::: ENG 3U :::

Special thanks to members of the All Star Scary Band for their very scarrry performance today!!

::: CREATIVE WRITING CLUB :::

-:-
the Weston CI
Creative Writing Club
meets this week
at lunch in rm. 307
on Fri, Nov 3, 06
-:-

::: ANNOUNCEMENTS :::

-:- NOTE -:-
I have a list of notes to post but they will have to wait until the weekend (I'm almost on top of the marking!). Please use the forum for questions and, failing that, collate them into one message and send them to me.


-:- ONLINE DISCUSSION -:-
Due to technical difficulties, there will be no topic for online discussion this week. Instead, please continue your discussion about the Elizabethan world view.


-:- ENG 2D7 -:-
Please bring your copies of Great Expectations tomorrow. I will hand out copies of Henry IV and assign reading for homework tomorrow.


-:- EWC 4U7 -:-
Please bring the language skills booklet handed out in class a couple of weeks ago. We will finish the "Narrative Techniques in The Red Violin" worksheet tomorrow and then return to our work on language skills. Next week: playwriting vs. screenwriting.


-:- ENG 3U7 -:-
An Extended Esssay meeting will be held in Ms. Wittlin's room on Weds, Nov 8 @ lunch. Please see Ms. Wittlin if you cannot be there.

.

grad pictures taken by Mr. Fraser

Happy Hollowe'en!

An entry in the Weston CI pumpkin carving competition.

ENG 2D7

::: UPCOMING SCHEDULE :::

Thurs, Oct 26 ---> Great Expectations presentations

Mon, Oct 30 ---> Nightmare Before Christmas

Weds, Nov 1 ---> begin Henry IV -:- review last week's online discussion

Fri, Nov 3 ---> Act I

Tues, Nov 7 ---> assign topics for this week's online discussion

Thurs, Nov 9 ---> Act II

Mon, Nov 13 ---> Act III

ENG 3U7

::: UPCOMING SCHEDULE :::

Weds, Oct 25 ---> continue watching Hamlet video

Fri, Oct 27 ---> take up language skills booklet + continue watching Hamlet video

Tues, Oct 31 ---> Hallowe'en celebration + Act III rehearsal

Thurs, Nov 2 ---> Act III presentations

Mon, Nov 6 ---> Act IV

Weds, Nov 8 ---> Act V

Fri, Nov 10 ---> in-class commentary

Tues, Nov 14 ---> begin Reading Lolita in Tehran

ENG 2D7 and ENG 3U7

::: Online Literary Discussion :::


Topics for this week:

Please refer to The Elizabethan World View (posted below). The title is taken from E. M. W. Tillyard’s book, which attempts to describe the way Shakespeare’s contemporaries viewed the universe.

ENG 2D7: Please identify the key concepts outlined in Tillyard's work and compare them to contemporary North American views. Your discussion may touch on cultures around the world and how their views relate to this topic.

ENG 3U7: Please identify the key concepts outlined in Tillyard's work and relate them to the events, characters and language in Hamlet.

Due date: Please post your responses on the Idiot Glee forum by October 31.

NOTE: You are responsible for posting 2 paragraphs each week. Paragraph #1 is an original response to one of the assigned topics and paragraph #2 is your comment on a peer response.



Evaluation Criteria

LEVEL 4:
- point/proof/comment format is used skillfully
- correct sentence structure, spelling, and punctuation
- appropriate level of diction
- response is specific (avoids generalities)
- precise word choice

Level 4 = ALWAYS
Level 3 = OFTEN
Level 2 = SOMETIMES
Level 1= RARELY
Level R = NEVER



NOTE:
Updating our blog and fielding e-mails is taking more time than I can afford in the evenings. Today, for example, I began updating Idiot Glee at 4:30 and am still working on it at 7:00 p.m.

In an effort to streamline this process, I'm asking that you direct any questions that you may have to your classmates in the forum. Questions that cannot be answered in the forum should be collected and e-mailed to me by one student from each class. I will respond as quickly as possible, but please be patient.

Thanks!

