Instructions+-+How+It+All+Works+-Writing+and+Responding



How

It All

Works!

Here's the information to help you figure this out!

You need to be responsible enough to work on your poetry several times each week. A list of poetry assignments can be found below. On the due date for each section you'll need to have that poem posted on the wiki:
 * 1) Please read through and learn how to present the poem given to you today. You will present it at out Poetry Slam on April 16th.
 * 2) Write a rhyming poem of at least 5 stanzas (each stanza should be 4 to 6 lines long). Choose at least three poetic tools to use throughout the poem (see glossary below). If you need some ideas concerning what to write about you can choose one from the list below. This needs to be done by April 7th, so it can be checked before the Poetry Slam, because you will be sharing it with both schools!
 * 3) Prepare a powerpoint about the poet you are assigned. The list is below. Follow the format as outlined in the handout.
 * 4) Present your powerpoint on either April 28th or May 1st.
 * 5) Write a short (1 paragraph) personal reflection about the experience.

Ideas for poem themes:


 * 1) Describing a person by describing his or her belongings.
 * 2) Speaking from the point of view of something you lost or misplaced.
 * 3) In the shape of an subject (a concrete poem)
 * 4) Telling about something that happened long ago, to you or to someone else.
 * 5) As a conversation between two people, objects, ideas, or animals.
 * 6) Defining words in strange and new ways
 * 7) As dialogue in a play
 * 8) About noisy things in words that sound like the noises they make.
 * 9) About your favorite sport
 * 10) Pretending you are somebody else.
 * 11) Explaining what it's like to wake up in the morning, using sounds.
 * 12) Describing a person by describing his actions, using strong verbs
 * 13) About a feeling, using color, shape, texture and size adjectives.
 * 14) Repeating things you've overheard in the halls, fragments of conversation and statements
 * 15) Telling what a place will look like in a hundred years, or what it looked like a century ago.
 * 16) Saying exactly the same thing over and over in completely different ways.
 * 17) Giving your opinion of things that happened in history
 * 18) As a ghost story
 * 19) With each line repeating one word from the previous line
 * 20) As a love poem to an object.
 * 21) As a lullaby to a young child, or as a lullaby to yourself to help you go to sleep.
 * 22) In chant, repeating a phrase or word and following it with everything that goes with it. Keep thinking of ways to surprise your reader. Keep changing.
 * 23) In a series of memories, giving sensory details.
 * 24) In a list, varying the list and re-arranging it, and giving it an unexpected title
 * 25) Telling things you wish people would say to you
 * 26) Describing events in your past, but changing all the details so that everything is different.
 * 27) Explaining why you don't have your homework (to your mother, to your teacher, to yourself)
 * 28) About something you are studying in science, or history, or math
 * 29) Explaining what's behind or under things.
 * 30) Describing something very unfair that happened to you or someone you know.
 * 31) As a friendly letter to someone you dislike.
 * 32) In a series of images that seem unconnected, but which have a secret connection for you.
 * 33) Going back to the beginning of something, in reverse motion
 * 34) Sitting outside and describing what you see, hear, feel, smell, and taste, all the way around you.
 * 35) In a series of unexpected metaphors (Night is . . . )
 * 36) In questions you can't answer

Poet Assignments for Power Point Presentation:

Skye - Maya Angelou

Mattie - Emily Dickenson

Kendal - Robert Frost

Haley - James Whitcomb Riley

Paige - Langston Hughes

Niki - E.E. Cummings or C. S. Lewis

Stephanie - A.A. Milne

Kate - Edna St.Vincent Millay

Casey - Sara Teasdale

Lindsey - Edgar Allen Poe

Poet Power Point Work Sheet:

19th & 20th Century Poets - Power Point Presentation

Name_Date

For your American Poet Project you will be given the name of a well-known American Poet and complete and present a 15 frame power point presentation expressing your understanding and response to your research and reading. You will present it to the class and explain each frame as outlined below. Use Google search and images to gather your information. Use ONLY appropriate sites. Each frame is worth 10 points.

 Please use transitions that are fairly quick when moving from one frame to the next and make it consistent throughout the presentation. (5points)

 Only use sound or video add-ins as requested. Make the frames respond to the click of the mouse (not automatic forward). (5 points)

 Chose a simple background that will highlight your work (not one that makes it messy or difficult to view your page), and use dark colors sparingly. (5 points)

 Caption all pictures, using an easy to read font in dark colors. Make the font consistent throughout most of the presentation, using size appropriate to the item or page. (10 points)

 Check and recheck spelling and punctuation. Be sure to capitalize all titles. (10 points

 Site all of your information sources, ( gather the information as you go - 10 points)

List of frames – please present them in the order listed below: ( If you can't find the right information, substitute something you think applies.)

