twelfth grade ela core standards...

TwelfthGrade:ELACoreStandardsOverview

➢ Understandingmorefromandmakingfulleruseofwrittenmaterials,includingusingawiderrangeofevidencetosupportananalysis

➢ Makingmoreconnectionsabouthowcomplexideasinteractanddevelopwithinabook,essay,orarticle ➢ Evaluatingargumentsandspecificclaims;assessingwhetherthereasoningisvalidandtheevidenceis

sufficient;andasappropriatedetectinginconsistenciesandambiguities ➢ Makinganargumentthatislogical,well-reasoned,andsupportedbyevidence ➢ Writingaliteraryanalysis,report,orsummarythatdevelopsacentralideaandacoherentfocusandiswell

supportedwithrelevantexamples,facts,anddetails ➢ Conductingseveralresearchprojectsthataddressdifferentaspectsofthesametopic,usingmorecomplex

books,articles,andothersources ➢ Respondingthoughtfullytodiverseperspectives;synthesizingcomments,claims,andevidencemadeonall

sidesofanissue;andresolvingcontradictionswhenpossible ➢ Sharingresearch,findings,andevidenceclearlyandconcisely ➢ Makingstrategicuseofdigitalmedia(e.g.,animations,video,websites,podcasts)toenhanceunderstanding

offindingsandtoaddinterest ➢ Determiningorclarifyingthemeaningofwordsandphrases,choosingflexiblyfrommultiplestrategies,such

asusingcontext,GreekandLatinroots(e.g.,beneasinbenefactororbenevolent),patternsofwords(conceive,conception,conceivable),andconsultingspecializedreferencematerials(e.g.,dictionaries,glossaries,thesauruses)

➢ Interpretingfiguresofspeech(e.g.,hyperbole,paradox)incontextandanalyzingtheirroleinthewritten

materials NationalPTA,1250NPittStreet,Alexandria,VA22314,PTA.org•[email protected]©2011PTAAllrightsreserved.

CanyonsSchoolDistrict TwelfthGradeEnglishLanguageArts

TableofContents

SectionI: Curriculum Overview Map-at-a-glance Standards for Assessment Rubric for Assessment

SectionII: MasterGlossary

LiteraryTerms RhetoricalTerms ResearchTerms AcademicVocabulary

SectionIII: Units 1-4StandardsResources

SectionIV:_ SeniorCapstoneProject

SectionV: AdditionalTeachingResources CollegeApplicationEssay

CoverLetter ClarenceDarrow

TwelfthGradeCurriculumOverview2016-17YearataGlance

Quarter1 (9weeks)

Quarter2 (9weeks)

Quarter3 (9weeks)

Quarter4 (9weeks)

UnitTheme UNIT1:ThePowerofWords UNIT2:ArchetypesinLife&Literature UNIT3:Equity&DisparityUNIT4:Transitionto

Adulthood

EssentialQuestionWhatpowerdowordshaveover

individualsandsocieties?

Howarearchetypalsituationspresentinliteratureandlife?

(Whatis_____________(author)arguingabout_______(archetypalsituation),andishe/sheright?)

Howdoesliteraturedepictandinformthereader’sperceptionsofequityand

disparity?

Whatqualities,characteristics,andeventscontributetoshapingyour

identity?

Howdoesthedissonancebetweentraditionandchange

shapeindividualsandsocieties?

District-WideBenchmarks:

MeasuringforGrowthin

ArgumentWriting

RequiredPre-Assessment

*SynthesisArgumentPaper

*Atleasttwoteacher-selectedtextswith

Lexileof900+

Completeandreportduringthefirsttwoweeksofschool

OptionalBenchmark

SynthesisArgumentPaper

Due:Onorbeforeendoffirstterm.

RequiredMid-YearBenchmark

*SynthesisArgumentPaper*AtleastthreesourceswithLexileof

900+.*Atleastoneofthethreesources

shouldcomefromstudentresearch.

Due:Endofsecondterm

OptionalBenchmark

SynthesisArgumentPaper(couldbecapstonerough

draft)

Due:Onorbeforeendofthirdterm

RequiredPostAssessment

FinalCapstoneEssay

Due:OnorbeforeendofMay

SuggestedCapstoneTimeline TopicSelection GenreWriting

ResearchAndWriting

OralPresentationandPublishing

AdditionalWritingAssignments

Narrative(collegeapplicationorletterofintent) Noadditional Noadditional

Informational

(ThisIBelieveorLettertoIncomingFreshmenorother)

Standards for Assessment

Tomeasurestudentgrowthinargumentwriting,thefollowingthree(3)powerstandardswillbeassessedandreportedforeachbenchmark.ThesestandardswerechosenbecauseoftheircohesionandfunctionasessentialelementsoftheSeniorCapstonefinalproject.

*ForacompletelistofthestandardsthatwillbeassessedintheSeniorCapstoneresearchpaper,seeSectionIV:SeniorCapstoneProject.

(R) Standard 1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text, including determining where the text leaves matters uncertain.

(W) Standard 1a

Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that logically sequences claim(s), counterclaims, reasons, and evidence.

(W) Standard 1c

Use words, phrases, and clauses as well as varied syntax to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and reasons, between reasons and evidence, and between claim(s) and counterclaims.

Criteria 4: Highly Proficient 3: Proficient 2: Minimally Proficient 1: Below Proficient Comments

W 1112.1.A

I can introduce a precise, knowledgeable claim and establish the significance of that claim.

I can do this expertly. I can do this competently.

I struggle with this. I cannot / do not do this.

RI.1112.1

I can cite strong and thorough textual evidence to support analysis of what the text says explicitly



W.1112.1.A

I can distinguish my claim(s) from any alternate or opposing claim(s)



W.1112.1.C

I can use words, phrases, clauses, and varied syntax to link the major sections of my text in order to create a cohesive, unified text.



W.1112.1.A

I can create an organization that logically sequences claim(s), counterclaim(s), reasons (supporting arguments), and evidence.



TwelfthGradeMasterGlossary (Thesetermsshouldbepre-assessed,introduced,taughtandlearnedthroughouttheyear,andpost-assessedattheendoftheyear)

Literary Terms

Allegory Asymbolicstory.Anywritingthathasadoublemeaning;anextendedmetaphorinwhichpersons,abstractideas,oreventsrepresentthemselvesonaliterallevel,butalsostandforsomethingelseonasymboliclevel.

Antagonist Acharacterorforcethatfightsagainsttheprotagonistorthemaincharacter

Antihero Amaincharacterorprotagonistwhoembodiesnegativecharacteristicsmoretypicalofavillainorantagonist.

Archetype

Anoriginalmodelorpatternfromwhichotherlatercopiesaremade,especiallyacharacter,anaction,orsituationthatseemstorepresentcommonpatternsofhumanlife.Often,archetypesincludeasymbol,atheme,asetting,oracharacterthatsomecriticsthinkhaveacommonmeaninginanentireculture,oreventheentirehumanrace.Theseimageshaveparticularemotionalresonanceandpower.

Climax Thatparticularpointinanarrativeatwhichtheconflictortensionhitsthehighestpoint.Itisusuallyaturningpointinthenarrative.

DirectCharacterization Whentheauthororthecharactersdirectlycommentontheappearanceandcharacteristicsofacharacterinastory.

Dystopia Asocietycharacterizedbyhumanmisery(i.e.squalor,disease,oppressionandovercrowding)

Epic Along,serious,poeticnarrativeaboutasignificantevent,oftenfeaturingahero

ExternalConflict Astrugglebetweenaliteraryordramaticcharacterandanoutsideforcesuchasnatureoranothercharacter,whichdrivesthedramaticactionoftheplot:manvs.man,manvs.nature,manvs.technology,manvs.society,manvs.supernatural/fate,etc.