The Elizabethan World View

The Elizabethan World View

This title is taken from E. M. W. Tillyard’s book, which is an attempt to describe the way Shakespeare’s contemporaries viewed the universe. A different view of the universe implies a different way of understanding events, characters, language—just about everything. If we can understand Shakespeare’s world better, we can begin to understand him and his work better.

The Humours

The Macrocosm and Microcosm

-:- LITERARY TERMS -:-

Alliteration: The repeated initial consonants of the proximate words in
a poem.

Allusion: A reference to an idea, place, person or text (or part of a text)
existing outside the literary work.

Ambiguity: A word or expression which has more than one meaning.
Ambiguity is not necessarily negative in literary criticism.

Ballad: A song which tells a story.

Connotation: The associated meanings of a word or expression (for the
opposite term, see denotation).

Denotation: The actual meaning of a word or expression (for the opposite
term, see connotation).

Diction: The selection of words in a particular literary work, or the language
appropriate for a particular work. The term poetic diction refers to the
appropriate selection of words in a poem.

Hyperbole: An overstatement or exaggeration.

Imagery: Often taken as a synonym for figurative language, but the
term may also refer to the 'mental pictures' which the reader experiences
in his/her response to literary works or other texts. Images appeal to the
five senses: sight, sound, taste, touch, and smell.

Genre: A kind of literature which has a distinctive collection of external
features.

Litotes: The opposite of a hyperbole where the significance of something
is understated.

Lyric: A short non-narrative poem that has a solitary speaker, and that
usually expresses a particular feeling, mood, or thought.

Metaphor: A word which does not precisely or literally refer to the entity
to which it is supposed to refer. A comparison made without using the
words like or as.

Metre: The recurrence of a similar stress pattern in some or all lines of
a poem.

Motif: An element which recurs in a literary work, or across literary works.

Occasional poem: A poem written for a specific occasion (eg. a birthday,
a wedding etc.).

Onomatopoeia: A word or expression which resembles the sound which it
represents, like the meow of a cat or the quack of a duck.

Pathos: The sense of pity or sorrow aroused by a particular element or
scene in a literary work.

Persona: The unidentified personage who 'speaks' (see speaker) in a poem
or prose work. The persona should not be identified with the author of the work.

Pun: Words which have the same sound, but with different meanings.

Rhyme: The identity of the sounds of the final syllables (usually stressed)
of certain proximate lines of a poem.

Satire: A literary work which belittles or savagely attacks its subject.

Scan: To assign stress patterns to a poem.

Speaker: The personage or persona responsible for the voice in a poem;
like the persona, the speaker should not be confused with the poet.

Stress: The loud 'beats' in a poem; a regular pattern of stressed and
unstressed syllables in a poem often gives the poem its distinctive quality.

Symbol: A word or expression which signifies something other than the
physical object to which it directly refers. A rose for example, may
symbolize love, and the cross, Christianity.

Tone: The attitude, as it is revealed in the language of a literary work, of a 
character, narrator or author, towards the other characters in the work or
towards the reader.

Voice: The dominating ethos or tone of a literary work. The voice existing
in a literary work is not always identifiable with the actual views of the
author (cf. narrator and persona).


NOTE: This list is not exhaustive. Please let me know if there is a term you
would like me to add to the list.

ENG 2D7

::: Final Activity for Great Expectations -:- Presentation :::


Evaluation criteria :

A. Knowledge & Understanding of Work (/5)

B. Interpretation & Personal Response (/10)
-> use P/P/C to structure response

C. Presentation (/10)
-> clarity, professionalism

D. Language (/5)
-> register


Due: Thursday, October 26, 06

ENG 2D7

::: DUE DATES FOR ISU :::


Sept 15 -:- choose book #1


Dec 15 -:- 3 pp. journal notes
- point form notes on setting, diction, narrative point of view, and tone
- analysis should emphasize theme & character
- identify one aspect that interests you ---> potential essay topic


Jan 9 -:- choice of book #2


Mar 6 -:- 3 pp. journal notes on book #2
- potential question linking both novels, e.g., similarity of anti-hero protagonists in the 2 novels


Mar 20 -:- 1st paragraph of essay
- "hook"
- implicit question
- thesis statement


Apr 1 -:- skeleton essay


Apr 15 -:- 1st draft


May 1 -:- final copy


Be sure to see me if you have any questions.

