TRUE! nervous, very, very dreadfully nervous I had been and am; but why WILL you say that I am mad? The disease had sharpened my senses, not destroyed, not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How then am I mad? Hearken! and observe how healthily, how calmly, I can tell you the whole story.
It is impossible to say how first the idea entered my brain, but, once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture -- a pale blue eye with a film over it. Whenever it fell upon me my blood ran cold, and so by degrees, very gradually, I made up my mind to take the life of the old man, and thus rid myself of the eye for ever.
Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded -- with what caution -- with what foresight, with what dissimulation, I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night about midnight I turned the latch of his door and opened it oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern all closed, closed so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly, very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this? And then when my head was well in the room I undid the lantern cautiously -- oh, so cautiously -- cautiously (for the hinges creaked), I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights, every night just at midnight, but I found the eye always closed, and so it was impossible to do the work, for it was not the old man who vexed me but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the night. So you see he would have been a very profound old man, indeed , to suspect that every night, just at twelve, I looked in upon him while he slept.
Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers, of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was opening the door little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea, and perhaps he heard me, for he moved on the bed suddenly as if startled. Now you may think that I drew back -- but no. His room was as black as pitch with the thick darkness (for the shutters were close fastened through fear of robbers), and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.
I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening , and the old man sprang up in the bed, crying out, "Who's there?"
I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed, listening; just as I have done night after night hearkening to the death watches in the wall.
Presently, I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief -- oh, no! It was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself, "It is nothing but the wind in the chimney, it is only a mouse crossing the floor," or, "It is merely a cricket which has made a single chirp." Yes he has been trying to comfort himself with these suppositions ; but he had found all in vain. ALL IN VAIN, because Death in approaching him had stalked with his black shadow before him and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel, although he neither saw nor heard, to feel the presence of my head within the room.
When I had waited a long time very patiently without hearing him lie down, I resolved to open a little -- a very, very little crevice in the lantern. So I opened it -- you cannot imagine how stealthily, stealthily -- until at length a single dim ray like the thread of the spider shot out from the crevice and fell upon the vulture eye.
It was open, wide, wide open, and I grew furious as I gazed upon it. I saw it with perfect distinctness -- all a dull blue with a hideous veil over it that chilled the very marrow in my bones, but I could see nothing else of the old man's face or person, for I had directed the ray as if by instinct precisely upon the damned spot.
And now have I not told you that what you mistake for madness is but over-acuteness of the senses? now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well too. It was the beating of the old man's heart. It increased my fury as the beating of a drum stimulates the soldier into courage.
But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder, every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! -- do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me -- the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once -- once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But for many minutes the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.
If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence.
I took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly so cunningly, that no human eye -- not even his -- could have detected anything wrong. There was nothing to wash out -- no stain of any kind -- no blood-spot whatever. I had been too wary for that.
When I had made an end of these labours, it was four o'clock -- still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, -- for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.
I smiled, -- for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search -- search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.
The officers were satisfied. My MANNER had convinced them. I was singularly at ease. They sat and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears; but still they sat, and still chatted. The ringing became more distinct : I talked more freely to get rid of the feeling: but it continued and gained definitiveness -- until, at length, I found that the noise was NOT within my ears.
No doubt I now grew VERY pale; but I talked more fluently, and with a heightened voice. Yet the sound increased -- and what could I do? It was A LOW, DULL, QUICK SOUND -- MUCH SUCH A SOUND AS A WATCH MAKES WHEN ENVELOPED IN COTTON. I gasped for breath, and yet the officers heard it not. I talked more quickly, more vehemently but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why WOULD they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men, but the noise steadily increased. O God! what COULD I do? I foamed -- I raved -- I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder -- louder -- louder! And still the men chatted pleasantly , and smiled. Was it possible they heard not? Almighty God! -- no, no? They heard! -- they suspected! -- they KNEW! -- they were making a mockery of my horror! -- this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! -- and now -- again -- hark! louder! louder! louder! LOUDER! --
"Villains!" I shrieked, "dissemble no more! I admit the deed! -- tear up the planks! -- here, here! -- it is the beating of his hideous heart!"
Friday, October 28, 2011
Thursday, October 27, 2011
Losing the Senses by Rosalyn Ostler
One - It fades intermittently--
the perfume of orange blossoms
sweet in my nostrils, then a flatline
of fragrance, until a later surprise
when your face touches mine
and the scent of your rushes in.
My skin breathes your embrace,
Hording for the times of loss.
Two – I miss the taste of blackberries,
Caramel, fresh cauliflower, of shrimp,
Fried mushrooms, root beer,
Buttered toast, Hershey’s kisses.
Three – As clouds, fluttered leaves,
and butterflies dim, my mind scrambles
to preserve them. I imprint my brain
with sunsets, waterfalls, autumn colors,
saving the most precious space
for your smile.
Four – My ears strain for last sounds
Of mockingbirds, crickets and frogs,
The creek rushing through a summer night,
Tchaikovsky and Alley Cat, laughter
Of friends, your lips whispering love.
Five – And last – oh please last,
My fingers strive to remember
Their journeys across your face,
Through your hair.
My skin craves the communication
Of your articulate hands.
When numbness cloaks my fingertips,
May every touch live in their memory.
the perfume of orange blossoms
sweet in my nostrils, then a flatline
of fragrance, until a later surprise
when your face touches mine
and the scent of your rushes in.
My skin breathes your embrace,
Hording for the times of loss.