FallingAction Theeventsintheplotaftertheclimaxthatleadtothefinalresolutionoftheconflict

FlashbackFlashbacksareinterruptionsthatwritersdotoinsertpasteventsinordertoprovidebackgroundorcontexttothecurrenteventsofanarrative.Byusingflashbacks,writersallowtheirreaderstogaininsightintoacharacter’smotivationandprovideabackgroundtoacurrentconflict.Dreamsequencesandmemoriesaremethodsusedtopresentflashbacks.

Foil Inliterature,afoilisacharacterthatshowsqualitiesthatareincontrastwiththequalitiesofanothercharacterwiththeobjectivetohighlightthetraitsoftheothercharacter.

Foreshadowing Whenawritergivesanadvancehintofwhatistocomelaterinthestory.

GenreGenremeansthetypeofart,literatureormusiccharacterizedbyaspecificform,contentandstyle.Forexample,literaturehasfourmaingenres;poetry,drama,fictionandnonfiction.Allofthesegenreshaveparticularfeaturesandfunctionsthatdistinguishthemfromoneanother.

Hubris

Arrogance,excessiveself-prideandself-confidence.ThewordwasusedtorefertotheemotionsinGreektragicheroesthatledthemtoignorewarningsfromthegodsandthusinvitecatastrophe.Itisconsideredaformofhamartiaortragicflawthatstemsfromoverbearingprideandlackofpiety.

Imagery Descriptivelanguagethatappealstoourphysicalsenses.Usuallyitisthoughtthatimagerymakesuseofparticularwordsthat

createvisualrepresentationofideasinourminds.

IncitingIncident TheIncitingIncident(or“excitingincident”assomeoneoncereferredtoit)istheeventordecisionthatbeginsastory'sproblem.

IndirectCharacterization

Thisisamoresubtlewayofintroducingthecharactertotheaudience.Theaudiencehastodeduceforthemselvesthecharacteristicsofthecharacterbyobservinghis/herthoughtprocess,behavior,speech,wayoftalking,appearance,andwayofcommunicationwithothercharactersandalsobydiscerningtheresponseofothercharacters.

Irony Atechniqueofindicating,asthroughcharacterorplotdevelopment,anintentionorattitudeoppositetothatwhichisactuallyorostensiblystated.

Metaphor Metaphorisafigureofspeechwhichmakesanimplicit,impliedorhiddencomparisonbetweentwothingsorobjectsthatarepolesapartfromeachotherbuthavesomecharacteristicscommonbetweenthem.

Mood Moodistheatmosphereofapieceofwriting;it’stheemotionsaselectionarousesinareader.

Motif Motifisanobjectorideathatrepeatsitselfthroughoutaliterarywork.

Personification Givinghumanqualitiestoinanimateobjects:“Thegroundthirstsforrain;thewindwhisperedsecretstous.”Prosopopeia(alsospelledprosopopoeia)isaformofpowerfulpersonificationinwhichaninanimateobjectgainstheabilitytospeak.

Protagonist Aprotagonististhecentralcharacterorleadingfigureinpoetry,narrative,noveloranyotherstory.Aprotagonistissometimescalleda“hero”bytheaudienceorreaders.

Resolution Thepartoftheplot(usuallyattheendofthestory)whentheconflictisresolved

Simile Asimileisafigureofspeechthatmakesacomparison,showingsimilaritiesbetweentwodifferentthings.Unlikeametaphor,asimiledrawsresemblancewiththehelpofthewords“like”or“as”.Therefore,itisadirectcomparison.

Soliloquy Whenacharacterinaplayrevealshisinnerthoughtsbydeliveringaspeechaloneonstage

Symbol Objectsusedtosignifylargerideasandqualities

Theme Thegeneralideaormeaningofaliterarywork

Tone Theauthor’sattitudetowardasubject.Whilejournalisticwritingtheoreticallyhasatoneofdistanceandobjectivity,allotherwritingcanhavevarioustones.

Tragedy Adramaticcomposition,ofteninverse,dealingwithaseriousorsombertheme,typicallythatofagreatpersondestinedthroughaflawofcharacterorconflictwithsomeoverpoweringforce,asfateorsociety,todownfall,deathordestruction.

TragicFlaw(Hamartia)

Hamartia,alsocalledtragicflaw,inherentdefectorshortcomingintheheroofatragedy,whoisinotherrespectsasuperiorbeingfavoredbyfortune.AristotleintroducedtheterminthePoeticsindescribingthetragicheroasamanofnoblerankandnaturewhosemisfortuneisnotbroughtaboutbyvillainybutbysome“errorofjudgment”(hamartia).Thisimperfectionlatercametobeinterpretedasamoralflaw,suchasOthello’sjealousyorHamlet’sirresolution.Importantly,thehero’ssufferinganditsfar-reachingreverberationsarefaroutofproportiontohisflaw.

TragicHeroAtragicheroisapersonofnoblebirthwithheroicorpotentiallyheroicqualities.ThispersonisfatedbytheGodsorbysomesupernaturalforcetodoomanddestructionoratleasttogreatsuffering.Buttheherostrugglesmightlyagainstthisfateandthiscosmicconflictwinsouradmiration.

Utopia Anidealplaceorstate;anyvisionarysystemofpoliticalorsocialperfection

RhetoricalTerms

Alliteration repetitionofthesamesoundbeginningseveralwordsinsequence.*Letusgoforthtoleadthelandwelove.J.F.Kennedy,Inaugural

Allusion Anindirectorpassingreferencetosomeevent,person,place,orartisticwork,thenatureandrelevanceofwhichisnotexplainedbythewriterbutreliesonthereader'sfamiliarity

AnalogyAcomparisoninwhichanideaorathingiscomparedtoanotherthingthatisquitedifferentfromit.Itaimsatexplainingthatideaorthingbycomparingittosomethingthatisfamiliar.Metaphorsandsimilesaretoolsusedtodrawananalogy.Therefore,analogyismoreextensiveandelaboratethaneitherasimileorametaphor.

AnaphoraRepetitionofbeginningclauses.Forinstance,Churchilldeclared,“Weshallnotflagorfail.Weshallgoontheend.WeshallfightinFrance,weshallfightontheseasandoceans.Weshallfightwithgrowingconfidenceandgrowingstrengthintheair.Weshalldefendourisland,whateverthecostshallbe.”

Anecdote Ashortandamusingorinterestingstoryaboutarealincidentorperson,oftenusedtosupportapointinargumentwriting

Antithesis(plural=antitheses)

Contraryideasexpressedinabalancedsentence.Itcanbeacontrastofopposites:“Evilmenfearauthority;goodmencherishit.”Oritcanbeacontrastofdegree:"Onesmallstepforaman,onegiantleapforallmankind."

Argument Areasonorsetofreasonsgivenwiththeaimofpersuadingothersthatanactionorideaisrightorwrong.

Argumentation Theactionorprocessofreasoningsystematicallyinsupportofanidea,action,ortheory

Asyndeton theomissionorabsenceofaconjunctionbetweenpartsofasentence.

AudienceAnaudienceisagroupofpeoplewhoreceiveamessage.Writers/speakers/creatorsthinkabouttheirintendedaudiencewhentheycreatetheirworks.Often,though,alarger,unintendedaudiencewillalsoreceiveandreacttothemessageofthetextormedia.

ClaimAclaimisthemainargumentofanessay.Itisprobablythesinglemostimportantpartofanacademicpaper.Thecomplexity,effectiveness,andqualityoftheentirepaperhingesontheclaim.Ifyourclaimisboringorobvious,therestofthepaperprobablywillbetoo.

ConcessionAconcessionisanadmissionthattheopposingsidehasagoodpoint.Concessionsareespeciallyeffectivewhenawritercanagreepartiallywiththeopposingposition,butalsopointoutaflaw.Youcanrecognizethevalidityofanotherauthor'sargumentwithoutfullyrejectingit.