EWC 4U

Each time you meet with your editing group, I will evaluate the quality of your participation in the workshop.

Each of the following items will be evaluated on a scale of 1 to 4.

Level 4 = ALWAYS
Level 3 = OFTEN
Level 2 = SOMETIMES
Level 1= RARELY
Level R = NEVER


WORKSHOP PARTICIPATION EVALUATION


As a member of this workshop, I am:

- present and on time for the workshop

- prepared (I have copies of my draft+RR forms)


During the workshop, I:

- listen actively & focus on the task at hand

- willingly offer comments & constructive criticism

- offer specific & detailed suggestions for improvement

-:- online discussion has moved -:-

Attn.: all grades 10 and 11 IB English students:

Due to problems with posting on Idiot Glee,
our literature discussions have moved to an online forum.

Please visit our new site and sign up.
You may continue the current discussion
by posting (or re-posting) your responses there.

Thank you for your patience!

::: WRITING CONTEST :::

WRITE FROM THE HIP 2007 CALL FOR SUBMISSIONS


If you’re a young woman just itching to write a play...

Nightwood Theatre’s 7th annual novice playwriting initiative Write From the Hip is now accepting submissions from 18-29 year-old women looking for an artistic challenge, an opportunity to develop and write a play, a chance to have their say and a place to express their unique and diverse voice. Previous theatre experience is not necessary. Nightwood Theatre welcomes women from various backgrounds and experiences and embraces cultural, racial and sexual diversity. Women from all walks of life are strongly encouraged to apply.


What is Write From the Hip?

The Hip program is a series of weekly workshops, mentoring and hands-on seminars in writing skills and professional play development specifically designed for young writers. Write From the Hip participants walk away with a reinforced belief in themselves, their stories and their writing abilities. Over a 5-month period (April to August), each participant completes a new short work that is then workshopped and staged on the final night of the 2007 Groundswell Festival Of NEW WORK By WOMEN.


How do I apply for Write From the Hip?

Participants are selected through submissions and personal interviews conducted by the program coordinator and the Hip Committee (participants in the previous year’s program). Interested applicants should submit a package by November 15, 2006 that includes:

---> 3 to 5 pages MAX of creative writing

---> a one page Letter of Interest outlining why you’d like to be a part of the Program

---> a resume including your name, phone number and address


Submission packages should be mailed or dropped off to:

Lisa Codrington
Co-Director of Youth Initiatives–Write From the Hip
Write From the Hip Submissions
Nightwood Theatre
55 Mill Street, Suite 301
Case Goods Warehouse, Building No. 74
Toronto ON M5A 3C4

For more info please check out our website or contact Lisa Codrington at lisa@nightwoodtheatre.net.

ENG 3U7

::: SCHEDULE :::

Weds, Oct 25 ---> continue watching Hamlet video

Fri, Oct 27 ---> take up language skills booklet + continue watching Hamlet video

Tues, Oct 31 ---> Hallowe'en celebration + Act III rehearsal

Thurs, Nov 2 ---> Act III presentations

Mon, Nov 6 ---> Act IV

Weds, Nov 8 ---> Act V

Fri, Nov 10 ---> in-class commentary



HAMLET Act III PRESENTATION


scene i

Hamlet - Sam K

Queen Gertrude - Sarah

Ophelia - Kathy

King Claudius - Rajesh

Polonius - Drew

Rosencrantz - Nirvair

Guidenstern - Aysegul


scene ii

Hamlet - Ali

Player - Andy

Polonius - Sam K

Rosencrantz - Veronica

Ophelia - Aisha

Hoatio - Elly

Guidenstern - Sadman

King Claudius - Jamie


Play-within-a-play (metadrama)

Prologue - Shamis

King Claudius - Monica

Ghost - Cindy

Rosencrantz + Guidenstern = Ola and Kevin

Hamlet - Lucinda

Lucianus - Melissa


scene iv

Queen Gertrude - Poornima

Hamlet - Lucinda

Polonius -

Ghost - Cindy

Sankai Juku @ Hummingbird Centre

Kagemi's graceful moves cast a spell : troupe covered in white-rice dust

SUSAN WALKER

Toronto Star ~ Oct. 18, 2006. 01:50 AM

Sankai Juku doesn't just invoke a mood. The troupe's performances have the power to induce a state of mind and cast a spell over a packed auditorium.