Two – I miss the taste of blackberries,
Caramel, fresh cauliflower, of shrimp,
Fried mushrooms, root beer,
Buttered toast, Hershey’s kisses.
Three – As clouds, fluttered leaves,
and butterflies dim, my mind scrambles
to preserve them. I imprint my brain
with sunsets, waterfalls, autumn colors,
saving the most precious space
for your smile.
Four – My ears strain for last sounds
Of mockingbirds, crickets and frogs,
The creek rushing through a summer night,
Tchaikovsky and Alley Cat, laughter
Of friends, your lips whispering love.
Five – And last – oh please last,
My fingers strive to remember
Their journeys across your face,
Through your hair.
My skin craves the communication
Of your articulate hands.
When numbness cloaks my fingertips,
May every touch live in their memory.
Wednesday, October 19, 2011
Monday, October 17, 2011
Literary Criticism
Introduction to Literary Criticism and Analysis
In general terms, literary criticism is writing that asks two questions:
What is good and bad about this text?
Why is a particular aspect of the text good or bad?
When you were younger, a teacher may have asked you to write a book review. Book reviews only have to answer the first question, what is good and bad about this text. Literary criticism goes one step further to ask why. Literary criticism is very similar to literary analysis. Literary analysis asks one main question:
Why is this text the way it is?
Several common ways of looking at that question more specifically include,
Why does this character act the way he or she does?
Why does the writer use the particular style he or she uses to convey
this text’s message?
What effect does one aspect of the text, such as the setting or a particular
trait of a character, have on other aspects of the story?
When you write literary criticism and literary analysis, you ask a lot of “why” questions. The main difference between the two is that in literary criticism, more of your opinion comes through. Literary criticism and literary analysis sometimes answer their “why” questions in recognizable ways. Those habitual ways of answering these questions are called different schools of literary theory. Literary theories are simply different ways of approaching those “why” questions. Some of those
approaches include:
Reader response theory: A text is the way it is because of how readers look at it, so any explanation of a text’s meaning needs to take into account the ways different people react to the text.
New Criticism: Texts make sense without reference to outside sources. So any question about a text can be answered by looking closely at how different parts of the text relate to each other.
Historical/biographical criticism: Texts are written by authors, who are heavily influenced by the events in their lives and in the world they live in. So any question about a text should be answered by referring to outside information about the life of the author or the history and culture in which the author lived or lives.
Feminist or gender criticism: This kind of criticism looks at the way male and female characters act in a story and analyzes how that behavior reflects the author’s cultural context and how those portrayals might affect readers’ perceptions of gender. This kind of criticism also looks at what texts leave out; for instance, if there are only stupid men in a story, a gender critic would analyze why.
A sample text:
The rain beat hard against the window, as if heaven was both sad and angry at Lisa, who sat inside, safe and dry, and buried her head in her hands.
A text review (like a book review):
This text describes a girl who is probably sad on a rainy day. It is an effective text at communicating depressing emotions.
A literary criticism:
This text describes two things: rain and a person named Lisa. The text communicates
depressing emotions effectively because it applies them not just to a person but to the weather. Lisa buries “her head in her hands,” which may indicate sadness. While rain isn’t strictly speaking sad, its similarity to tears can make it seem so. The author of this text also personifies heaven and gives it the emotions of sadness and anger to explain why it is raining. Having the weather match Lisa’s mood communicates sadness or anger in a realistic way, because when people are sad or angry they are often so emotional that they cannot see the world as anything
but an extension of those emotions.
A literary analysis:
This text describes two things: rain and a person named Lisa. It describes them both in a depressing way. The text uses personification of nature, because it gives nature the emotions “sad and angry” to explain why it is raining. Giving nature human emotions can make it seem that nature matches or even sympathizes with the person in the scene, who puts her head down in her hands, a sign that she could be sad or angry too.
Note that all three texts start with a quick summary of the text they are writing about.
Note also that both the literary criticism and literary analysis shown here are primarily New Criticism, because for the most part they rely just on the text—as well as a few literary terms—to make their points.
A historical/biographical literary analysis of this text might indicate the following:
It was raining heavily outside when the author wrote this text, and that might have helped her think of rain as a parallel for Lisa’s emotions.
**Be careful to provide cited evidence from a source for the facts you use in historical/biographical literary criticism and analysis.
In general terms, literary criticism is writing that asks two questions:
What is good and bad about this text?
Why is a particular aspect of the text good or bad?
When you were younger, a teacher may have asked you to write a book review. Book reviews only have to answer the first question, what is good and bad about this text. Literary criticism goes one step further to ask why. Literary criticism is very similar to literary analysis. Literary analysis asks one main question:
Why is this text the way it is?
Several common ways of looking at that question more specifically include,
Why does this character act the way he or she does?
Why does the writer use the particular style he or she uses to convey
this text’s message?
What effect does one aspect of the text, such as the setting or a particular
trait of a character, have on other aspects of the story?
When you write literary criticism and literary analysis, you ask a lot of “why” questions. The main difference between the two is that in literary criticism, more of your opinion comes through. Literary criticism and literary analysis sometimes answer their “why” questions in recognizable ways. Those habitual ways of answering these questions are called different schools of literary theory. Literary theories are simply different ways of approaching those “why” questions. Some of those
approaches include:
Reader response theory: A text is the way it is because of how readers look at it, so any explanation of a text’s meaning needs to take into account the ways different people react to the text.
New Criticism: Texts make sense without reference to outside sources. So any question about a text can be answered by looking closely at how different parts of the text relate to each other.