Connotation An idea or feeling that a word invokes in addition to its literal or primary meaning. Context / Occasion The political, moral, social, popular, etc. circumstances that prompted a speaker's message. Counter-argument A counterargument is a viewpoint that opposes your main argument. Counterarguments are part of a good

persuasive writing and speaking strategy, because they show that you've considered other points of view. They also set up the chance to refute the opposition, and show why your position is the right one to have. Placing a counterargument in your persuasive essay increases your ethos (credibility) because it shows fairness.

Denotation The literal or primary meaning of a word, in contrast to the feelings or ideas that the word suggests.

Diction Diction can be defined as style of speaking or writing determined by the choice of words by a speaker or a writer.

Ethos Credibility or ethical appeal, means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect.

Evidence Proof in the form of data, research, expert opinion, text evidence, and personal experience Hyperbole Obvious and intentional exaggeration.

Imagery Descriptive language that appeals to our physical senses. Usually it is thought that imagery makes use of particular words that create visual representation of ideas in our minds.

Irony A technique of indicating, as through character or plot development, an intention or attitude opposite to that which is actually or ostensibly stated.

Logical Fallacy Illogical reasoning used to support a claim

Logos Persuading by the use of reasoning.

Metaphor Metaphor is a figure of speech which makes an implicit, implied or hidden comparison between two things or objects that are poles apart from each other but have some characteristics common between them.

Oxymoron A figure of speech by which a locution produces an incongruous, seemingly self-contradictory effect, as in “cruel kindness” or “to make haste slowly.”.

Paradox A statement or proposition that seems self-contradictory or absurd but in reality expresses a possible truth.

Parallelism When the writer establishes similar patterns of grammatical structure and length. For instance, "King Alfred tried to make the law clear, precise, and equitable.” The previous sentence has parallel structure in use of adjectives. However, the following sentence does not use parallelism: "King Alfred tried to make clear laws that had precision and were equitable.”

Parody Parody is an imitation of a particular writer, artist or a genre, exaggerating it deliberately to produce a comic effect.

Pathos Persuading by appealing to the reader's emotions. We can look at texts ranging from classic essays to contemporary advertisements to see how pathos, emotional appeals, are used to persuade. Language choice affects the audience's emotional response, and emotional appeal can effectively be used to enhance an argument.

Personification Giving human qualities to inanimate objects: “The ground thirsts for rain; the wind whispered secrets to us.” Prosopopeia (also spelled prosopopoeia) is a form of powerful personification in which an inanimate object gains the ability to speak.

Polysyndeton Polysyndeton is a literary technique in which conjunctions (e.g. and, but, or) are used repeatedly in quick succession, often with no commas, even when the conjunctions could be removed.

Propaganda Biased or misleading information used to promote a particular political cause or point of view Purpose The speaker's intention behind a stylistic choice or the intention behind an entire text

Refutation To refute an argument, you must argue against it. Asking questions is not enough. You must present good reasons why its conclusions or reasons are wrong.

Rhetoric The art of effective or persuasive speaking or writing, especially the use of figures of speech and other compositional techniques.

Rhetorical Question A question asked solely to produce an effect or to make an assertion and not to elicit a reply, as “What is so rare as a day in June?”.

Sarcasm the use of irony to mock or convey contempt.

Satire An artistic form in which human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, irony, parody, caricature, or other methods, sometimes with an intent to inspire social reform.

Simile A simile is a figure of speech that makes a comparison, showing similarities between two different things. Unlike a metaphor, a simile draws resemblance with the help of the words “like” or “as”. Therefore, it is a direct comparison.

Speaker The person "speaking" in a text. In literature, the speaker is not necessarily the author. In non-fiction, the speaker is usually the writer.

Structure Text structure refers to how the information within a written text is organized. This strategy helps students understand that a text might present a main idea and details (sequential, chronological, cause-effect, problem-solution, argument-counterargument, description, etc.)

Style Style in literature is the literary element that describes the ways that the author uses words — the author's word choice, sentence structure, figurative language, and sentence arrangement all work together to establish mood, images, and meaning in the text.

Symbol Objects used to signify larger ideas and qualities Syntax The way sentences are structured / organized in a piece of writing

Tone Tone is the author’s attitude toward a subject. While journalistic writing theoretically has a tone of distance and objectivity, all other writing can have various tones.

Research Terms

Annotated Bibliography

An annotated bibliography is a list of citations to books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance, accuracy, and quality of the sources cited.

Audience A person or group of people to whom a message is directed

Bias Prejudice in favor of or against one thing, person, or group compared with another, usually in a way considered to be unfair.

Bibliography A list of the books referred to in a scholarly work, usually printed as an appendix

Case Study A research method involving an up-close, in-depth, and detailed examination of a subject of study (the case), as well as its related contextual conditions.

Citation a reference that allows you to acknowledge the sources* you use in a formal academic paper, and enables a reader to locate those sources through the key information it provides.

Claim A claim is the main argument of an essay. It is probably the single most important part of an academic paper. The complexity, effectiveness, and quality of the entire paper hinges on the claim. If your claim is boring or obvious, the rest of the paper probably will be too.

Counterclaim A claim made to rebut another's argument

CRAAP Test A list of questions to help you evaluate the information you find. C: Credibility R: Relevance A: Authority A: Accuracy P: Purpose

Credibility Trustworthy or believable. Database A collection of information that is organized so that it can easily be accessed, managed, and updated.

Direct Quote Using an author's language word for word (verbatim)

Embed A quote that flows naturally into your own writing. When reading a well-embedded quote, it should sound like part of your own sentence.

Paraphrase a restatement of a text or passage giving the meaning in another form, as for clearness; rewording. Periodical A magazine or newspaper published at regular intervals.

Primary Source An original documents, texts, or artifacts that provide information about a topic

Rebut (v.) / Rebuttal (n.) To claim or prove that (evidence or an accusation) is false.

Refute (v.) / Refutation (n.) To prove (a statement or theory) to be wrong or false; disprove.

Scholarly Journal

A peer-reviewed periodical in which scholarship relating to a particular academic discipline is published. Academic journals serve as forums for the introduction and presentation for scrutiny of new research, and the critique of existing research. Content typically takes the form of articles presenting original research, review articles, and book reviews.

Secondary Source For the purposes of a historical research project, secondary sources are generally scholarly books and articles. Also included would be reference sources like encyclopedias.

Summary A brief overview of the main points of a text Vetted (peer-reviewed) Reviewed thoroughly, especially in order to ensure credibility and trustworthiness

Works Cited A list of sources that you have incorporated within your paper by using the ideas, information, and quotes of others. It is not a list of all the works that you found that addressed your topic.

Academic VocabularyAnalyze Break the subject (an object, event, or concept) down into parts, and explain the various parts.

Argue State a claim on an issue and support it with reasons and evidence from sources while also countering possible statements or arguments from individuals who have different positions.

Compare Show how two things are similar and different; include details or examples. Contemplate Look at or think about with careful attention; to observe or study thoughtfully.

Contrast Show how two things are different; include details or examples. Contribute Give or supply in common with others to a common fund or for a common purpose.

Critique Point out both the good and bad points of something. Define Give an accurate meaning of a term with enough detail to show that you really understand it.

Describe Write about the subject so the reader can easily visualize it; tell how it looks or happened, including how, who, where, why.

Develop Grow or cause to grow and become more mature, advanced, or elaborate. Elaborate Give more details about something; to discuss something more fully. Evaluate Give your opinion of the value of the subject; discuss its good and bad points, strengths and weaknesses. Explain Give the meaning of something; give facts and details that make the idea easy to understand.

Illustrate Give the meaning of something; give facts and details that make the idea easy to understand. Interpret Explain the meaning of a text, statement, photo, graphic aid; discuss the results or the effects of something. Justify Give convincing reasons and evidence from sources to support a claim, decision, action, or event.

Persuade Give convincing reasons in order to get someone to do or believe something; appeal to the reader’s feelings and mind.

Respond State your overall reaction to the content, then support your individual opinions or claims with specific reasons and relevant examples, making sure to refer back to supporting texts.