Rattled urbanites attending Kagemi at the Hummingbird Centre last night went home a little looser at the neck and shoulders, breathing a little more gently and mentally carrying images of huge lotus blossoms suspended serenely in the air.

Artistic director Ushio Amagatsu and his six chalk-skinned dancers achieved something sublime with Kagemi (Beyond the Metaphors of Mirrors). Amagatsu was the soloist, a conductor of the forces of nature, at times reminiscent of an underwater god bringing harmony to his domain. At other times he resembled a storyteller, conjuring up a scene with only the eloquent movements of his arms and hands.

He set the pace for the seven-part show, slowly carving the air with his arms, moving them sideways to suggest the gentle lapping of waves and standing on a circular platform beside a bed of maybe 50 or 60 giant lotus blossoms, their stems dangling to the floor. Six forms, three bunched up and three stretched out, lay beneath them. The flowers ascended on invisible strings to form a canopy, the individual blooms turning ever so slightly in the air. The white-rice dust that covers the dancers head to toe tends to obliterate personality in the Sankai Juku ranks. From Semimaru, who has been with the company since its beginning in 1975, to Ichiro Hasegawa, who joined two years ago, we know them only by the shape of their skulls. But in Kagemi, Amagatsu gives them a degree of individuality and, by allowing them to interact, nudges the dance towards a vision of a common humanity with tribal demarcations.

Raised arms and open hands made a constant motif. The fingers were outstretched, curled to form flower shapes or wiggling like antennae. Three bare-chested figures in loincloths and sashes moved up and down, in a forward kneeling movement. Three stood tall in long skirts that kissed the floor as they proceeded in formation. The gestures were like semaphore or hieroglyphics, repeated and reflected as the dancers faced each other. The image, the mirror and the reflection might all have been separate entities as they gathered, then parted and went their separate ways.

Occasionally a dancer opened his mouth wide, making the universal shape of the "a" sound, a round black hole in the middle of the face. It is as dramatic as Kagemi gets, yet it's moving. The music ranged from a thundering percussive piece, done on big skin drums, to a slightly melancholy piano solo and a piece of Japanese music for a stringed instrument.

In a scene where four dancers emerge in long gowns that appear to be covered in volcanic ash, the music is a raging storm of heavy-metal rock. The dancers are suddenly touching, silently laughing and grinning as they fingerpaint each other in streaks of red or black across the cheek or forehead. The final scene, in which six dancers reappear in creamy robes with ribbed overlays that look like the skeletons of fish, features more ritualistic movement. The dancers form a circle, opposition disappears and as they rise and fall in unison, they seem to be offering a promise of, or at least a wish for, peace.

EWC 4U

What happened on Oct 18, 06:

HOUSEKEEPING:
• IB students @ Project IV mtg

LESSON:
• began watching The Red Violin
• worked on "Narrative Techniques In The Red Violin" assignment

HOMEWORK:
• good copy of assignment #2/Manifesto due at the beginning of class on Tues, Oct 24, 06

NEXT DAY:
• finish The Red Violin + assignment

ENG 2D7

Online Literary Discussion

Due: All posts must be completed by Monday, October 23, 06 @ 9 p.m.

Purpose: to generate high quality discussion among peers

Requirements: each student must respond to one (1) of the topics for discussion + one (1) or more of their classmates' comments

***If your interpretation is not supported by sufficient details in the text, it is not a valid interpretation.***


Topics for Discussion:

How does Pip's comment that "perhaps the inaptitude had never been in [Herbert] at all, but had been in me" relate to events in the novel (480)?