Historical/biographical criticism: Texts are written by authors, who are heavily influenced by the events in their lives and in the world they live in. So any question about a text should be answered by referring to outside information about the life of the author or the history and culture in which the author lived or lives.
Feminist or gender criticism: This kind of criticism looks at the way male and female characters act in a story and analyzes how that behavior reflects the author’s cultural context and how those portrayals might affect readers’ perceptions of gender. This kind of criticism also looks at what texts leave out; for instance, if there are only stupid men in a story, a gender critic would analyze why.
A sample text:
The rain beat hard against the window, as if heaven was both sad and angry at Lisa, who sat inside, safe and dry, and buried her head in her hands.
A text review (like a book review):
This text describes a girl who is probably sad on a rainy day. It is an effective text at communicating depressing emotions.
A literary criticism:
This text describes two things: rain and a person named Lisa. The text communicates
depressing emotions effectively because it applies them not just to a person but to the weather. Lisa buries “her head in her hands,” which may indicate sadness. While rain isn’t strictly speaking sad, its similarity to tears can make it seem so. The author of this text also personifies heaven and gives it the emotions of sadness and anger to explain why it is raining. Having the weather match Lisa’s mood communicates sadness or anger in a realistic way, because when people are sad or angry they are often so emotional that they cannot see the world as anything
but an extension of those emotions.
A literary analysis:
This text describes two things: rain and a person named Lisa. It describes them both in a depressing way. The text uses personification of nature, because it gives nature the emotions “sad and angry” to explain why it is raining. Giving nature human emotions can make it seem that nature matches or even sympathizes with the person in the scene, who puts her head down in her hands, a sign that she could be sad or angry too.
Note that all three texts start with a quick summary of the text they are writing about.
Note also that both the literary criticism and literary analysis shown here are primarily New Criticism, because for the most part they rely just on the text—as well as a few literary terms—to make their points.
A historical/biographical literary analysis of this text might indicate the following:
It was raining heavily outside when the author wrote this text, and that might have helped her think of rain as a parallel for Lisa’s emotions.
**Be careful to provide cited evidence from a source for the facts you use in historical/biographical literary criticism and analysis.
What is Culture?
The word culture has many different meanings. For some it refers to an appreciation of good literature, music, art, and food. For a biologist, it is likely to be a colony of bacteria or other microorganisms growing in a nutrient medium in a laboratory Petri dish. However, for anthropologists and other behavioral scientists (and for the purpose of this class), culture is the full range of learned human behavior patterns. The term was first used in this way by the pioneer English Anthropologist Edward B. Tylor in his book, Primitive Culture, published in 1871. Tylor said that culture is "that complex whole which includes knowledge, belief, art, law, morals, custom, and any other capabilities and habits acquired by man as a member of society." Of course, it is not limited to men. Women possess and create it as well.
Culture is a powerful human tool for survival, but it is a fragile phenomenon. It is constantly changing and easily lost because it exists only in our minds. Our written languages, governments, buildings, and other man-made things are merely the products of culture. They are not culture in themselves. For this reason, archaeologists can not dig up culture directly in their excavations. The broken pots and other artifacts of ancient people that they uncover are only material remains that reflect cultural patterns--they are things that were made and used through cultural knowledge and skills.
There are very likely three layers or levels of culture that are part of your learned behavior patterns and perceptions. Most obviously is the body of cultural traditions that distinguish your specific society. When people speak of Italian, Samoan, or Japanese culture, they are referring to the shared language, traditions, and beliefs that set each of these peoples apart from others. In most cases, those who share your culture do so because they acquired it as they were raised by parents and other family members who have it.
The second layer of culture that may be part of your identity is a subculture . In complex, diverse societies in which people have come from many different parts of the world, they often retain much of their original cultural traditions. As a result, they are likely to be part of an identifiable subculture in their new society. The shared cultural traits of subcultures set them apart from the rest of their society. Examples of easily identifiable subcultures in the United States include ethnic groups such as Vietnamese Americans, African Americans, and Mexican Americans. Members of each of these subcultures share a common identity, food tradition, dialect or language, and other cultural traits that come from their common ancestral background and experience. As the cultural differences between members of a subculture and the dominant national culture blur and eventually disappear, the subculture ceases to exist except as a group of people who claim a common ancestry.
The third layer of culture consists of cultural universals. These are learned behavior patterns that are shared by all of humanity collectively. No matter where people live in the world, they share these universal traits. Culture and society are not the same thing. While cultures are complexes of learned behavior patterns and perceptions, societies are groups of interacting organisms. People are not the only animals that have societies.
By Dennis O'Neil.
Once you have completed the reading, click on the following link and take the accompanying quiz.
What is Culture Quiz?
Culture is a powerful human tool for survival, but it is a fragile phenomenon. It is constantly changing and easily lost because it exists only in our minds. Our written languages, governments, buildings, and other man-made things are merely the products of culture. They are not culture in themselves. For this reason, archaeologists can not dig up culture directly in their excavations. The broken pots and other artifacts of ancient people that they uncover are only material remains that reflect cultural patterns--they are things that were made and used through cultural knowledge and skills.
There are very likely three layers or levels of culture that are part of your learned behavior patterns and perceptions. Most obviously is the body of cultural traditions that distinguish your specific society. When people speak of Italian, Samoan, or Japanese culture, they are referring to the shared language, traditions, and beliefs that set each of these peoples apart from others. In most cases, those who share your culture do so because they acquired it as they were raised by parents and other family members who have it.