Restate State again or in a new way. Review View, look at, or look over again.

Summarize Provide an objective overview of the topic and important details from a text; use paragraph form, key topic words, and no personal opinions about the content.

Synthesize Combine ideas from different sources in a single response.

TwelfthGradeUnit1Theme:ThePowerofWords

Inthisunitstudentswillhaveanoverviewofthepowerofwordsthroughreadingandwriting.Studentswilllearntermsandskillsfor

argument,informative/explanatory,andnarrativewritingandproduceshortsamplesofallthreeareasofwritingfocus. EssentialQuestion SupportingQuestions CapstoneConnection AdditionalWritingFocus

Whatpowerdowordshaveoverindividualsandsocieties?

● Whatarethepurposesofcommunication?● Howdoestheabilitytocommunicateaffectour

social,economic,andacademicopportunities?● Whatarethecomponentsofeffectiverhetoric

andliteraryexpression?● Whatistheroleofsocialmediainshaping

perception?● Howdoessocialmediaaffectcommunication

stylesandrelationships?● Whatethicalconsiderationsshouldguideouruse

ofmediaandtechnology?● Inwhatwaysdoesacademiclanguagefosterand

conveyclear,analytical,criticalthinkinginallsubjectareas?

● Howdoeslanguageevolveovertime?

TopicExplorationand

Selection

Narrative

CollegeApplicationEssay

(Highlighted=prioritystandardbuildingtowardsSeniorCapstoneProject)

ELACoreStandards StudentLearningTargets

READING

RI.11-12.2.Determinetwoormorecentralideasofatextandanalyzetheirdevelopmentoverthecourseofthetext,includinghowtheyinteractandbuildononeanothertoprovideacomplexanalysis;provideanobjectivesummaryofthetext.

• Icandeterminetwoormorecentralideasofatext. • Icanexaminethecentralideasofthetextandhowtheyinteract

togethertoprovidemeaning. • Icansummarizethetext.

RI.11-12.5.Analyzeandevaluatetheeffectivenessofthestructureanauthorusesinhisorherexpositionorargument,includingwhetherthestructuremakespointsclear,convincing,andengaging.

• Icananalyzeandevaluatetheeffectivenessoftheauthor'sstructure.

• Icananalyzeandevaluateuseofstructureincreatingaclear,convincing,andengagingtext.

RL.11-12.5.Analyzehowanauthor’schoicesconcerninghowtostructurespecificpartsofatext(e.g.,thechoiceofwheretobeginorendastory,thechoicetoprovideacomedicortragicresolution)contributetoitsoverallstructureandmeaningaswellasitsaestheticimpact.

• Icanexaminehowtheauthorchoosestostructurethetext. • Icandeterminehowthestructurecontributestothemeaningofthe

text. • Icanevaluatethestyleofthetextandhowitaddstothemeaning

ofthetext.

RI.11-12.6.Determineanauthor’spointofvieworpurposeinatextinwhichtherhetoricisparticularlyeffective,analyzinghowstyleandcontentcontributetothepower,persuasivenessorbeautyofthetext.

• Icandetermineanauthor'spointofvieworpurposeinatext. • Icananalyzehowatext'sstyleandcontentcontributetothepower,

persuasiveness,orbeautyofatext.


WRITING

W.11-12.2:Writeinformative/explanatorytextstoexamineandconveycomplexideas,concepts,andinformationclearlyandaccuratelythroughtheeffectiveselection,organization,andanalysisofcontent.

• Icanwriteinformative/explanatorytextstoexamineandconveycomplexideas,concepts,andinformationclearlyandaccurately.

• Icaneffectivelyselect,organize,andanalyzecontentinmyinformative/explanatorywriting.

W.11-12.2(a):Introduceatopic;organizecomplexideas,concepts,andinformationsothateachnewelementbuildsonthatwhichprecedesittocreateaunifiedwhole;includeformatting(e.g.,headings),graphics(e.g.,figures,tables),andmultimediawhenusefultoaidingcomprehension.

• Icanintroduceatopic,andbuildcomplexideasandconceptstocreateanorganizedandunifiedwhole.

• Icanuseformatting,graphicsandmultimediatoaidcomprehensionwhenuseful.

W.11-12.2(b):Developthetopicthoroughlybyselectingthemostsignificantandrelevantfacts,extendeddefinitions,concretedetails,quotations,orotherinformationandexamplesappropriatetotheaudience’sknowledgeofthetopic.

● Icanidentifymyaudienceanduserelevantconcretedetails(facts,extendeddefinitions,quotations,orotherinformation)todevelopthetopicthoroughly.

W.11-12.2(c)Useappropriateandvariedtransitionsandsyntaxtolinkthemajorsectionsofthetext,createcohesion,andclarifytherelationshipsamongcomplexideasandconcepts.

● Icanuseappropriateandvariedtransitionsandsyntax(sentencefluency)tolinkmajorsectionsofthetext.

● Icancreatecohesionandclarifyrelationships,complexideas,andconceptsthroughtheuseoftransitions.

W.11-12.2(d):Usepreciselanguage,domain-specificvocabulary,andtechniquessuchasmetaphor,simile,andanalogytomanagethecomplexityofthetopic.

● Icanuseprecisewordchoiceandrelevantvocabularytodirectthereaderthroughthetopic.

● Icanusemetaphor,simile,andanalogytodirectthereaderthroughthetopic.

W.11-12.2(e):Establishandmaintainaformalstyleandobjectivetonewhileattendingtothenormsandconventionsofthedisciplineinwhichtheyarewriting.

● Icanusecorrectandappropriateconventionsinmywriting.

W.11-12.2(f):Provideaconcludingstatementorsectionthatfollowsfromandsupportstheinformationorexplanationpresented(e.g.,articulatingimplicationsorthesignificanceofthetopic).

● Icanprovideaconcludingstatementthatsupportstheinformationorexplanationpresented.

● Icanusemyconclusiontoarticulatetheimplicationorsignificanceofthetopic.

W.11-12.3:Writenarrativestodeveloprealorimaginedexperiencesoreventsusingeffectivetechnique,well-chosendetails,andwell-structuredeventsequences.

• Icanwritenarrativesthatdeveloprealorimaginedexperiencesorevents.

• Icanuseeffectivetechnique,well-chosendetails,andwell-structuredeventsequencestowritemynarrative.

W.11-12.3(a):Engageandorientthereaderbysettingoutaproblem,situation,orobservationanditssignificance,establishingoneormultiplepoint(s)ofview,andintroducinganarratorand/orcharacters;createasmoothprogressionofexperiencesorevents.

• Icancreateaproblem,situation,orobservationthatisengagingandcommunicateitsimportancetothereader.

• Icanestablishoneormorepointsofviewandintroduceanarratorand/orcharacters.

• Icancreateasmoothprogressionofexperiencesorevents. W.11-12.3(b):Usenarrativetechniques,suchasdialogue,pacing,description,reflection,andmultipleplotlines,todevelopexperiences,events,and/orcharacters.

• Icanusenarrativetechniques(suchasdialogue,packing,description,reflection,andmultipleplotlines)todevelopexperiences,events,and/orcharacters.

W.11-12.3(c):Useavarietyoftechniquestosequenceeventssothattheybuildononeanothertocreateacoherentwholeandbuildtowardaparticulartoneandoutcome(e.g.,asenseofmystery,suspense,growth,orresolution).

• Icanuseavarietyoftechniquestosequenceeventsthatbuildononeanothertocreateameaningfulwholeandbuildtowardaparticulartoneandoutcome.

W.11-12.3(d):Useprecisewordsandphrases,tellingdetails,andsensorylanguagetoconveyavividpictureoftheexperiences,events,setting,and/orcharacters.

• Icanuseprecisewordsandphrases,tellingdetails,andsensorylanguagetoconveyavividpictureoftheevents,setting,and/orcharacters.

