Friday, August 10, 2012
Tuesday, May 29, 2012
Lord of the Flies Chapter 8 Response to Close Reading
Name____________________________________________________
Quinn ELA 10
Lord of the Files Annotation Activity
In order to do a close reading of anything (poem, passage, etc.), you need to work on “developing a deep understanding and a precise interpretation of a literary passage that is based first and foremost on the words themselves. But a close reading does not stop there; rather, it embraces larger themes and ideas evoked and/or implied by the passage itself.” For starters, answer these questions about this passage:
Directions: Read the passage, Annotate and consider the following questions.
- Look at word choice: connotation, puns, allusions, innuendos, ambiguities.
- Look at the structure of the passage: how is it organized? How do the ideas follow on one another?
- Is there irony? How is it used?
- What is the tone? What does the tone reveal about the author/narrator’s attitude?
- What imagery is used? What effect does this imagery have on the reader?
- What figurative language or symbols are used? What effect do they have on the reader?
- What allusions does the passage make: historical, classical, biblical, cultural, sociological, psychological allusions?
- Look for repetitions, contradiction, similarities. Why and how are those patterns used?
- How can you relate these details to the theme this scene shows?
BLOG OR HAND IN ON LOOSELAF:
After you have fully annotated the passage, write a TEXAS style paragraph. How does the author use language to communicate meaning?
After you have fully annotated the passage, write a TEXAS style paragraph. How does the author use language to communicate meaning?
from Lord of the Flies ch. 8, “Gift for the Darkness”
The pigs lay, bloated bags of fat, sensuously enjoying the shadows under the trees. There was no wind and they were unsuspicious; and practice had made Jack silent as the shadows. He stole away again and instructed his hidden hunters. Presently they all began to inch forward sweating in the silence and heat. Under the trees an ear flapped idly. A little apart from the rest, sunk in deep maternal bliss, lay the largest sow of the lot. She was black and pink; and the great bladder of her belly was fringed with a row of piglets that slept or burrowed and squeaked.
Fifteen yards from the drove Jack stopped, and his arm, straightening, pointed at the sow. He looked round in inquiry to make sure that everyone understood and the other boys nodded at him. The row of right arms slid back.
"Now!"
The drove of pigs started up; and at a range of only ten yards the wooden spears with fire-hardened points flew toward the chosen pig. One piglet, with a demented shriek, rushed into the sea trailing Roger's spear behind it. The sow gave a gasping squeal and staggered up, with two spears sticking in her fat flank. The boys shouted and rushed forward, the piglets scattered and the sow burst the advancing line and went crashing away through the forest.
"After her!"
They raced along the pig-track, but the forest was too dark and tangled so that Jack, cursing, stopped them and cast among the trees. Then he said nothing for a time but breathed fiercely so that they were awed by him and looked at each other in uneasy admiration. Presently he stabbed down at the ground with his finger.
"There--"
Before the others could examine the drop of blood, Jack had swerved off, judging a trace, touching a bough that gave. So he followed, mysteriously right and assured, and the hunters trod behind him.
He stopped before a covert.
"In there."
They surrounded the covert but the sow got away with the sting of another spear in her flank. The trailing butts hindered her and the sharp, cross-cut points were a torment. She blundered into a tree, forcing a spear still deeper; and after that any of the hunters could follow her easily by the drops of vivid blood. The afternoon wore on, hazy and dreadful with damp heat; the sow staggered her way ahead of them, bleeding and mad, and the hunters followed, wedded to her in lust, excited by the long chase and the dropped blood. They could see her now, nearly got up with her, but she spurted with her last strength and held ahead of them again. They were just behind her when she staggered into an open space where bright flowers grew and butterflies danced round each other and the air was hot and still.
Here, struck down by the heat, the sow fell and the hunters hurled themselves at her. This dreadful eruption from an unknown world made her frantic; she squealed and bucked and the air was full of sweat and noise and blood and terror. Roger ran round the heap, prodding with his spear whenever pigflesh appeared. Jack was on top of the sow, stabbing downward with his knife. Roger found a lodgment for his point and began to push till he was leaning with his whole weight. The spear moved forward inch by inch and the terrified squealing became a high pitched scream. Then Jack found the throat and the hot blood spouted over his hands. The sow collapsed under them and they were heavy and fulfilled upon her. The butterflies still danced, preoccupied in the center of the clearing.
At last the immediacy of the kill subsided. The boys drew back, and Jack stood up, holding out his hands.
"Look."
