...Students in this introductory college-level course read and carefully analyze a broad and challenging range of nonfiction prose selections, deepening their awareness of rhetoric and how language works. Through close reading and frequent writing, students develop their ability to work with language and texts in order to establish greater awareness of purpose and strategy, while strengthening their own composing abilities. C16 Students examine rhetoric in essays, images, movies, novels, and speeches. They frequently confer about their writing by conferencing in class. C 14 Feedback is given both before and after students revise their work to help them develop logical organization, enhanced by specific techniques to increase coherence. Rhetorical structures, graphic organizers, and work on repetition, transitions, and emphasis are addressed. I comment on individual drafts, and I write memos to the class in a blog about whole-class concerns such as specificity of quotations, parallelism, and transitions. C13 Simultaneously, students review the simple, compound, complex, and compound-complex sentence classifications. We examine word order, length, and surprising constructions. Loose and periodic sentences are introduced. We examine sample sentences and discuss how change affects tone, purpose, and credibility of the author/speaker. In addition, feedback on producing sentence structure variety is focused on critical thinking skills, evaluating sources and resources, using...
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...What characterises academic writing? It is perhaps tempting to think that Academic Writing (AW) is guided by a fairly homogeneous set of rules and aspects. This is so, possibly because we frequently see books with titles such as Academic Writing and Writing Academic English, and we hear from fellow students, teachers, colleagues and friends about the need for skills within written academic English. However, even if there arguably are core aspects and skills, it is important to acknowledge the fact that many differences exist when it comes to how certain disciplines grapple the challenges of writing academic discourse. The question, then, is whether we should rather talk about Academic Writings, to highlight this heterogeneity. A General Approach Indeed, in the debate on teaching approaches to Academic Writing (AW), there are proponents of a more generalised stance. The advocates of such an approach argue that there are commonalities across academic writing and that a number of core skills can and should be taught (see e.g. Bloor & Bloor, 1986). These core skills could have to do with features of academic prose and text-type patterns that recur in academic writing across disciplines. One of the more frequently proposed arguments in favour of a generalised approach is the lack of subject knowledge and expertise among writing instructors. Such lack of knowledge places restrictions on what can be taught and consequently focus should be placed on more broad principles. Examples...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...Senior English Curriculum Map: 2010-2011 School Year English IV * Note: “Sacred Book List” Addendum is at the end of this document Quarter #1 August 23 to October 22 Essential Questions: 1. How do writers and artists organize or construct text to convey meaning? 2. What does it mean to be a stranger in the village? Unit Goals 1. To understand the relationship between perspective and critical theory. 2. To apply critical theories to various texts studied and created. 3. To control and manipulate textual elements in writing to clearly and effectively convey a controlling idea or thesis. Student Published Portfolios: For each of the first three quarters, students are required to complete three to four published writing portfolio products. Quarter 4 is devoted to completion of the Laureate Research Project. . Pacing: This map is one suggestion for pacing. Springboard pacing guides precede each unit in the “About the Unit” sections and offers pacing on a 45-minute class period length. Prentice Hall Literature – Use selections from Prentice Hall throughout the quarter to reinforce the standards being taught as well as the embedded assessments within the SpringBoard curriculum. QUARTER #1 SpringBoard Curriculum Pacing Guide August 23 – October 22 Standards and Benchmarks | Unit Pacing Guide | SpringBoard Unit/Activities | Assessments | SpringBoard Unit 1Literature * The students will analyze and compare significant works of...
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...Roen−Glau−Maid: The McGraw−Hill Guide: Writing for College, Writing for Life, 2/e II. Using What You’ve Learned to Share Information The McGraw-Hill Guide: Writing for College, Writing for Life, Second Edition 4. Writing to Share Experience © The McGraw−Hill Companies, 2011 13 Reading, Inquiry, and Research ■ PART 2 | Using What You Have Learned to Share Information 57 TANYA BARRIENTOS Se Habla Español MEMOIR he man on the other end of the phone line is 1 Tanya Maria telling me the classes I’ve called about are firstBarrientos has rate: native speakers in charge, no more than six stuwritten for the dents per group. Philadelphia “Conbersaychunal,” he says, allowing the fat vow- 2 Inquirer for more than els of his accented English to collide with the sawedtwenty years. off consonants. I tell him that will be fi ne, that I’m familiar with 3 Barrientos was born in Guatethe conversational setup, and yes, I’ve studied a bit mala and raised of Spanish in the past. He asks for my name and I in El Paso, Texas. Her first novel, Frontera Street, was supply it, rolling the double r in Barrientos like a pro. published in 2002, and her second, That’s when I hear the silent snag, the momentary Family Resemblance, was pubhesitation I’ve come to expect at this part of the exlished in 2003. Her column “Unchange. Should I go into it again? Should I explain, conventional Wisdom” runs every the way I have to half a dozen others, that I am Guaweek in the Inquirer...