W.11-12.3(e):Provideaconclusionthatfollowsfromandreflectsonwhatisexperienced,observed,orresolvedoverthecourseofthenarrative.

• Icanwriteaconclusionthatreflectsonwhatisexperiencedandresolvedoverthecourseofthenarrative.

ELACoreStandards StudentLearningTargets SPEAKING& LISTENING

SL.11-12.3.Evaluateaspeaker’spointofview,reasoning,anduseofevidenceandrhetoric,assessingthestance,premises,linksamongideas,wordchoice,pointsofemphasis,andtoneused.

• Icanevaluatehowaspeakerusesevidence,reasoning,pointofview,andrhetoric.

• Icanevaluatethespeaker'sstance,premises,wordchoice,connectsamongideas,pointsofemphasis,andtoneused.

SL.11-12.4.Presentinformation,findings,andsupportingevidence,conveyingaclearanddistinctperspective,suchthatlistenerscanfollowthelineofreasoning,alternativeoropposingperspectivesareaddressed,andtheorganization,development,substance,andstyleareappropriatetopurpose,audience,andarangeorformalandinformaltasks.

• Icanpresenttheinformationandsupportingevidencetoconveyaclearpointofview.

• Icanpresentinformationsothatlistenerscanfollowmylineofreasoning.

• Icanuseappropriateorganization,development,substance,andstyletoestablishapurposeandaudience.

SL.11-12.6.Adaptspeechtoavarietyofcontextsandtasks,demonstratingacommandofformalEnglishwhenindicatedorappropriate.

• Icanchangemyspeechdependingonmyaudience,situationandtask.

• IcandemonstratethatIknowhowtouseEnglishproperly. ELACoreStandards ● StudentLearningTargets

LANGUAGE L.11-12.3.Applyknowledgeoflanguagetounderstandhowlanguagefunctionsindifferentcontexts,tomakeeffectivechoicesformeaningorstyle,andtocomprehendmorefullywhenreadingorlistening.

• Icanunderstandhowlanguagefunctionsindifferentcontexts. • Icanmakechoicesinlanguagetounderstandreadingorlistening.

L.11-12.3(a).Varysyntaxforeffect,consultingreferences(e.g.,Tufte’sArtfulSentences)forguidanceasneeded;applyanunderstandingofsyntaxtothestudyofcomplextextswhenreading.

• Icanuseavarietyofreferencestounderstandsyntax(sentencefluency)whenreadingcomplextexts.

ExamplesofTextSetsforUnit1 **Feelfreetocreateanduseyourowntextsets.Textsetsshouldincludealiteraryworkaswellasother,moreobviousrhetoricaltexts.

Pleaseconsidersharingyoursuccessfultextsetswithother12thgradeELAteachersacrossthedistrict. The Power of Words “Why I Believe in Black and White” by Roger Ebert Patton’s speech Letter from Gandhi to Hitler (Example of weak, ineffective speech) Jenny Horne: How one speech altered the course of the Confederate Flag 2015 AP Language and Composition Synthesis Prompt: The Place for Polite Speech Text Possibilities: The Affluenza Epidemic

● Short Story: “Ordeal by Cheque” by Wuther Crue (So fun for the students!) ● Classic Literature: any excerpt from The Great Gatsby that showcases the ennui and carelessness

of the super-rich ● Classic Literature: excerpt from the beginning of chapter 2 in Bless The Beasts and the Children

that introduces the reader to Stephen Lally (Lally 1) and Billy Lally (Lally 2) ● CNN Video: Texas Teen kills four while driving drunk and gets off with a plea of “affluenza” (2-ish

minutes) (great for introducing the concept and discussing the tone / bias of the reporter) ● Magazine Article: “Perfection Anxiety” by A. E. Hoffner from Vanity Fair (great for rhetorical analysis) ● TED Talk: Paul Piff: Does Money Make You Mean? (With Ted Talk Video Organizer) ● Research Article: Entitlement Research (Good rhetorical language and solid charts and graphs) ● Article: How Wealth Breeds Narcissism: The Guardian ● Article: “Rich People Are the F--ing Worst: Rancho Santa Fe’s Response to California’s drought.

(Current Event) ● Closing Arguments: Leopold and Loeb / Clarence Darrow closing arguments ● Instagram Feed:

○ RichkidsofTehran ○ richkidsofmalaysia ○ richkidsofinstagram (Twitter feed too)

Text Possibilities: Who are the Homeless?

● Literary Non-Fiction: The Glass Castle excerpt, chapter 1 ● YouTube Video: Miley Cyrus 2014 VMA acceptance ● Infographics: Homelessness Infographics ● Personal Essay: “On Dumpster Diving” by Lars Eighner ● Magazine Article: Homeless Teens speak out Upfront: September 2014 ● Article: “Homelessness” by Andy Kessler

Text Possibilities: What the nugget? That’s so illogical! (A Text Set about illogical arguments / logical fallacies)

● Short Story: “Love is a Fallacy” by Max Schulman ● Article: “Reasons Why Rick Dyer is Telling the Truth about Bigfoot” ● Article: Disasters You Can Expect Now That Marriage Equality is Here (good for fallacies, satire,

tone) (Current Event) ● Comments Sections: Examine the comments sections of these articles for logical fallacies

○ Utah Drivers Get a Bad Rap ○ Essential Oil Company Gets Slapped by FDA ○ Poll Shows Utahns Question the Common Core but Don’t Understand It

● Visual Texts For Teaching Logical Fallacies (Choose your favorites) ● Infomercials

○ Hawaii Chair ○ Slap Chop ○ Sham Wow

● YouTube Instructional Videos (Choose your favorites) ● Advertisements (for example: Japanese Ice cream commercial) ● Documentaries

○ 5 Documentaries that are full of crap ○ Who Killed the Electric Car? ○ Wal-Mart: The High Cost of Low Price ○ Supersize Me ○ Ancient Aliens Series from The History Channel

Text Possibilities: America’s Obesity Problem

● Narrative / Movie: Disney’s Wall-E (has a strong rhetorical purpose) ● Short Story: “Lose Now, Pay Later” by Carol Farley ● Essays: Are You Responsible for Your Own Weight (Pro and Con Essays)

○ Current Issues, Ninth Edition, page 522) ● Mini-series documentary: HBO Series The Weight of the Nation ● Political Cartoons: Obesity Political Cartoons and cartoons about the Let’s Move Initiative ● Fine Art: Modern Art Gallery focused on Obesity in America ● Satire: “Preventing Childhood Obesity” (The Onion) ● Personal Essay: “Too Fat to Be a Scientist” ● Infographic: Obesity Infographics ● Charts and Graphs: Graphs and Charts Explaining Why People Gain Weight

Text Possibilities: Global Waste Problem

● Narrative / Movie: Disney’s Wall-E (has a strong rhetorical purpose)

Text Possibilities: What does it mean to be a female in America? To focus on the objectification of females, try these texts:

● Poem: “Barbie Doll” by Marge Piercy ● Excerpt from the House on Mango Street: "The Monkey Garden" by Sandra Cisneros ● NYTimes Room for Debate: Is Hillary Clinton’s Brand of Feminism Dead? ● Magazine Article (Time, June 29th 2015): “Nip, Tuck, or Else: Why You’ll Be Getting Cosmetic

Procedures, Even If You May Not Want To” ● Poem: “Siren Song” by Margaret Atwood ● Poem: “Snow White and the Seven Dwarfs” by Anne Sexton ● Essay: from the Beauty Myth by Naomi Wolf ● Essay: “There is no Unmarked Woman” by Deborah Tannen

○ The Language of Composition, Second Edition, page 552 ● Satire / Video: Brave New Girl by John Stewart (Current Event)

○ Note: This video uses some lewd language to make an important point about the objectification of women in America. Edited summaries of this video can be found through a Google Search online.