He giggled and flicked them while the boys laughed at his reeking palms. Then Jack grabbed Maurice and rubbed the stuff over his cheeks. Roger began to withdraw his spear and boys noticed it for the first time. Robert stabilized the thing in a phrase which was received uproariously.
"Right up her ass!"
"Did you hear?"
"Did you hear what he said?"
"Right up her ass!"
This time Robert and Maurice acted the two parts; and Maurice's acting of the pig's efforts to avoid the advancing spear was so funny that the boys cried with laughter.
Fifteen yards from the drove Jack stopped, and his arm, straightening, pointed at the sow. He looked round in inquiry to make sure that everyone understood and the other boys nodded at him. The row of right arms slid back.
"Now!"
The drove of pigs started up; and at a range of only ten yards the wooden spears with fire-hardened points flew toward the chosen pig. One piglet, with a demented shriek, rushed into the sea trailing Roger's spear behind it. The sow gave a gasping squeal and staggered up, with two spears sticking in her fat flank. The boys shouted and rushed forward, the piglets scattered and the sow burst the advancing line and went crashing away through the forest.
"After her!"
They raced along the pig-track, but the forest was too dark and tangled so that Jack, cursing, stopped them and cast among the trees. Then he said nothing for a time but breathed fiercely so that they were awed by him and looked at each other in uneasy admiration. Presently he stabbed down at the ground with his finger.
"There--"
Before the others could examine the drop of blood, Jack had swerved off, judging a trace, touching a bough that gave. So he followed, mysteriously right and assured, and the hunters trod behind him.
He stopped before a covert.
"In there."
They surrounded the covert but the sow got away with the sting of another spear in her flank. The trailing butts hindered her and the sharp, cross-cut points were a torment. She blundered into a tree, forcing a spear still deeper; and after that any of the hunters could follow her easily by the drops of vivid blood. The afternoon wore on, hazy and dreadful with damp heat; the sow staggered her way ahead of them, bleeding and mad, and the hunters followed, wedded to her in lust, excited by the long chase and the dropped blood. They could see her now, nearly got up with her, but she spurted with her last strength and held ahead of them again. They were just behind her when she staggered into an open space where bright flowers grew and butterflies danced round each other and the air was hot and still.
Here, struck down by the heat, the sow fell and the hunters hurled themselves at her. This dreadful eruption from an unknown world made her frantic; she squealed and bucked and the air was full of sweat and noise and blood and terror. Roger ran round the heap, prodding with his spear whenever pigflesh appeared. Jack was on top of the sow, stabbing downward with his knife. Roger found a lodgment for his point and began to push till he was leaning with his whole weight. The spear moved forward inch by inch and the terrified squealing became a high pitched scream. Then Jack found the throat and the hot blood spouted over his hands. The sow collapsed under them and they were heavy and fulfilled upon her. The butterflies still danced, preoccupied in the center of the clearing.
At last the immediacy of the kill subsided. The boys drew back, and Jack stood up, holding out his hands.
"Look."
He giggled and flicked them while the boys laughed at his reeking palms. Then Jack grabbed Maurice and rubbed the stuff over his cheeks. Roger began to withdraw his spear and boys noticed it for the first time. Robert stabilized the thing in a phrase which was received uproariously.
"Right up her ass!"
"Did you hear?"
"Did you hear what he said?"
"Right up her ass!"
This time Robert and Maurice acted the two parts; and Maurice's acting of the pig's efforts to avoid the advancing spear was so funny that the boys cried with laughter.
Tuesday, May 15, 2012
Blog about the allegories found in The Lord of the Flies.
—In an allegory each character symbolizes something. Consider the following characters. What do they represent and why?
—Piggy
—Ralph
—Jack
—Simon
—The little ones
—What might the novel represent?
Allegory Notes
—a narrative that serves as an extended metaphor.
—Allegories are written in the form of fables, parables, poems,
stories, and almost any other style or genre.
—The main purpose of an allegory is to tell a story that has
characters, a setting, as well as other types of symbols, that have both
literal and figurative meanings.
—The difference between an allegory and a symbol is that an
allegory is a complete narrative that conveys abstract ideas to get a point
across, while a symbol is a representation of an idea or concept that can have
a different meaning throughout a literary work.
Sunday, May 13, 2012
The Education of Mark Zuckerburg. Nytimes today
http://nyti.ms/Kimczl
Read and respond. How w would you lead the company?