1. Title page – include your name, assignment (19th & 20th Century Poets Project), and the name of your poet, which will also serve as the title for your power point.

2. One or two pictures of your poet as a young person, their birth and death date and any other information you think is appropriate for this frame. Add appropriate music, if you’d like to.

3. Pictures of the poet’s family.

4. Pictures of the poet’s birthplace as it appeared when the poet lived there.

5. Pictures of the surrounding area…urban, and/or rural areas.

6. Pictures of the poet’s parents and information about them.

7. Pictures of others who were important in the life of the poet and information about them (siblings, friends, schoolmates) Use video and music, if you’d like too with this frame.

8. Pictures of the poet’s school or schools.

9. Pictures of poet’s spouse and information about them.

10. Pictures of the poet’s children and information about them.

11. Information about one of the poet’s most popular poems. You can add video and music here, if you’d like to.

12. Information and pictures of books or magazines the poet’s work has appeared in.

13. Pictures and information concerning any awards or recognition given to the poet.

14. Picture of the grave marker for the poet, and any last information you want to add, including appropriate music, if you’d like to. Include your own response to the poet and his/her work, including a poem you have written using their style.

15. Use this last page to site the information you gathered and used in your presentation.

_has my permission to use the internet to complete the project above. It must be completely finished by April 28th, and ready to be presented in class. Expires 04/28/14


 * Glossery of Poetic Tools/Terms ||  || **Alliteration**

The repetition of consonant sounds, especially at the beginning of words. Example: "Fetched fresh, as I suppose, off some sweet wood." Hopkins, "In the Valley of the Elwy."


 * Assonance**

The repetition of similar vowel sounds in a sentence or a line of poetry or prose, as in "I rose and told him of my woe." Whitman's "When I Heard the Learn'd Astronomer" contains assonantal "I's" in the following lines: "How soon unaccountable I became tired and sick, / Till rising and gliding out I wander'd off by myself."


 * Caesura**

A strong pause within a line of verse. The following stanza from Hardy's "The Man He Killed" contains caesuras in the middle two lines: He thought he'd 'list, perhaps,

Off-hand-like--just as I--

Was out of work-had sold his traps--

No other reason why.


 * Connotation**

The associations called up by a word that goes beyond its dictionary meaning. Poets, especially, tend to use words rich in connotation. Dylan Thomas's "Do Not Go Gentle into That Good Night" includes intensely connotative language, as in these lines: "Good men, the last wave by, crying how bright / Their frail deeds might have danced in a green bay, / Rage, rage against the dying of the light."


 * Dialogue**

The conversation of characters in a literary work. In fiction, dialogue is typically enclosed within quotation marks. In plays, characters' speech is preceded by their names.


 * Enjambment**

A run-on line of poetry in which logical and grammatical sense carries over from one line into the next. An enjambed line differs from an end-stopped line in which the grammatical and logical sense is completed within the line. In the opening lines of Robert Browning's "My Last Duchess," for example, the first line is end-stopped and the second enjambed: That's my last Duchess painted on the wall,

Looking as if she were alive. I call

That piece a wonder, now....


 * Figurative language**

A form of language use in which writers and speakers convey something other than the literal meaning of their words. Examples include hyperbole or exaggeration, litotes or understatement, simile and metaphor, which employ comparison, and synecdoche and metonymy, in which a part of a thing stands for the whole.
 * Flashback**

An interruption of a work's chronology to describe or present an incident that occurred prior to the main time frame of a work's action. Writers use flashbacks to complicate the sense of chronology in the plot of their works and to convey the richness of the experience of human time. Faulkner's story "A Rose for Emily" includes flashbacks.
 * Foil**

A character who contrasts and parallels the main character in a play or story. Laertes, in //Hamlet//, is a foil for the main character; in //Othello//, Emilia and Bianca are foils for Desdemona.
 * Foot**

A [|metrical] unit composed of stressed and unstressed syllables. For example, an iamb or iambic foot is represented by ˘//'//, that is, an unaccented syllable followed by an accented one. Frost's line "Whose woods these are I think I know" contains four iambs, and is thus an iambic foot.
 * Foreshadowing**

Hints of what is to come in the action of a play or a story. Ibsen's //A Doll's House// includes foreshadowing as does Synge's //Riders to the Sea//. So, too, do Poe's "Cask of Amontillado" and Chopin's "Story of an Hour."


 * Hyperbole**

A figure of speech involving exaggeration. John Donne uses hyperbole in his poem: "Song: Go and Catch a Falling Star."