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...Julius Caesar full title · The Tragedy of Julius Caesar author · William Shakespeare type of work · Play genre · Tragic drama, historical drama language · English time and place written · 1599, in London date of first publication · Published in the First Folio of 1623, probably from the theater company’s official promptbook rather than from Shakespeare’s manuscript publisher · Edward Blount and William Jaggard headed the group of five men who undertook the publication of Shakespeare’s First Folio narrator · None climax · Cassius’s death (V.iii), upon ordering his servant, Pindarus, to stab him, marks the point at which it becomes clear that the murdered Caesar has been avenged, and that Cassius, Brutus, and the other conspirators have lost in their attempt to keep Rome a republic rather than an empire. Ironically, the conspirators’ defeat is not yet as certain as Cassius believes, but his death helps bring about defeat for his side. protagonists · Brutus and Cassius antagonists · Antony and Octavius setting (time) · 44 b.c. setting (place) · Ancient Rome, toward the end of the Roman republic point of view · The play sustains no single point of view; however, the audience acquires the most insight into Brutus’s mind over the course of the action falling action · Titinius’ realization that Cassius has died wrongly assuming defeat; Titinius’ suicide; Brutus’s discovery of the two corpses; the final struggle between Brutus’s men and the troops...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...PHILIPPINE THEATER Theater in the Philippines is as varied as the cultural traditions and the historical influences that shaped it through the centuries. The dramatic forms that flourished and continue to flourish among the different peoples of the archipelago include: the indigenous theater, mainly Malay in character, which is seen in rituals, mimetic dances, and mimetic customs; the plays with Spanish influence, among which are the komedya, the sinakulo, the playlets, the sarswela, and the drama; and the theater with Anglo-American influence, which encompasses bodabil and the plays in English, and the modern or original plays by Fihpinos, which employ representational and presentational styles drawn from contemporary modern theater, or revitalize traditional forms from within or outside the country. The Indigenous Theater The rituals, dances, and customs which are still performed with urgency and vitality by the different cultural communities that comprise about five percent of the country’s population are held or performed, together or separately, on the occasions of a person’s birth, baptism, circumcision, initial menstruation, courtship, wedding, sickness, and death; or for the celebration of tribal activities, like hunting, fishing, rice planting and harvesting, and going to war. In most rituals, a native priest/priestess, variously called mandadawak, catalonan, bayok, or babalyan, goes into a trance as the spirit he/she is calling upon possesses him/her. While entranced...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break. Types of Connection. Polysyndeton. Asyndeton. Attachment Lexico-Syntactical Stylistic Devices. Antithesis. Climax. Anticlimax. Simile. Litotes. Periphrasis....
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...Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break. Types of...
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...[pic] JPPSS ELA COURSE GUIDE 2011-2012 ENGLISH I The JPPSS Instructional Sequence Guides are aligned with the LA Comprehensive Curriculum. JPPSS Implementation of Activities in the Classroom Incorporation of activities into lesson plans is critical to the successful implementation of the Louisiana Comprehensive Curriculum. The Comprehensive Curriculum indicates one way to align instruction with Louisiana standards, benchmarks, and grade-level expectations. The curriculum is aligned with state content standards, as defined by grade-level expectations (GLEs), and organized into coherent, time-bound units with sample activities and classroom assessments to guide teaching and learning. The units in the curriculum have been arranged so that the content to be assessed will be taught before the state testing dates. While teachers may substitute equivalent activities and assessments based on the instructional needs, learning styles, and interests of their students, the Comprehensive Curriculum should be a primary resource when planning instruction. Grade level expectations—not the textbook—should determine the content to be taught. Textbooks and other instructional materials should be used as resource in teaching the grade level expectations...
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...Sustainability Research Sustainability is of increasing significance for businesses, communities, and national economies around the globe. Sustainability addresses economic, environmental, and social issues, but it also incorporates cultural dimensions. In the face of globalisation, societies seek to preserve their cultural values and community identity, while still participating in the global economy. In New Zealand the importance of sustainability issues has been recognised by central and local government policies, environmental and economic development agencies, and business leaders. Two of the active business groups focusing on these issues are the New Zealand Business Council for Sustainable Development (NZBCSD) and the Sustainable Business Network (SBN). Waikato Management School is working in partnership with both of these key business groups on sustainability projects and events. The aim of these initiatives is to develop and share insights on sustainable economic development and sustainable enterprise success. The Waikato Management School is distinctive in its commitment ‘to inspire the world with fresh understandings of sustainable success’. These fresh understandings will be achieved through our high quality research that can influence policy makers, excellent teaching, through the knowledge and values our graduates take into the workforce, through our continued consulting with business and the outstanding experiences offered to everyone who connects...
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