How does Pip's growth through the 3 social classes affect his values and actions?

"Power corrupts; absolute power corrupts absolutely." How does this adage relate to the plot of Great Expectations?

Pip observes that "[b]y shutting out the light of day, [Miss Havisham] had shut out infinitely more" (Dickens 399). How do Miss Havisham's actions affect other characters' development and relationships in the novel?

Evaluate Great Expectations' criticism of the law, the state, the religion, and family values.



Rubric/Evaluation Criteria

LEVEL 4:
- point/proof/comment format is used skillfully
- correct sentence structure, spelling, and punctuation
- appropriate level of diction
- response is specific (avoids generalities)
- precise word choice

Level 4 = ALWAYS
Level 3 = OFTEN
Level 2 = SOMETIMES
Level 1= RARELY
Level R = NEVER


Please see "RE: online discussions" (below) for Darren's post.

::: REVIEW :::

ESSAY WRITING => THE POINT/PROOF/COMMENT MODEL FOR BODY PARAGRAPHS


The P/P/C model works well for beginning writers. Its principles are easy to remember. Also it illustrates clearly that a single body paragraph has a single main idea and that every other sentence in the paragraph must be linked to that main idea by developing the point, providing textual evidence to support it and analyzing its significance.

Point is the argument, or the claim, that directs the conversation of the paragraph. The point is almost always the topic sentence.

Proof is a textual detail that supports the central point in the paragraph. Most arguments require more than one example, illustration or piece of evidence to convince the reader. The writer must explain each illustration in concrete detail, not simple “stack the proof,” so that the reader can comprehend the connection between the writer’s point, evidence and thesis.

Comment is the part that makes a clear, logical connection between the point and the proof.


Here is an example from a non-fiction essay:

Although the bald eagle is still listed as an endangered species, its ever-increasing population is very encouraging. According to ornithologist Jay Sheppard, “The bald eagle seems to have stabilized its population, at the very least, almost everywhere” (96). We can assume then that there is hope for the longevity of this majestic bird.

[Point:] Although the bald eagle is still listed as an endangered species, its ever-increasing population is very encouraging. [signal phrase:] According to ornithologist Jay Sheppard, [Proof:] “The bald eagle seems to have stabilized its population, at the very least, almost everywhere.” [in-text citation:] (96). [Comment:] We can assume then that there is hope for the longevity of this majestic bird.

::: PROCESS FOR WRITING A FORMAL COMMENTARY :::

Purpose of the commentary: to provide an account of your experience of the work. Your commentary should express the work's effect and how this effect is created.


QUESTIONS TO CONSIDER WHEN PREPARING TO WRITE A COMMENTARY:

STEP 1:
Who is speaking? To whom?

What are they saying? Why? (What is the situation? purpose?)

How? (What is the tone? style?)

Patterns? (Identify the structure, form.)

Tensions? (Identify the contrasts, conflicts, ironies.)

So what? (What is the dominant effect?)


STEP 2:
Use the dominant effect as the thesis for your commentary.

Select relevant details to support your thesis. Be sure not to include a detail without identifying its specific effect and its place in the whole.

Organize your commentary in the way that best suits your argument. Let the text guide your interpretation.



::: A TIME MANAGEMENT STRATEGY FOR IN-CLASS COMMENTARY WRITING :::

Step 1: Read the text 3x - silently, out loud, silently (5 minutes).

Step 2: Free write about the text to discover your personal response (5 minutes).

Step 3: Answer the "elements to consider" questions outlined above (15 minutes).

Step 4: Find details from the text to support your response (10 minutes).

Step 5: Formulate your thesis statement (5 minutes).

Step 6: Use the thesis statement to anchor your response--your final product should be 3 paragraphs in length (20 min.).

Step 7: Proofread your commentary and revise (15 minutes).

ENG 3U7

::: HOMEWORK ~> due Thurs, Oct 19, 06 :::

Be sure to post any questions that arise while you are reading. Also, feel free to do some research on your own!