 * Image**

A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some works one image predominates either by recurring throughout the work or by appearing at a critical point in the plot. Often writers use multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets, such as Ezra Pound and William Carlos Williams, write poems that lack discursive explanation entirely and include only images. Among the most famous examples is Pound's poem "In a Station of the Metro": The apparition of these faces in the crowd;

Petals on a wet, black bough.
 * Imagery**

The pattern of related comparative aspects of language, particularly of images, in a literary work. Imagery of light and darkness pervade James Joyce's stories "Araby," "The Boarding House," and "The Dead." So, too, does religious imagery.


 * Metaphor**

A comparison between essentially unlike things without an explicitly comparative word such as //like// or //as//. An example is "My love is a red, red rose," From Burns's "A Red, Red Rose." Langston Hughes's "Dream Deferred" is built entirely of metaphors. Metaphor is one of the most important of literary uses of language. Shakespeare employs a wide range of metaphor in his sonnets and his plays, often in such density and profusion that readers are kept busy analyzing and interpreting and unraveling them. Compare //[|Simile]//.


 * Narrator**

The voice and implied speaker of a fictional work, to be distinguished from the actual living author. For example, the narrator of Joyce's "Araby" is not James Joyce himself, but a literary fictional character created expressly to tell the story. Faulkner's "A Rose for Emily" contains a communal narrator, identified only as "we." See //[|Point of view]//.


 * Onomatopoeia**

The use of words to imitate the sounds they describe. Words such as //buzz// and //crack// are onomatopoetic. The following line from Pope's "Sound and Sense" onomatopoetically imitates in sound what it describes: When Ajax strives some rock's vast weight to throw,

The line too labors, and the words move slow. Most often, however, onomatopoeia refers to words and groups of words, such as Tennyson's description of the "murmur of innumerable bees," which attempts to capture the sound of a swarm of bees buzzing.


 * Personification**

The endowment of inanimate objects or abstract concepts with animate or living qualities. An example: "The yellow leaves flaunted their color gaily in the breeze." Wordsworth's "I wandered lonely as a cloud" includes personification.


 * Rhyme**

The matching of final vowel or consonant sounds in two or more words. The following stanza of "Richard Cory" employs alternate rhyme, with the third line rhyming with the first and the fourth with the second: Whenever Richard Cory went down town,

We people on the pavement looked at him;

He was a gentleman from sole to crown

Clean favored and imperially slim.
 * Rhythm**

The recurrence of accent or stress in lines of verse. In the following lines from "Same in Blues" by Langston Hughes, the accented words and syllables are underlined: I __said__ to my __ba__by,

__Ba__by take it __slow__....

__Lu__lu said to __Leo__nard

I __want__ a __dia__mond __ring__

A literary work that criticizes human misconduct and ridicules vices, stupidities, and follies. Swift's //Gulliver's Travels// is a famous example. Chekhov's //Marriage Proposal// and O'Connor's "Everything That Rises Must Converge," have strong satirical elements.


 * Setting**

The time and place of a literary work that establish its context. The stories of Sandra Cisneros are set in the American southwest in the mid to late 20th century, those of James Joyce in Dublin, Ireland in the early 20th century.
 * Simile**

A figure of speech involving a comparison between unlike things using //like//, //as//, or //as though//. An example: "My love is like a red, red rose."


 * Stanza**

A division or unit of a poem that is repeated in the same form--either with similar or identical patterns or rhyme and [|meter], or with variations from one stanza to another. The stanzas of Gertrude Schnackenberg's "Signs" are regular; those of Rita Dove's "Canary" are irregular.


 * Symbol**

An object or action in a literary work that means more than itself, that stands for something beyond itself. The glass unicorn in //The Glass Menagerie//, the rocking horse in "The Rocking-Horse Winner," the road in Frost's "The Road Not Taken"--all are symbols in this sense.


 * Theme**

The idea of a literary work abstracted from its details of language, character, and action, and cast in the form of a generalization. See discussion of Dickinson's "Crumbling is not an instant's Act."
 * Tone**

The implied attitude of a writer toward the subject and characters of a work, as, for example, Flannery O'Connor's ironic tone in her "Good Country People." See //[|Irony]//.


 * Understatement**

A figure of speech in which a writer or speaker says less than what he or she means; the opposite of exaggeration. The last line of Frost's "Birches" illustrates this literary device: "One could do worse than be a swinger of birches." ||  ||   ||
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 * [[image:http://highered.mcgraw-hill.com/olcweb/styles/shared/spacer.gif]] ||

Here's the information to help you figure this out!