The second layer of culture that may be part of your identity is a subculture . In complex, diverse societies in which people have come from many different parts of the world, they often retain much of their original cultural traditions. As a result, they are likely to be part of an identifiable subculture in their new society. The shared cultural traits of subcultures set them apart from the rest of their society. Examples of easily identifiable subcultures in the United States include ethnic groups such as Vietnamese Americans, African Americans, and Mexican Americans. Members of each of these subcultures share a common identity, food tradition, dialect or language, and other cultural traits that come from their common ancestral background and experience. As the cultural differences between members of a subculture and the dominant national culture blur and eventually disappear, the subculture ceases to exist except as a group of people who claim a common ancestry.
The third layer of culture consists of cultural universals. These are learned behavior patterns that are shared by all of humanity collectively. No matter where people live in the world, they share these universal traits. Culture and society are not the same thing. While cultures are complexes of learned behavior patterns and perceptions, societies are groups of interacting organisms. People are not the only animals that have societies.
By Dennis O'Neil.
Once you have completed the reading, click on the following link and take the accompanying quiz.
What is Culture Quiz?
"We Wear the Mask"
We Wear the Mask
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,---
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile, but O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!
Paul Laurence Dunbar (1872-1906)
1. Read through the poem twice.
2. What is the tone of the “Mask” poem?
3. What do you believe this poem is about?
4. What words indicate to you the poem’s meaning?
5. According to Dunbar, what are masks?
6. Who uses masks? Give examples.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,---
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile, but O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!
Paul Laurence Dunbar (1872-1906)
1. Read through the poem twice.
2. What is the tone of the “Mask” poem?
3. What do you believe this poem is about?
4. What words indicate to you the poem’s meaning?
5. According to Dunbar, what are masks?
6. Who uses masks? Give examples.
Anticipation Guide: Huck Finn
Directions: Before beginning The Adventures of Huckleberry Finn by Mark Twain, answer A (agree) or D (disagree) to the following statements, and be prepared to discuss your answers in class. After our class discussion, you will then choose one question to write a one page response to, expressing your feelings and opinions.
Statements:
1. In life we always get what we deserve in the end.
2. Running away is the best way to solve our problems.
3. People of different races can’t get along with each other.
4. Life always produces it’s own problems and trials to solve and overcome.
5. Having a good home with loving parents prevents most of life’s problems.
6. Playing is more important than working.
7. It’s not fun to learn and go to school.
8. Children must have someone to take care of them or they won’t survive.
9. People seek out their own little adventures in life.
Statements:
1. In life we always get what we deserve in the end.
2. Running away is the best way to solve our problems.
3. People of different races can’t get along with each other.
4. Life always produces it’s own problems and trials to solve and overcome.
5. Having a good home with loving parents prevents most of life’s problems.
6. Playing is more important than working.
7. It’s not fun to learn and go to school.
8. Children must have someone to take care of them or they won’t survive.
9. People seek out their own little adventures in life.
Sunday, October 16, 2011
Mark Twain: Huck Finn
Here are a list of useful websites pertaining to the life and times in which Twain was writing Huckleberry Finn:
African-American History Timeline
History of Slavery
While it is difficult to find sites that look at the Victorian era in an unromanticized way, these sites provide some unique perspectives:
American Literature Timeline
Advertising Adventures
History Matters
African-American History Timeline
History of Slavery
While it is difficult to find sites that look at the Victorian era in an unromanticized way, these sites provide some unique perspectives:
American Literature Timeline
Advertising Adventures
History Matters
Friday, October 7, 2011
Keynote
Junior Keynote Presentation for Monday, October 10, 2011
Group One: What is the significance of the Mississippi River area?
Group Two: What is equality? Does it exist in a utopia?
Group Three: What are the characteristics of 12-14 year old boys?
Group Four: What are types of civilization?
Group Five: What role does fear play in society?
Group Six: Is war necessary to have a successful society?
Group Seven: Does society need authority?
The Keynote presentation must have three slides.
• Slide 1 : Definition of your topic
• Slide 2: What does it look like?
• Slide 3: Make a connection to our society.
• Use a graphic or picture for each slide.
Group One: What is the significance of the Mississippi River area?
Group Two: What is equality? Does it exist in a utopia?
Group Three: What are the characteristics of 12-14 year old boys?
Group Four: What are types of civilization?
Group Five: What role does fear play in society?
Group Six: Is war necessary to have a successful society?
Group Seven: Does society need authority?
The Keynote presentation must have three slides.
• Slide 1 : Definition of your topic
• Slide 2: What does it look like?
• Slide 3: Make a connection to our society.
• Use a graphic or picture for each slide.
Wednesday, October 5, 2011
Argumentative Essay Checklist
Name_________________________________________Date__________________Period__________
Argumentative Essay Checklist
Opening Paragraph
General sentence introducing the topic, also called a “hook”
Outside example of topic (NOT anything about Hamlet! Think books, movies, political events, news stories, etc.)
Transition from outside example to Hamlet
Two part thesis statement (must be arguable, supportable and specific. Do not write “Hamlet kills lots of people, including Polonius and Laertes.” Thesis statement must be underlined.
First Body Paragraph
Topic sentence about the thesis position
Transition to first point of thesis (who, where, what, when)
1st concrete detail from Hamlet. Must be embedded in the sentence and include a lead-out.
Underline CD and include act and scene numbers (ex: IV, iii, 132-133)
Include a MINIMUM of two sentences of commentary. Commentary is interpretation or explanation of the CD and IS NOT summary!!