Wednesday, May 9, 2012
Monday, May 7, 2012
Group Dynamics: Due Friday
Observe the student population in your school
and the various groups that exist. Look at characteristics that define and
distinguish each group, such as mannerisms or clothing preferences. What do
these groups have in common? In what ways do individuals behave differently
when in a group versus alone? Does each group have a leader? What distinguishes
the leader from other group members? Write one paragraph.
What problems will occur?
}What are some of the problems that may arise from your decisions?
}Can you offer a possible solution to the above mentioned problems?
}If you could add one more item to the list what would it be and why? Explain why you would choose that particular item.
}If you could add one more person to the list who would it be (create a profile– age, background, physical make-up etc.) and explain why you would choose them.
Tuesday, April 24, 2012
Act 5 "Hamlet"group work
¨Level One Answer the following Comprehension Questions:
¨Level Two
¨Select a Quote from this section and explain its significance to the play as a whole.
¨Connect a literary element to the quote and explain the connection.
¨Level Three
¨What is the theme of the quote (What does the reader learn from this quote)?
¨Why is this quote important to you (Why did you choose this quote)?
Monday, April 16, 2012
Journal Hamlet End of Act III
Read and respond in a TEXAS style Paragraph
¨Why didn’t Hamlet kill King Claudius when he had the chance? How would you adapt this scene for a modern movie? Contrast the behavior of Hamlet with Antigone. Antigone.
Thursday, March 29, 2012
Monday, March 26, 2012
Friday, March 23, 2012
Study Guide for Act 3 Scene 1
ACT 3
3.11. How much have Rosencrantz and Guildenstern learned from/about Hamlet?
2. Finally the planned meeting between Hamlet and Ophelia is arranged, spies and all. What does Polonius give Ophelia to read (3.1.46)? What response does his remark get (in an aside) from Claudius? Why is this speech of Claudius' important? What do we learn that we have not learned before?
3. Read Hamlet's fourth soliloquy carefully (3.1.58-90). How is this soliloquy different from the first two? Think about the way Hamlet's mind works within the first two--is the same thing happening here? What is the main idea of this third soliloquy?
4. What happens between Hamlet and Ophelia in the so-called "Nunnery scene" (3.1.90-160)? Does Hamlet know that he's being watched? Does he determine that during the scene? Can you spot a place where he might? (Remember how he changed his way of talking to Rosencrantz and Guildenstern at 2.2.267.) Who is the "one" referred to in "all but one" (3.1.147)? What does it add to note that in talking about marriage in 3.1.146-48 Hamlet seems to be echoing St. Paul in 1 Corinthians 7?
5. How does Claudius respond to what he has seen and heard? Is he convinced that love is the cause of Hamlet's madness? What does he plan to do about Hamlet? How does Polonius respond? Is he willing to give up his "love" answer? What does he propose as an additional way to find out what Hamlet is thinking? Are you surprised that it includes spying?
Wednesday, March 21, 2012
Act II Review
Act II Review
2. How do you explain Hamlet’s behavior toward Ophelia, as she describes in Scene ii?
4. How does Hamlet receive Rosencrantz and Guildenstern in scene ii?
5. Why is Hamlet excited about the Player’s arrival?
7. What kind of man do you think Polonius is? Find one or two lines that support your opinion.
Writing Prompts
Look at Hamlet’s love poem to Ophelia in Act II Scene ii. Would the Hamlet we meet in the play still be able to write such a poem?
OR
One of the play’s most famous quotations is “for there is nothing either good or bad but thinking makes it so” Look back at the passage when Hamlet says this (Act II scene ii lines 256-257) and think about the idea he is expressing. Do you agree? Explain why or why not using your own experiences to support your opinion.
Tuesday, March 20, 2012
The Second Soliloquy
1. Get into your assigned groups
2. Read your section of the text as a group.
3. Read the modern language version for clarification.
4. Review the qustions on the homework sheet.
5. Translate as best you can line for line your assigned section.
6. Revise the answers that you had for homework.
6. Present to the class.
2. Read your section of the text as a group.
3. Read the modern language version for clarification.
4. Review the qustions on the homework sheet.
5. Translate as best you can line for line your assigned section.
6. Revise the answers that you had for homework.
6. Present to the class.
Below, Hamlet’s soliloquy from the end of Act II is broken up. Annotate the soliloquy in the margins. Then, use the speech, the translation in your book (if necessary), and your knowledge of the play to answer the questions.
GROUP ONE
Who is Hamlet saying goodbye to? Do you think he is happy to see them go? Why or why not?
What is Hamlet saying about himself and why?
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
What is Hamlet saying the player can do? How does Hamlet feel about the player’s ability to do this? What specific words and phrases does Hamlet use that reveal his feelings?