● News Article:: Nobel scientist Tim Hunt: female scientists cause trouble for men in labs (Current Event)

● Twitter Feed: #DistractinglySexy #1 and #2 (response to Hunt’s comments about female scientists) (Current Event)

● Opinion Pieces: Objectification of Women Huffington Post Articles ● Letter: Ashley Judd Slaps Media in the Face for Speculation Over Her Puffy Appearance by Ashley

Judd ● Visual Text: Caitlyn Jenner Vanity Fair Cover (Current Event) ● Music: “Try” by Colbie Caillat and “All About That Bass” by Meghan Trainor ● Infographic: How Women are Portrayed in Hollywood

To focus on issues of gender equality, try these texts: ● Short Story: “Sweat” by Zora Neale Hurston ● Short Story: “The Catbird Seat” by James Thurber ● Speech: “A Declaration of Sentiments” by Elizabeth Cady Stanton ● Speech: “Ain’t I a Woman?” by Sojourner Truth ● Essay: from “On the Equality of the Sexes” by Judith Sargent Murray ● Essay: “In Defense of Women” by H.L. Mencken ● Speech: “The Speech of Miss Polly Baker” by Benjamin Franklin

○ The Language of Composition, Second Edition, page 533 ● Interview: Interview with Kaley Cuoco: Are You a Feminist? (Redbook Magazine) (Current Event) ● Letter: An Open Letter to Kaley Cuoco from feminist Lucy Bellerby (Strong Rhetoric!) (Current Event) ● Research Article: “Women in Combat” by June Eden (EBSCO) ● Opinion Article: “Why Women Apologize and Why They Should Stop” (NYT) (Current Event)

Textpossibilities:Costco’sEgg-cellentEggs?(Current Event)

● Short Story: “The Ones Who Walk Away from Omelas” by Ursula K. LeGuin ● Essay: “Why Don’t We Complain?” by William F. Buckley, Jr. ● Letter: Ryan Gosling’s Letter to Costco Re: Eggs ● Images: Costco Egg Cartons ● Video: Human Society’s Video about Costco’s Egg Source (warning: grisly images) ● Documentary:FoodInc.AvailableonNetflix

● Poem: “Inversnaid” or “Pied Beauty” or “God’s Grandeur” by Gerard Manley Hopkins ● Essay: “Hiding in Plain Sight” by Heather Rogers (Excerpt from The Hidden Life of Garbage)

○ Found in Current Issues 9th ed. p. 133 ● Non-Fiction: from “Silent Spring” by Rachel Carson (Found in Current Issues 9th ed) ● Garbage Infographics ● Images of Garbage Landfills and Images of landfill’s effect on animals ● Article on Trash Island: Great Pacific Garbage Patch- National Geographic

Text Possibilities: Defining Masculinity

● Short Story: “In a Far Country” by Jack London or “The Catbird Seat” by James Thurber ● Photo: Leonard McCombe’s Malboro Man ● Article: “The End of Men” from The Atlantic ● NPR: “The End of Gender”? ● Opinion Articles: Several NYTimes Opinion Pieces about modern manliness ● Buzzfeed Video: Male beauty standards around the world ● Website: The Art of Manliness ● Advertisements: Old Spice Ads ● Essay: “Putting Down the Gun” by Rebecca Walker (The Language of Composition, Second Edition,

page 573) ● Essay: “Mind Over Muscle” by David Brooks (The Language of Composition, Second Edition, page

577)

Text Possibilities: Technology’s Influence within society

● Short Story: “ There Will Come Soft Rains” by Ray Bradbury ● Image: Pyramid Chart detailing how the average person spends their day with technology

https://www.flickr.com/photos/caseorganic/3821305592/ Originally from Wired Magazine ● Essays:

○ "Is Google Making Us Stupid" ○ "Your Social Life: Are you a Fox or a Hedgehog?" ○ Taking my son to college, where technology has replaced serendipity: Opinion

● Website: Debate.org: Is Google Making Us Stupid ● News Articles:

○ “An Ugly Toll of Technology: Impatience and Forgetfulness” ○ “ Social Media Research Raises Privacy and Ethics Issues” ○ “Growing Up Digital, Wired for Distraction” ○ Challenges loom as tech takeover grows ○ “Never Offline” by Lev Grossman

● Infographics: ○ How Digital Natives Spend Their Time ○ How Technology Affects Our Sleep ○ The Effects of Media and Technology on Young Children in the United States

● Videos: ○ Erik Qualman: Social Media Revolution #socialnomics ○ Business Insider: How Social Media is Rewiring Our Brains ○ Does Social Media Have the Power to Change the World? ○ Is Facebook Changing Our Identity?

Unit1PlanningNotes:

TwelfthGradeUnit2:ArchetypesinLife&Literature

Inthisunitstudentswillanalyzeliteraturewitharchetypalcharactersanddrawconclusionsaboutsociety’svalues.

Informational/Explanatorywritingwillbeemphasized.

EssentialQuestion ExampleSupportingQuestions Capstone Connection Howarearchetypalsituationspresentinliteratureandlife?

(Whatis_____________(author)arguingabout_______(archetypalsituation),andishe/sheright?)

• GoodandEvil:Ismaninherentlygoodorevil?Somewhereinbetween?

• Naturevs.MechanisticWorld:Istechnologicalprogressalwaysgood?(Werethehippiesright?)

• TheFallFromInnocence:Isexperiencenecessary?Isignorancebliss?

• Fatevs.FreeWill:Areweincontrolofourowndestinies?

Begingenrewriting.Usegenrewritingaspre-researchandcallitinformativewriting.


READING

RL.11-12.4:Determinethemeaningofwordsandphrasesastheyareusedinthetext,includingfigurativeandconnotativemeanings;analyzetheimpactofspecificwordchoicesonmeaningandtone,includingwordswithmultiplemeaningsorlanguagethatisparticularlyfresh,engaging,orbeautiful.(IncludeShakespeareaswellasotherauthors.)

• Icanusetexttodeterminethemeaningofwordsandphrases. • Icandetermineanauthor'stonethroughanalysisofword

choice. • Icandeterminethefigurativeandconnotativemeaningof

wordsandphrases.

RL.11-12.6:Analyzeacaseinwhichgraspingpointofviewrequiresdistinguishingwhatisdirectlystatedinatextfromwhatisreallymeant(e.g.,satire,sarcasm,irony,orunderstatement).

• Icananalyzeatext'spointofviewthatspecificallyrequiresusingsatire,sarcasm,irony,orunderstatement.

RL.11-12.7:Analyzemultipleinterpretationsofastory,drama,orpoem(e.g.,recordedorliveproductionofaplayorrecordednovelorpoetry),evaluatinghoweachversioninterpretsthesourcetext.(IncludeatleastoneplaybyShakespeareandoneplaybyanAmericandramatist.)

• Icananalyzemultipleversionsofastory,drama,orpoem. • Icanevaluatehowmultipleversionsofastory,drama,or

poeminterpretthesourcetext.

RI.11-12.1:Citestrongandthoroughtextualevidencetosupportanalysisofwhatthetextsaysexplicitlyaswellasinferencesdrawnfromthetext,includingdeterminingwherethetextleavesmattersuncertain.

• Icancitestrongandthoroughtextualevidencetosupportanalysis.

• Icancitespecificmaterialfromthetext,drawinferencesfromthetext,anddeterminewherethetextleavesmattersuncertain.

RI.11-12.2:Determinetwoormorecentralideasofatextandanalyzetheirdevelopmentoverthecourseofthetext,includinghowtheyinteractandbuildononeanothertoprovideacomplexanalysis;provideanobjectivesummaryofthetext.

• Icandeterminetwoormorecentralideasofatext. • Icanexaminethecentralideasofthetextandhowthey

interacttogethertoprovidemeaning. • Icansummarizethetext.

RI.11-12.3:Analyzeacomplexsetofideasorsequenceofeventsandexplainhowspecificindividuals,ideas,oreventsinteractanddevelopoverthecourseofthetext.