Transition to second point of thesis (who, where, what, when)
2nd concrete detail from Hamlet. Must be embedded in the sentence and include a lead-out.
Underline CD and include act and scene numbers.
Include a MINIMUM of two sentences of commentary, NOT summary!
Concluding sentence
Second Body Paragraph
Topic sentence about the thesis position
Transition to outside source (CD). Tell who said it OR the title of the article/website. (ex: Harvard professor, Dr. David Neiman, explains, “Ophelia was a product of her time” and that it wasn’t her fault she was suicidal (32).
Commentary (minimum of two sentences)
Transition to second outside source (see above)
Commentary
Concluding sentence
Third Body Paragraph
Topic sentence
Counter argument – can use an outside source for this. If so, it needs to be embedded and contain a parenthetical citation.
Refutation – can use an outside source for this. There needs to be ONE outside source (minimum) for this paragraph with detailed explanation.
Concluding sentence
Closing Paragraph
Restate thesis and summarize claims. Do not just cut and paste your thesis/arguments here.
Universalize – why do we care about this topic? What does it have to do with our current lives? Do NOT use sweeping statements, i.e., “If Hamlet had only had a true friend none of this tragedy would have occurred.” Or “We should all be friendly to everyone.”
Clinching sentence – sums everything up in a powerful closing sentence.
Works Cited Page
Is on its own page
Title says Works Cited. Nothing else.
Includes Hamlet as a source
Contains three other sources that are academically sound
Is alphabetized
Is double-spaced
Left hanging margin on first line of each source. Additional lines are indented five spaces.
Double-check format of each source. You are accountable for the correct format. If you have questions, ask before the essay is due.
Organization
Cover sheet with original, creative title, your name, date and period. Must be typed.
Final essay
Works Cited page
Edited rough draft
Peer edit sheet with name of peer editor
3 Research Logs
REMEMBER:
Use third person throughout the essay
Document your sources correctly
Include a Works Cited page
Underline thesis and all CDs
Do not include questions in the essay
Argumentative Essay Checklist
Opening Paragraph
General sentence introducing the topic, also called a “hook”
Outside example of topic (NOT anything about Hamlet! Think books, movies, political events, news stories, etc.)
Transition from outside example to Hamlet
Two part thesis statement (must be arguable, supportable and specific. Do not write “Hamlet kills lots of people, including Polonius and Laertes.” Thesis statement must be underlined.
First Body Paragraph
Topic sentence about the thesis position
Transition to first point of thesis (who, where, what, when)
1st concrete detail from Hamlet. Must be embedded in the sentence and include a lead-out.
Underline CD and include act and scene numbers (ex: IV, iii, 132-133)
Include a MINIMUM of two sentences of commentary. Commentary is interpretation or explanation of the CD and IS NOT summary!!
Transition to second point of thesis (who, where, what, when)
2nd concrete detail from Hamlet. Must be embedded in the sentence and include a lead-out.
Underline CD and include act and scene numbers.
Include a MINIMUM of two sentences of commentary, NOT summary!
Concluding sentence
Second Body Paragraph
Topic sentence about the thesis position
Transition to outside source (CD). Tell who said it OR the title of the article/website. (ex: Harvard professor, Dr. David Neiman, explains, “Ophelia was a product of her time” and that it wasn’t her fault she was suicidal (32).
Commentary (minimum of two sentences)
Transition to second outside source (see above)
Commentary
Concluding sentence
Third Body Paragraph
Topic sentence
Counter argument – can use an outside source for this. If so, it needs to be embedded and contain a parenthetical citation.
Refutation – can use an outside source for this. There needs to be ONE outside source (minimum) for this paragraph with detailed explanation.
Concluding sentence
Closing Paragraph
Restate thesis and summarize claims. Do not just cut and paste your thesis/arguments here.
Universalize – why do we care about this topic? What does it have to do with our current lives? Do NOT use sweeping statements, i.e., “If Hamlet had only had a true friend none of this tragedy would have occurred.” Or “We should all be friendly to everyone.”
Clinching sentence – sums everything up in a powerful closing sentence.
Works Cited Page
Is on its own page
Title says Works Cited. Nothing else.
Includes Hamlet as a source
Contains three other sources that are academically sound
Is alphabetized
Is double-spaced
Left hanging margin on first line of each source. Additional lines are indented five spaces.
Double-check format of each source. You are accountable for the correct format. If you have questions, ask before the essay is due.
Organization
Cover sheet with original, creative title, your name, date and period. Must be typed.
Final essay
Works Cited page
Edited rough draft
Peer edit sheet with name of peer editor
3 Research Logs
REMEMBER:
Use third person throughout the essay
Document your sources correctly
Include a Works Cited page
Underline thesis and all CDs
Do not include questions in the essay
Tuesday, October 4, 2011
Counter-Argument Example
First, I will state my assertion. How about: Schools should make hot chocolate available to students in the morning and at lunch time.
Second, brainstorm supporting arguments: Hot chocolate contains lots of milk which is full of calcium and protein. Growing kids should have three servings of dairy each day. They can be served hot or iced, so they would be appealing both in summer and winter. They are a popular drink among older teens and adults whom students are likely to emulate. Hot Chocolate would replace sodas for lots of students, improving their nutrition. Hot Chocolate seems more ‘special’ than canned sodas or juice, so maybe it would make students feel more positive about school.