Why would he compare himself to the player? In what way is he different?
GROUP TWO
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears.
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears.
Who is Hecuba? Which literary techniques are used in this section?
What is Hamlet talking about when he discusses his “cue for passion”?
How would the player act if he felt as Hamlet does?
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
How is Hamlet different from the players?
Why does Hamlet question if he is a coward?
GROUP 3
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha! 'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha! 'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon't! foh! About, my brain!
Which literary techniques can you identify in this section?
What is Hamlet saying about himself? Be specific.
I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ.
With most miraculous organ.
What has Hamlet heard that guilty people sitting at a play will do?
GROUP 4
What will Hamlet ask the players to do?
I'll tent him to the quick: if he but blench,
I know my course.
I know my course.
Who is Hamlet speaking about? What is Hamlet going to be looking for and why?
The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.
What does Hamlet say about the ghost? Do you think that this is just an excuse for Hamlet’s inability to take action against Claudius?
Why does Hamlet mean by “the play’s the thing”?
Sunday, March 18, 2012
Saturday, March 17, 2012
The Social Media Revolution 2012 DID YOU KNOW? 2012
Do you believe everything that you see? Why or why not?
What statistics of "Did You Know" do you have trouble believing?
Watch the video again. Choose something that you have a hard time believing. Research it. What websites did you use to locate your information. Is your information more accurate than the video's? How do you know?
I am going to post "Did You Know 2012" also. Consider these statistics as well. Is this propaganda? How do you know?
Have a great Weekend! Happy St. Patricks Day! I will be tweeting from the parade---follow me on twitter @quinnenglish200
I am going to post "Did You Know 2012" also. Consider these statistics as well. Is this propaganda? How do you know?
Have a great Weekend! Happy St. Patricks Day! I will be tweeting from the parade---follow me on twitter @quinnenglish200
Thursday, March 15, 2012
What do you want to do before you leave English class?
Sign up for a Twitter account
What do you want to do before you leave English class?
Reminder: homework tonight
Read the class notes below and post a reflection to www.quinnenglish.blogspot.com
On today’s video, “Did You Know?” That is posted below as well should you like to view it again.
Here were some student’s thoughts in class during the discussion:
Max: doing fine but digital media – spread of information – gathering data – research, need to know how to read, increase this ability.
Olivia: maybe be exposed to more recent discoveries and apply them to what you do
Clarissa:
Brandon Rodriguez: perhaps know how to collect information that is in articles.
Brandon Rodriguez: perhaps know how to collect information that is in articles.
Michael: make inferences and get deeper into something that is written. Get to the guts.
Jordan: Current events because it’s going on now. Watch news, analyze, come up with causes and effects and solutions. Piggyback – some historical, could help slightly but not as important because it’s very different as seen in the video. Big changes.
Peter: Learn how to organize ideas
Jess: eliminate historical element because history is not current, and is not as important as current events, it will not really help us in the future unless we know now. (current)
Hallie: think about future and what will come up in the future.
Danny: history or current events doesn’t matter because the information will change. Use computers more and learn skills, like being able to know how to use a computer, talk to people through technology, teaching style should be modernized.
Quinnglish: sign up for twitter because this is going to come up soon. Replace a hamlet quiz if you write a letter to the parents explaining why it is appropriate to use twitter.
Facebook stop blocked because twitter is just 157 characters and not enough content I don’t know if I know the answer to this I just know that face book seems to damage more people’s lives because of high school drama.
QuinnGOAL: develop responsible skills, want you to know how to do these things responsibly, so you don’t damage other human beings, not plagiarize use original thoughts. Communicate effectively on internet. Morally, ethnically, engage in new material and how should I prepare you to become an adult, entering the job core, you need to know how to do it appropriately, so your boss does not fire you and take someone else just out of college, you can be easily replaced.
Statistic in India: 25% of the nation’s students are AP students, exceeds all students in the United States.
Olivia Asked:
How do they teach in India? The world may never know – collaborate with others. Lecture more in India? less talking?
Collaboration station is Harrison.
I learned…
Important to learn how to use computers
Futuristic junk
Tereze – knowing about current
Thank you Jake, Best, Mrs. Quinn
Jake korek was here
Did You Know - Research & Design by Karl Fisch, Scott McLeod & Jeff Bren...
What does this mean?
How will this change the way you think?
How can I help you change the way you think in my class?
What can I do to help you think with literature using 21 century skills?
Tuesday, March 13, 2012
Sunday, March 11, 2012
Monday, February 27, 2012
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