You need to be responsible enough to work on your writing several times each week. A list of project assignments for each section of writing can be found below. On the due date (check assignments and due dates page) for each section you'll need to have that portion posted on the wiki:
 * 1) Plan argument 1 - Find your assigned debate partner and flip a coin to decide who will present positive and who will present negative. Grab a topic issue from Mrs. Nielson, and prepare your supports and evidence and look at refutation possibilities. This all needs to be written (5 paragraphs).
 * 2) Present your argument in class at a specified time, making points and counter points. Use refutations as needed.
 * 3) Plan argument 2 (using the same steps as were in plan 1, but with a new parner, topic, and position)
 * 4) Present your argument in class at a specified time, making points and counter points. Use refutations as needed.
 * 5) Write a short (1 paragraph) personal reflection about the experience.

Your pages should be titled Argument 1 and Argument 2, with clear issues and positions. Use some form of an outline or graphic organizer to develop your points of argument and refutation. You can gather material here and keep site addresses available on this page.

Here's a great site to visit to see student examples of a character analysis essay: []

The page should say Sample Student Essays; scroll down untill you come to the section labeled Argumentative. There are several examples to look at. Choose for or against to see the points being made.

[]
 * It's always a good idea to use an ideas organizer/graphis. Here are some ideas and sites that might be helpful: **

[]

[]

To help you debate your position in class use the following information: <span style="background-color: #ffffff; font-family: 'Trebuchet MS',Verdana,Arial,sans-serif; font-size: 12px;">** Debate Etiquette **
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Always be kind and respectful toward your competitors.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Don't trash talk any competitor ever.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Check if someone is speaking before walking into a round.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Applaud for your competitors.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Be gracious and ALWAYS be a good sport.

<span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">And look at these, as well:


 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Questions or challenges should not be personal or insulting.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Don’t get mad — get even through use of logic.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Use formal language. Slang, name-calling or cursing makes you appear unintelligent and ill-prepared.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Choose your experts and sources wisely. One young woman who has had an abortion is not an expert on the subject.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Take time to read or quote the literature exactly.
 * <span style="background-color: #ffffff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 16px;">Don’t sound patronizing or condescending. It doesn’t come across well.

Each presenter must persuade the audience that their argument is superior. To do this they must present sound logical arguments, and present them in an interesting and persuasive speaking style, and must structure and prioritise their arguments.

= //** Here is imformation I think may prove to be invaluable to you, not just in this class, but other class levels as well, including college! **// = = All Argumentative stances will have the following, in one form or another:  =


 * Premise: ** a reason offered as support for another claim


 * Conclusion: ** the claim being supported by a premise or premises


 * Argument: ** a conclusion together with the premises that support it

So, to take the oldest example in logic, one that Aristotle used in teaching at his Academy:

The three lines taken together constitute an argument. Line 3 is the conclusion. Lines 1 and 2 are premises. Now, there are a few important things to remember about arguments. First, arguments can be either really short (like the one about Socrates) or they can be really long (most op-eds are extended arguments; lots of books are really long extended arguments). But really long arguments will usually be broken down into series of shorter ones.
 * 1) All men are mortal.
 * 2) Socrates was a man.
 * 3) Therefore Socrates is mortal.

Before we can analyze arguments, we have to identify them. That, in turn, means identifying the premises and the conclusions. There are several strategies for doing so. The easiest is to examine the text for clues.

Unfortunately, not all arguments will contain these helpful indicators, which mean that we need some backup strategies. Another useful tool is paraphrasing, or taking a complicated argument and rewriting it to help us see what the claims really are. And finally, a really useful method is what one could call the 3-year-old approach. Read a sentence and ask, as 3-year-olds are inclined to do, “Why should I believe that?” Look at the rest of the passage and see if you can find anything that looks like an answer to the why question. If you find an answer, then the answer is a premise and the original claim (the sentence about which you asked why) is a conclusion. Repeat the process for each claim.

There is, unfortunately, one small complication. Not all arguments have all of the claims stated explicitly. Sometimes there are implied premises or conclusions. Consider the following argument:

You spilled it. Whoever makes the mess cleans up the mess.

What is clearly implied here is the conclusion: You clean up the mess. Now consider the following argument:

You should not eat that greasy hamburger. It is loaded with fat.

Again, there is something implied, but this time, what's implied is a premise: You should not eat anything that is loaded with fat.

Finally, it is important to remember that sometimes arguments can have more than one conclusion. Look at the following argument:

Since yesterday's editorial cartoon succeeded in making the mayor look silly, the cartoonist must have finally regained his touch. And the mayor probably won't be reelected.

This argument can be thought of as having two different arguments in it. We can analyze it in the following way:


 * Premise ** : Yesterday's editorial cartoon succeeded in making the mayor look silly.


 * Conclusion ** : The cartoonist has finally regained his touch.

And


 * Premise: ** Yesterday's editorial cartoon succeeded in making the mayor look silly.


 * Conclusion: ** The mayor probably won't be reelected.