external conflict
11) flashback
12) interior monologue
13) foreshadowing
14) symbolism
POETRY OUT LOUD
Choose a poem (12-24 lines) from the list at www.poetryoutloud.org. You
will read it aloud in class on February 9-10 (30 points). The best reader
from each class will be a finalist in the school-wide competition on February
10 after school. The ultimate winner represents NHS at the state competitiojn
the first week of march. State winner gets a free trip to the Kennedy Center
in Washington, D.C. for nationals.
LINK TO ONLINE OEDIPUS REX TEXT:
http://www.enotes.com/oedipus-rex-text/oedipus-rex
GUIDELINES FOR 3rd BOOK REPORT
(1st draft due March 5/6; final due March 7/8)
1) For EVERY book report: 1-inch margins, 12-point Times New Roman
or Courier font; double-spaced; do not type the whole paper in bold,
italics, or color; give it a title besides merely the name of the book;
watch your Writing Pet Peeves; good introduction and conclusion.
2) CHOOSE 2 BOOKS; both books must be non-fiction, dealing with a similar
topic, and appropriate for school.
3) Have a good intro and conclusion. Avoid Pet Peeves. Discuss the
books' topics and themes in general, then compare/contrast them in
detail. Talk about content, writing style, and any prejudices/biases the
authors may display.
4) 3-4 pages.
Medieval Literature Essay (due Feb. 14)
--2 pages, typed, double-spaced, Times New Roman 12-point font
--choose a selection from the Middle Ages unit and discuss how the principles
of the Middle Ages PowerPoint apply; show how the literature reflects the
medieval worldview (not all of the principles will necessarily apply to your
selected story)
SHAKESPEARE PLAY PRESENTATIONS (late April/early May)
Research your assigned play and report via PowerPoint (5-7 minutes) on the
following aspects:
1) plot
2) characters
3) theme
4) influences on Shakespeare and how this play influenced later literature
and visual art
5) what to the critics say about its importance?
(this is secondary source research only; you aren't reading the play and
telling us your opinion/analysis, but rather looking up what others say about
it)
LINK TO MEDIEVAL LITERATURE POWERPOINT:
http://www.slideshare.net/zanenglish/medieval-literature
LINK TO RENAISSANCE POWERPOINT:
http://www.slideshare.net/tkester/the-renaissance-1068121
COMPASSION WRITING CONTEST (April 9; 2 pages only; required; 50 points)
Write a story (fiction), essay (non-fiction; preferred), or poem that defines
one of the 5 elements of compassion:
1) Love (for your fellow man and the downtrodden, NOT romantic love)
2) Empathy
3) Understanding
4) Gratitude for all things
5) Giving selflessly for the happiness of all beings
Due to Mr. Kroenung no later than April 9. 50 points. Best 2 entries in
each class will be sent to the District-Rotary Club contest. $50 prize!