Please complete the "online homework" outlined below:


::: ONLINE HOMEWORK ~> due Thurs, Oct 19, 06 :::

To kickstart our online discussion of Hamlet, please post a brief response to one (1) of the topics listed below AND comment briefly on one (1) of your classmate's responses. A one-paragraph response is sufficient for each part of this assignment.


Please select one of these topics to work on with your "collaborative commentary" group. Each group will prepare a 5 minute presentation for class on Monday.


Act II ---> Topics for Online Discussion and Group Analysis

-:- the dramatic significance of Ophelia's description of Hamlet (I.i.99-112)

-:- the dramatic purposes served by Rozencrantz and Guildenstern

-:- the dramatic purposes of Voltemand's speech (I.i.64-85)

-:- contrast Hamlet, Laertes, and Fortinbras (esp. II.ii)

-:- relate the Players' speeches to Hamlet's situation

-:- prepare a commentary for II.ii.163-237

-:- prepare a commentary for II.ii.163-237


::: LESSON PLAN FOR THURSDAY, OCTOBER 19, 06 :::

1. You will have a few minutes at the beginning of class to meet with your "collaborative commentary" group and select the material you will post online.

2. In response to your in-class essay self-evaluations, I have put together some worksheets designed to address problems with punctuation, sentence structure, word choice, etc. You will be given 30 minutes to work on this; I will check your progress on Monday.

3. You will have 30 minutes to work on the Act II analysis; you will present on Monday.


::: HOMEWORK ~> due Mon, Oct 23, 06 :::

As a group, select the most important parts of your Act I collaborative commentary; post these points on the Oct 16 entry below.

Be sure that you are prepared to present your group's Act II analysis.

Please make sure that you have read Act III by Wednesday, October 25, 06.


::: NEXT DAY :::

We will investigate the Elizabethan world view during the second half of class on Monday.

RE: online discussions

Only "team members" can create new posts; to deal with this, I would like to add some of you to the "team." This will allow a student team member to create an individual thread for one of the topics up for discussion.

ENG 3U7

::: HOMEWORK ~> due Thurs, Oct 19, 06 :::

Be sure to post any questions that arise while you are reading. Also, feel free to do some research on your own!

Please complete the "online homework" outlined below:


::: ONLINE HOMEWORK ~> due Thurs, Oct 19, 06 :::

To kickstart our online discussion of Hamlet, please respond to one (1) of the topics listed below AND comment on one (1) of your classmate's responses.


Please select one of these topics to work on with your "collaborative commentary" group. Each group will prepare a 5 minute presentation for class on Monday.


::: LESSON PLAN FOR THURSDAY, OCTOBER 19, 06 :::

1. You will have a few minutes at the beginning of class to meet with your
"collaborative commentary" group and select the material you will post online.

2. In response to your in-class essay self-evaluations, I have put together some worksheets
designed to address problems with punctuation, sentence structure, word choice, etc.
You will be given 30 minutes to work on this; I will check your progress on Monday.

3. You will have 30 minutes to work on the Act II analysis; you will present on Monday.


::: HOMEWORK ~> due Mon, Oct 23, 06 :::

As a group, select the most important parts of your Act I collaborative commentary; post these points on the Oct 16 entry below.

Be sure that you are prepared to present your group's Act II analysis.

Please make sure that you have read Act III by Wednesday, October 25, 06.


::: NEXT DAY :::

We will investigate the Elizabethan world view during the second half of class on Monday.

ENG 3U7

::: HAMLET READING SCHEDULE :::


Oct 13 -:- Act I

Oct 17 -:- Act II

Oct 19 -:- Act III

Oct 23 -:- Act IV

Oct 25 -:- Act V


-:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:-

Collaborative Commentary Groups:

Horatio's speeches I.i.91-119 -:-
Sarah Jo, Sam Keen, Jamie ::: I.i.124-151 -:- Poornima, Kathy, Cindy

Claudius' I.ii.1-35 -:-
Nirvair, Drew, Rajesh ::: I.ii.90-121 -:- Aisha, Monica, Lucinda

Laertes' speech to Ophelia I.iii.12-48 -:-
Sam, Allie

Hamlet's speech I.iv.26-41 [relate to Aristotle's theory about tragic flaw] -:-
Shamis, Ola, Andy, Kevin, Aysegul, Melissa

Hamlet's speech I.iv.43-62 -:-
Elly, Lesley, Veronica


-:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:- -:-

Weds, Oct 17, 06

You will have 15 minutes to complete your collaborative commentary.