Third, decide on a couple of main arguments to include in my thesis statement: I think I’ll include the nutrition aspect and their popularity. So, my thesis might be ‘Schools should make hot chocolate available to students in the morning and at lunch time because they would improve students’ nutrition and they are popular.’ That’s kind of long. I’ll shorten it to ‘Schools should serve hot chocolate because they are nutritional and popular.’ I’ll start with that.
Fourth, identify an audience: I’ll try to convince parents.
Fifth, think of the concerns or arguments parents might raise. (These will be the counter-arguments I will answer in my paper.) Well, I know parents might argue that kids shouldn’t have too much sugar. They might think of the hot chocolate with whipped cream on top and say hot chocolate has too much fat. They might be concerned that they are messy—more likely to be spilled than a soda with a lid. No, I think that would be more of a concern if I were writing for the administrators; I’ll leave that one out. Maybe parents would worry about how expensive the drinks are.
Sixth, think of answers to the parents’ concerns and counter-arguments. Well, for the too much sugar argument, I could recommend sugar-free hot chocolate. I could also compare the amount of sugar in a hot chocolate with how much is in a soda. I could also check and see if it was the same kind of sugar: I have read that the high fructose corn syrup in sodas is worse than regular sugar. That would take a little research, but it should be easy to find out. What else? Oh, yes – fat. Everybody has heard of "skinny" hot chocolates made with non-fat milk, so I could include that in my recommendation. Now for the last one: expense. Hot chocolates are kind of expensive compared with a soda. How could I answer that concern? If students learned
to make them and ran a student stand in the cafeteria, they wouldn’t be so expensive; there wouldn’t have to be a profit built in – although I suppose the equipment is expensive. Maybe instead of some of the other prizes and awards that the parent club buys, they could pay for hot chocolate tickets to give out as incentives or awards. Ok, I think that is enough to start with.
Seventh, write down an outline. Ok. First, I have my thesis statement.
Then, my first section is going to be Improved Nutrition. Under that I can include the calcium, protein, the nutritional needs of growing kids, and the substitution for the "empty calories" in soda. I think this would be a good time to put in the counter-arguments related to nutrition. My second section will be about Popularity of Hot chocolate. I could even take a short survey of students and use a statistic to show that more kids would drink milk if it were in hot chocolate instead of a regular ol’ carton. I could put in how they can be served in summer or winter and about how kids aren’t likely to "outgrow" them because they are popular with older teens and
adults. This could be where I answer the counter-argument about expense with some ideas about kids being willing to work at a student-stand and about giving out tickets as awards. Now I need to enter the counter-arguments related to nutrition. I could say ‘Some parents might counter that hot chocolate is high in sugar, and fat. However, those arguments fail to take into consideration the fact that hot chocolate can be made with sugar-free flavorings, and non-fat milk – or even soy milk.’ I could add ‘Also, when one considers the sugar content of the sodas they will be replacing, this argument seems even weaker." Then I could I answer the counter-argument about expense with some ideas about kids being willing to work at a student-stand and about giving out tickets as awards.
And my paper is practically written at this point!
Second, brainstorm supporting arguments: Hot chocolate contains lots of milk which is full of calcium and protein. Growing kids should have three servings of dairy each day. They can be served hot or iced, so they would be appealing both in summer and winter. They are a popular drink among older teens and adults whom students are likely to emulate. Hot Chocolate would replace sodas for lots of students, improving their nutrition. Hot Chocolate seems more ‘special’ than canned sodas or juice, so maybe it would make students feel more positive about school.
Third, decide on a couple of main arguments to include in my thesis statement: I think I’ll include the nutrition aspect and their popularity. So, my thesis might be ‘Schools should make hot chocolate available to students in the morning and at lunch time because they would improve students’ nutrition and they are popular.’ That’s kind of long. I’ll shorten it to ‘Schools should serve hot chocolate because they are nutritional and popular.’ I’ll start with that.
Fourth, identify an audience: I’ll try to convince parents.
Fifth, think of the concerns or arguments parents might raise. (These will be the counter-arguments I will answer in my paper.) Well, I know parents might argue that kids shouldn’t have too much sugar. They might think of the hot chocolate with whipped cream on top and say hot chocolate has too much fat. They might be concerned that they are messy—more likely to be spilled than a soda with a lid. No, I think that would be more of a concern if I were writing for the administrators; I’ll leave that one out. Maybe parents would worry about how expensive the drinks are.
Sixth, think of answers to the parents’ concerns and counter-arguments. Well, for the too much sugar argument, I could recommend sugar-free hot chocolate. I could also compare the amount of sugar in a hot chocolate with how much is in a soda. I could also check and see if it was the same kind of sugar: I have read that the high fructose corn syrup in sodas is worse than regular sugar. That would take a little research, but it should be easy to find out. What else? Oh, yes – fat. Everybody has heard of "skinny" hot chocolates made with non-fat milk, so I could include that in my recommendation. Now for the last one: expense. Hot chocolates are kind of expensive compared with a soda. How could I answer that concern? If students learned
to make them and ran a student stand in the cafeteria, they wouldn’t be so expensive; there wouldn’t have to be a profit built in – although I suppose the equipment is expensive. Maybe instead of some of the other prizes and awards that the parent club buys, they could pay for hot chocolate tickets to give out as incentives or awards. Ok, I think that is enough to start with.
Seventh, write down an outline. Ok. First, I have my thesis statement.