• Icananalyzeacomplexsetofideasorsequenceofeventsandexplainhowspecificindividuals,ideas,oreventsinteractanddevelopoverthecourseofthetext.

RI.11-12.7:Integrateandevaluatemultiplesourcesofinformationpresentedindifferentmediaorformats(e.g.,visually,quantitatively)aswellasinwordsinordertoaddressaquestionorsolveaproblem.

• Icanevaluatemultiplesourcesofinformationpresentedindifferentmediaorformatstosolveaproblem.

• Icanintegratemultiplesourcesofinformationpresentedindifferentmediaorformats(e.g.visually,quantitatively)toaddressaquestionorsolveaproblem.

ELACoreStandards StudentLearningTargets WRITING W.11-12.2:Writeinformative/explanatorytextstoexamine

andconveycomplexideas,concepts,andinformationclearlyandaccuratelythroughtheeffectiveselection,organization,andanalysisofcontent.

● Icanwriteinformative/explanatorytextstoexamineandconveycomplexideas,concepts,andinformationclearlyandaccurately.

● Icaneffectivelyselect,organize,andanalyzecontentinmyinformative/explanatorywriting.

W.11-12.2(a):Introduceatopic;organizecomplexideas,concepts,andinformationsothateachnewelementbuildsonthatwhichprecedesittocreateaunifiedwhole;includeformatting(e.g.,headings),graphics(e.g.,figures,tables),andmultimediawhenusefultoaidingcomprehension.

● Icanintroduceatopic,andbuildcomplexideasandconceptstocreateanorganizedandunifiedwhole.

● Icanuseformatting,graphicsandmulti-mediatoaidcomprehensionwhenuseful.

W.11-12.2(b):Developthetopicthoroughlybyselectingthemostsignificantandrelevantfacts,extendeddefinitions,concretedetails,quotations,orotherinformationandexamplesappropriatetotheaudience’sknowledgeofthetopic.

● Icanidentifymyaudienceanduserelevantconcretedetails(facts,extendeddefinitions,quotations,orotherinformation)todevelopthetopicthoroughly.

W.11-12.2(c)Useappropriateandvariedtransitionsandsyntaxtolinkthemajorsectionsofthetext,createcohesion,andclarifytherelationshipsamongcomplexideasandconcepts.

● Icanuseappropriateandvariedtransitionsandsyntax(sentencefluency)tolinkmajorsectionsofthetext.

● Icancreatecohesionandclarifyrelationships,complexideas,andconceptsthroughtheuseoftransitions.

W.11-12.2(d):Usepreciselanguage,domain-specificvocabulary,andtechniquessuchasmetaphor,simile,andanalogytomanagethecomplexityofthetopic.

● Icanuseprecisewordchoiceandrelevantvocabularytodirectthereaderthroughthetopic.

● Icanusemetaphor,simile,andanalogytodirectthereaderthroughthetopic.

W.11-12.2(e):Establishandmaintainaformalstyleandobjectivetonewhileattendingtothenormsandconventions

● Icanusecorrectandappropriateconventionsinmywriting.

ofthedisciplineinwhichtheyarewriting. W.11-12.2(f):Provideaconcludingstatementorsectionthatfollowsfromandsupportstheinformationorexplanationpresented(e.g.,articulatingimplicationsorthesignificanceofthetopic).

● Icanprovideaconcludingstatementthatsupportstheinformationorexplanationpresented.

Icanusemyconclusiontoarticulatetheimplicationorsignificanceofthetopic.

W.11-12.9:Drawevidencefromliteraryorinformationaltextstosupportanalysis,reflection,andresearch.

● Icandrawevidenceformliteraryorinformationaltextstosupportanalysis,reflectionsandresearch.

W.11-12.10:Writeroutinelyoverextendedtimeframes(timeforresearch,reflection,andrevision)andshortertimeframes(asinglesittingoradayortwo)forarangeoftasks,purposes.

• Icanwriteoverextendedandshortertimeframesforarangeofpurposesandtasks.

W.11-12.1:Writeargumentstosupportclaimsinananalysisofsubstantivetopicsortexts,usingvalidreasoningandrelevantandsufficientevidence.

• Icanwriteanargumentusingvalidreasoningwithrelevantandsufficientevidence.

W.11-12.1(a).Introduceprecise,knowledgeableclaim(s),establishthesignificanceoftheclaim(s),distinguishtheclaim(s)fromalternateoropposingclaims,andcreateanorganizationthatlogicallysequencesclaim(s),counterclaims,reasons,andevidence.

• Icanidentifysignificantandopposingarguments.• Icanlogicallysequenceclaims,counterclaims,reasons,and

evidence.

W.11-12.1(b).Developclaim(s)andcounterclaimsfairlyandthoroughly,supplyingthemostrelevantevidenceforeachwhilepointingoutthestrengthsandlimitationsofbothinamannerthatanticipatestheaudience’sknowledgelevel,concerns,values,andpossiblebiases.

• Icandevelopclaimsandcounterclaimswithrelevantevidence.• Icanidentifythestrengthsandlimitationsofclaimsand

counterclaimswhileanticipatingtheaudience'sknowledgelevel,concerns,values,andpossiblebiases.

W.11-12.1(c).Usewords,phrases,andclausesaswellasvariedsyntaxtolinkthemajorsectionsofthetext,createcohesion,andclarifytherelationshipsbetweenclaim(s)andreasons,betweenreasonsandevidence,andbetweenclaim(s)andcounterclaims.

• Icanusesyntax(sentencefluency)toclarifytherelationshipsamongmyclaims,reasons,andcounterclaims.

W.11-12.1(d).Establishandmaintainaformalstyleandobjectivetonewhileattendingtothenormsandconventionsofthedisciplineinwhichtheyarewriting.

• Icanuseappropriatestyleandtonetocreateawrittenproduct.

• Icanusecorrectandappropriateconventionsinmywriting.

W.11-12.1(e).Provideaconcludingstatementorsectionthatfollowsfromandsupportstheargumentpresented.

• Icanprovideaconcludingstatementthatsupportsmyargument.


SPEAKING&LISTENING

SL.11-12.4:Presentinformation,findings,andsupportingevidence,conveyingaclearanddistinctperspective,suchthatlistenerscanfollowthelineofreasoning,alternativeoropposingperspectivesareaddressed,andtheorganization,development,substance,andstyleareappropriatetopurpose,audience,andarangeorformalandinformaltasks.

● Icanpresenttheinformationandsupportingevidencetoconveyaclearpointofview.

● Icanpresentinformationsothatlistenerscanfollowmylineofreasoning.

● Icanuseappropriateorganization,development,substance,andstyletoestablishapurposeandaudience.


LANGUAGE

L11-12.4:Determineorclarifythemeaningofunknownandmultiple-meaningwordsandphrasesbasedongrades11–12readingandcontent,choosingflexiblyfromarangeofstrategies.

● Icandeterminethemeaningofunknownandmultiple-meaningwords.

L11-12.4(a):Usecontext(e.g.,theoverallmeaningofasentence,paragraph,ortext;aword’spositionorfunctioninasentence)asacluetothemeaningofawordorphrase.

● Icanusethestrategyofcontextcluestodeterminethemeaningofwords.

L11-12.4(b):Identifyandcorrectlyusepatternsofwordchangesthatindicatedifferentmeaningsorpartsofspeech(e.g.,conceive,conception,conceivable).

● Icanuseunderstandingofthepartsofspeechtoindicatedifferentmeaningsofwords.

L11-12.4(c):Consultgeneralandspecializedreferencematerials(e.g.,dictionaries,glossaries,thesauruses),bothprintanddigital,tofindthepronunciationofawordordetermineorclarifyitsprecisemeaning,itspartofspeech,itsetymology,oritsstandardusage.

● Icanuseprintanddigitalreferencestodeterminethepronunciation,precisemeaning,partofspeech,etymology,andstandarduseofwords.