Each group will have 3-5 minutes to present their commentary.

You will make corrections on in-class essay #1 and we will discuss essay-writing and personal writing goals.

The follow-up assignment for Act II will be outlined in class.

ENG 2D7

::: HOMEWORK DUE ON WEDNESDAY :::

Bring your Personal Writing Sheets and in-class essay #1 to class. I will check to see that you have made corrections and recorded your errors in your PWS booklet.

Please make sure you have completed the MLA format worksheets handed out today. We will take them up next day. Please use the resource listed in the Abandon Normal Instruments sidebar for clarification.


::: SCHEDULE :::

Weds, Oct 18, 06 ---> essay-writing -:- Personal Writing Sheets

Fri, Oct 20, 06 ---> Great Expectations analysis

Tues, Oct 24, 06 ---> final in-class essay on Great Expectations

EWC 4U1/7

::: EVALUATION CRITERIA FOR WORKSHOP PARTICIPATION :::


As a member of this writer's group, I am:

- present and on time for the workshop

- prepared (I have copies of my draft+RR forms)


During the workshop, I:

- listen actively & focus on the task at hand

- willingly offer comments & constructive criticism

- offer specific & detailed suggestions for improvement

ENG 2D7

::: HOMEWORK :::

Make corrections on in-class essay #1 (do not rewrite) and bring it to class next day.

EWC 4U

::: HOMEWORK :::

• write the 1st draft of your manifesto
• bring enough copies for each member in your workshop group
• prepare a Reader Response form for this assignment and bring enough copies for everyone in your group

EWC 4U

For more model manifestos, check out the following:

A Modest Proposal, Jonathan Swift

The Crap Art Movement

the Art manifesto entry on Wikkipedia

A Reader's Manifesto, B. R. Meyers

literary manifestos mentioned on Maud Newton's blog

Look for more examples on your own. If you find a good one, please bring it to class.

ENG 3U7

HOMEWORK:

• complete in-class essay self-evaluation + create 3 writing goals to be applied to next assignment

• double-entry journal for Act I [based on Glee posting]

DETAILS:

• read Act I -:- create a double-entry journal based on the points below:

1. note references to eyes and ears in scene 1 [hierarchy of the senses]

2. note contrast between supernatural world in scene i and political world in scene ii

3. assess Claudius' merits as King in scene ii

4. note key lines expressed by Hamlet in I.ii.67-88

5. comment on Hamlet's first soliloquy (I.ii.133-164)

6. note concluding lines of scenes -:- esp. I.ii.277-278

7. note I.iv.100

8. note: the ghost's appearance has been interpreted as Hamlet's subconcious, esp. I.v.48

9. note I.v.189-202 -:- how does Hamlet's speech move the plot forward?

10. note ending of scene I.v.210-212

ENG 2D7

::: REMINDER :::

Your double-entry journals/reading logs are due at the beginning of class on Thurs, Oct 5.

You are responsible for reading & notes to the end of chapter 45.

Your journals/logs do not need to be typed.

::: Grammar, Style and Usage :::

Check out the resources available on the Editors' Association of Canada website.

ENG 3U7

::: SHORT STORY TEST :::

• short story test on Monday, October 2 : make sure you've read all 6 stories + each note on point of view in the anthology

• unit test -> 6 site passages : identify the point of view and explain its effect + compare one literary feature in two of the six stories in a one paragraph response -> no notes or aids permitted

::: EVALUATION :::

A. Knowledge and understanding of work (5)

B. Interpretation of text (5)

C. Appreciation of literary features (5)

D. Presentation (5)

• structured
• focused
• blended quotations
• sufficient support and development

E. Language (5)