Then, my first section is going to be Improved Nutrition. Under that I can include the calcium, protein, the nutritional needs of growing kids, and the substitution for the "empty calories" in soda. I think this would be a good time to put in the counter-arguments related to nutrition. My second section will be about Popularity of Hot chocolate. I could even take a short survey of students and use a statistic to show that more kids would drink milk if it were in hot chocolate instead of a regular ol’ carton. I could put in how they can be served in summer or winter and about how kids aren’t likely to "outgrow" them because they are popular with older teens and
adults. This could be where I answer the counter-argument about expense with some ideas about kids being willing to work at a student-stand and about giving out tickets as awards. Now I need to enter the counter-arguments related to nutrition. I could say ‘Some parents might counter that hot chocolate is high in sugar, and fat. However, those arguments fail to take into consideration the fact that hot chocolate can be made with sugar-free flavorings, and non-fat milk – or even soy milk.’ I could add ‘Also, when one considers the sugar content of the sodas they will be replacing, this argument seems even weaker." Then I could I answer the counter-argument about expense with some ideas about kids being willing to work at a student-stand and about giving out tickets as awards.
And my paper is practically written at this point!
Counter-Argument Activity Directions
Counter-Arguments
I. Once you are in a group, identify a topic about which you know enough to take and support two or more positions. Here are some possible idea-starters:
• Community issues involving bike paths, bus routes or schedules, parks, recreation opportunities for teens, etc.
• School issues such as electives, schedules, lunchroom conditions or offerings, extra-curricular programs, social groups or activities, behavioral or discipline issues, rules, policies, etc.
• Individual issues such as health, leisure, career planning, etc.
In the River’s Edge Park example, the topic is Developing a Park.
II. When you have picked a topic, ask questions about it until you come up with at least two positions you can support with reasons today. (In your argumentative essay on Hamlet you have had the opportunity to do research to build your support.)
• You might start by asking questions that begin with “How can we ...?” or “What should we do about …?” These will result in several possible positions.
• Questions that begin simply “Should we …?” will result in only two positions -- for and against.
In the River’s Edge Park example, the question was “What kind of development should take place?” or “What kind of a park should it become?” Although only one position is presented, we can guess that other positions might have been: It should become a sports-oriented park; it should appeal to a wide variety of users; it should attract the greatest number of users possible; it should reflect the history of the area, etc.
III. Next, divide your group into half. We’ll call these two half-groups Thesis Teams. Each team will take a different position on the topic. Your team will write a thesis and outline the support you would use in a argumentative paper, including anticipating counter-arguments.
Steps for the Thesis Group
1. Formulate your position on the issue.
2. Brainstorm possible evidence you could use to support your position. (Turn this in too).
3. Decide on two or three main supporting arguments and incorporate them (and your position) into a thesis statement.
4. Identify the audience you want to persuade. (e.g. parents, teachers, coaches, etc. No “preaching to the choir” allowed!)
5. Brainstorm possible counter-arguments or concerns your audience might have. (These would be their “Yeah, but…” responses.)
6. Jot down possible answers to your reader’s counter-arguments.
7. On a piece of paper, write a brief outline of a paper, incorporating your supporting arguments and your answers to the reader’s counter-arguments.
8. Turn in your completed outline (2 outlines for 1 group—remember you’ve split yourselves into 2 teams at this point) to your Period’s In-Box in the classroom, or email to MrsLarson322@gmail.com
I. Once you are in a group, identify a topic about which you know enough to take and support two or more positions. Here are some possible idea-starters:
• Community issues involving bike paths, bus routes or schedules, parks, recreation opportunities for teens, etc.
• School issues such as electives, schedules, lunchroom conditions or offerings, extra-curricular programs, social groups or activities, behavioral or discipline issues, rules, policies, etc.
• Individual issues such as health, leisure, career planning, etc.
In the River’s Edge Park example, the topic is Developing a Park.
II. When you have picked a topic, ask questions about it until you come up with at least two positions you can support with reasons today. (In your argumentative essay on Hamlet you have had the opportunity to do research to build your support.)
• You might start by asking questions that begin with “How can we ...?” or “What should we do about …?” These will result in several possible positions.
• Questions that begin simply “Should we …?” will result in only two positions -- for and against.
In the River’s Edge Park example, the question was “What kind of development should take place?” or “What kind of a park should it become?” Although only one position is presented, we can guess that other positions might have been: It should become a sports-oriented park; it should appeal to a wide variety of users; it should attract the greatest number of users possible; it should reflect the history of the area, etc.
III. Next, divide your group into half. We’ll call these two half-groups Thesis Teams. Each team will take a different position on the topic. Your team will write a thesis and outline the support you would use in a argumentative paper, including anticipating counter-arguments.
Steps for the Thesis Group
1. Formulate your position on the issue.
2. Brainstorm possible evidence you could use to support your position. (Turn this in too).
3. Decide on two or three main supporting arguments and incorporate them (and your position) into a thesis statement.
4. Identify the audience you want to persuade. (e.g. parents, teachers, coaches, etc. No “preaching to the choir” allowed!)
5. Brainstorm possible counter-arguments or concerns your audience might have. (These would be their “Yeah, but…” responses.)
6. Jot down possible answers to your reader’s counter-arguments.
7. On a piece of paper, write a brief outline of a paper, incorporating your supporting arguments and your answers to the reader’s counter-arguments.
8. Turn in your completed outline (2 outlines for 1 group—remember you’ve split yourselves into 2 teams at this point) to your Period’s In-Box in the classroom, or email to MrsLarson322@gmail.com
Counter Argument: Park Planning
Criteria for Good Thesis Statements
1. Arguable – Reasonable people could disagree
2. Supportable – Can be backed up with evidence, reasons
3. Specific – Not vague, not too general, not too broad
4. “Maps out” the paper – Gives the reader a guide to the organization of the argument
5. Third person – No “I” or “me” in the paper
Park Planning for River’s Edge Park
Tucked away among neighboring houses along the Willamette River is a small pocket of nature: Blackberries ripen under the great trees; ivy runs down the bank, obscuring the remnants of trails down to the gravel bar; an osprey lifts off from its nest in a dying treetop. This is River’s Edge Park, a small parcel of mostly overgrown land, forgotten for decades by most of the city. Now, plans are being made to develop this corner as part of a master planning process for all of the city parks. The question is, What kind of development should take place? Taking into consideration the size and natural features of the park and the interests of the immediate neighbors, it is clear that the best plan is for a relatively undeveloped, mostly naturalized park with limited amenities and parking.
The size and physical features of the park are the most limiting factor. Barely 10 acres, only the top half of the park is flat and well above the annual winter high water. Only this area is suitable for siting any permanent structures, and its small size argues for the simplest of amenities: A picnic table or two, benches, a viewing platform, a play structure, and a small lawn will fill the area. Some may insist on adding more parking spaces here. However, to do so would require either removing the spreading maples that give the park its character and beauty or eliminating the lawn and picnic area.
Down a steep and unstable bank lies the other half of the park. This is gravel bar, flooded each winter and overgrown with young willows. This part is best left to nature. Some may argue that this is the jewel of the park and should be cleared and made more accessible. However, while a trail may be cleared to the water each spring, any attempts at developing this part will be thwarted each year by the high water. A winter channel cutting close to the bank creates an island of the lower half. Each year’s flood chokes the area with massive debris. Since heavy equipment is not allowed in such a riparian area, the effort and expense of clearing it each year would exhaust the Park Department’s maintenance budget – as well as its personnel.
Finally, the park is currently and will continue to be designated a neighborhood park – not a city or regional park. So, the interests of the neighbors should weigh most heavily in any decisions. Their preferences range from leaving it exactly as it is to adding small improvements. They favor one or two tables, a play structure, and clearing back the brush on the upper level. Any grand ideas for changing this park aren’t coming from the people who actually use it.
In conclusion, River’s Edge Park is already very close to what it should become: A natural area where people can picnic in view of the river, neighborhood children can play, and the adventurous can traipse down the bank and skip stones or wade. And perhaps we can help nature along a bit by adding a nesting pole for the osprey against the day that the winter storms take down that dying fir tree.
DIRECTIONS:
In a Google Doc, highlight the thesis. Underline the counter-arguments.
ANSWER THESE QUESTIONS:
1. How does the writer support his position? Explain.
2. How is each counter-argument answered or refuted? Explain.
1. Arguable – Reasonable people could disagree
2. Supportable – Can be backed up with evidence, reasons
3. Specific – Not vague, not too general, not too broad
4. “Maps out” the paper – Gives the reader a guide to the organization of the argument
5. Third person – No “I” or “me” in the paper
Park Planning for River’s Edge Park
Tucked away among neighboring houses along the Willamette River is a small pocket of nature: Blackberries ripen under the great trees; ivy runs down the bank, obscuring the remnants of trails down to the gravel bar; an osprey lifts off from its nest in a dying treetop. This is River’s Edge Park, a small parcel of mostly overgrown land, forgotten for decades by most of the city. Now, plans are being made to develop this corner as part of a master planning process for all of the city parks. The question is, What kind of development should take place? Taking into consideration the size and natural features of the park and the interests of the immediate neighbors, it is clear that the best plan is for a relatively undeveloped, mostly naturalized park with limited amenities and parking.
The size and physical features of the park are the most limiting factor. Barely 10 acres, only the top half of the park is flat and well above the annual winter high water. Only this area is suitable for siting any permanent structures, and its small size argues for the simplest of amenities: A picnic table or two, benches, a viewing platform, a play structure, and a small lawn will fill the area. Some may insist on adding more parking spaces here. However, to do so would require either removing the spreading maples that give the park its character and beauty or eliminating the lawn and picnic area.
Down a steep and unstable bank lies the other half of the park. This is gravel bar, flooded each winter and overgrown with young willows. This part is best left to nature. Some may argue that this is the jewel of the park and should be cleared and made more accessible. However, while a trail may be cleared to the water each spring, any attempts at developing this part will be thwarted each year by the high water. A winter channel cutting close to the bank creates an island of the lower half. Each year’s flood chokes the area with massive debris. Since heavy equipment is not allowed in such a riparian area, the effort and expense of clearing it each year would exhaust the Park Department’s maintenance budget – as well as its personnel.
Finally, the park is currently and will continue to be designated a neighborhood park – not a city or regional park. So, the interests of the neighbors should weigh most heavily in any decisions. Their preferences range from leaving it exactly as it is to adding small improvements. They favor one or two tables, a play structure, and clearing back the brush on the upper level. Any grand ideas for changing this park aren’t coming from the people who actually use it.
In conclusion, River’s Edge Park is already very close to what it should become: A natural area where people can picnic in view of the river, neighborhood children can play, and the adventurous can traipse down the bank and skip stones or wade. And perhaps we can help nature along a bit by adding a nesting pole for the osprey against the day that the winter storms take down that dying fir tree.
DIRECTIONS:
In a Google Doc, highlight the thesis. Underline the counter-arguments.
ANSWER THESE QUESTIONS:
1. How does the writer support his position? Explain.
2. How is each counter-argument answered or refuted? Explain.
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