L11-12.4(d):Verifythepreliminarydeterminationofthemeaningofawordorphrase(e.g.,bycheckingtheinferredmeaningincontextorinadictionary).

● Icancheckcontextorreferencematerialstoverifythemeaningofaword.

ExamplesofTextSetsforUnit2 **Feelfreetocreateanduseyourowntextsets.Textsetsshouldcenteraroundyourliteraryworkforthisunitandadd

complementaryrhetoricalnon-fictiontexts.Pleaseconsidersharingyoursuccessfultextsetswithother12thgradeELAteachersacrossthedistrict.

Textpossibilities:TheTragicHeroandisFatalFlaw Argument (NY Times): Tragedy and the Common Man Opinion Article (Washington Post): Spitzer’s Tragic Flaw Opinion Article (NPR): Lance Armstrong Tragic Hero? Not Exactly. Opinion Article (NY TImes): My Favorite Teacher Opinion Article (Bleacher Report): Hubris, Not Doping, Caused Armstrong’s Downfall (good for tone) Opinion (ESPN): Kobe (A powerfully dark portrayal of Kobe Bryant as the tragic or anti-hero) Search other articles for possible modern-day tragic heroes: Michael Jackson, Paul Walker, John Edwards, Bill Clinton, Britney Spears, Paula Deen, Brian Williams, Tiger Woods, Oscar Pistorius, etc. Note: This text set could lead into one of the SLO argument writing assessments, a sort of Tragic Hero Hall of Shame mini-research assignment. Possible prompt: Defend, Challenge, or Qualify: (Insert name of modern-day celebrity, athlete, politician, etc.) is a modern-day tragic hero. Here’s a similar idea from Teachers-Pay-Teachers.

NovelOptions Beowulf Hamlet Macbeth TheOdyssey DeathofaSalesman OedipusRex

Unit2PlanningNotes:

TwelfthGradeUnit3Theme:Equity&Disparity Inthisunitstudentswillexplorethecausesofinequalitycitingtextualevidence,author’spointofviewwhileevaluatingandanalyzingtext. EssentialQuestion SupportingQuestions CapstoneConnection

Howdoesliteraturedepictandinformthereader’sperceptionsofequityanddisparity?

Whatistheroleofequityinsociety?

● Whatisthedifferencebetweenequityandequality?● Whatarethepositivesandnegativesofthequestforequality?● Isequityattainable?● Howdoeseducationandlearningaffectequityanddisparity?● TowhatdegreeamIresponsibleforequityinmycommunity?● Howcanindividualsandsocietiesprotecthumanrightsanddignity?● Whatarethecausesofinequityinacommunity?● Whataretheconsequencesofinequityinacommunity?● Whatsystemsofsegregationareinstitutionalizedinoursociety?● Howdoesaccessibilityaffectequityanddisparity?

Research and write

capstone paper


READING

RL.11-12.1:Citestrongandthoroughtextualevidencetosupportanalysisofwhatthetextsaysexplicitlyaswellasinferencesdrawnfromthetext,includingdeterminingwherethetextleavesmattersuncertain.

● Icancitestrongandthoroughtextualevidencetosupportanalysis. ● Icancitespecificmaterialfromthetext,drawinferencesfromthe

text,anddeterminewherethetextleavesmattersuncertain.


● Icananalyzemultipleversionsofastory,drama,orpoem. ● Icanevaluatehowmultipleversionsofastory,drama,orpoem

interpretthesourcetext.


● Icananalyzeacomplexsetofideasorsequenceofeventsandexplainhowspecificindividuals,ideas,oreventsinteractanddevelopoverthecourseofthetext.

RI.11-12.4:Determinethemeaningofwordsandphrasesas ● Icandeterminethemeaningofwordsandphrasesastheyareusedintext.

theyareusedinatext,includingfigurative,connotative,andtechnicalmeanings;analyzehowanauthorusesandrefinesthemeaningofakeytermortermsoverthecourseofatext(e.g.,howMadisondefinesfactioninFederalistNo.10). RI.11-12.7:Integrateandevaluatemultiplesourcesofinformationpresentedindifferentmediaorformats(e.g.,visually,quantitatively)aswellasinwordsinordertoaddressaquestionorsolveaproblem.

● Icanevaluatemultiplesourcesofinformationpresentedindifferentmediaorformatstosolveaproblem.

● Icanintegratemultiplesourcesofinformationpresentedindifferentmediaorformats(e.g.visually,quantitatively)toaddressaquestionorsolveaproblem.


WRITING


● Icanwriteanargumentusingvalidreasoningwithrelevantandsufficientevidence.


● Icanidentifysignificantandopposingarguments. ● Icanlogicallysequenceclaims,counterclaims,reasons,and

evidence.


● Icandevelopclaimsandcounterclaimswithrelevantevidence. ● Icanidentifythestrengthsandlimitationsofclaimsand

counterclaimswhileanticipatingtheaudience’sknowledgelevel,concerns,values,andpossiblebiases.

W.11-12.1I.Usewords,phrases,andclausesaswellasvariedsyntaxtolinkthemajorsectionsofthetext,createcohesion,andclarifytherelationshipsbetweenclaim(s)andreasons,betweenreasonsandevidence,andbetweenclaim(s)andcounterclaims.

● Icanusesyntax(sentencefluency)toclarifytherelationshipsamongmyclaims,reasons,andcounterclaims.


● Icanuseappropriatestyleandtonetocreateawrittenproduct. ● Icanusecorrectandappropriateconventionsinmywriting.


● Icanprovideaconcludingstatementthatsupportsmyargument.

W11-12.4Produceclearandcoherentwritinginwhichthedevelopment,organization,andstyleareappropriatetotask,purpose,andaudience.(Grade-specificexpectationsforwriting

● Icandevelop,organize,andcreateclearandcoherentwritinginmultiplegenres.

● Icanwritepiecesthatareappropriatetotask,purpose,and

typesaredefinedinstandards1–3above.)

audience.

W11-12.5Developandstrengthenwritingasneededbyplanning,revising,editing,re-writing,ortryinganewapproach,focusingonaddressingonwhatismostsignificantforaspecificpurposeandaudience.

● Icanusemultipletechniquesofeditingandrevisiontodevelopwritingpieceswithpurpose

W.11-12.6.Usetechnology,includingtheInternet,toproduce,publish,andupdateindividualorsharedwritingproductsinresponsetoongoingfeedback,includingnewargumentsorinformation.

● Icanusetechnologytoproduce,publishandupdateindividualwritingproductsinresponsetoongoingfeedback,includingnewargumentsorinformation.

● Icanusetechnologytoproduce,publishandupdatesharedwritingproductsinresponsetoongoingfeedback,includingnewargumentsorinformation.

W.11-12.7:Conductshort(aswellasmoresustained)researchprojectstoansweraquestion(includingaself-generatedquestion)orsolveaproblem;narroworbroadentheinquirywhenappropriate;synthesizemultiplesourcesonthesubject,demonstratingunderstandingofthesubjectunderinvestigation.

● Icanansweraquestion(includingself-generated)orsolveaproblemthroughshortaswellassustainedresearch.

● Icannarroworbroadentheinquirywhenappropriateandcombinemultiplesourcestodemonstratemyunderstandingofthetopic.

W.11-12.8:Gatherrelevantinformationfrommultipleauthoritativeprintanddigitalsources,usingadvancedsearcheseffectively;assessthestrengthsandlimitationsofeachsourceintermsofthetask,purpose,andaudience;integrateinformationintothetextselectivelytomaintaintheflowofideas,avoidingplagiarismandoverrelianceonanyonesourceandfollowingastandardformatforcitation.

● Icandetermineauthoritativeandaccuratesourcesfrominferiorsourcesandidentifythestrengthsandweaknessesofeachsource.

● Icanuseavarietyofprintanddigitalsourcesanduseadvancedsearcheseffectively.

● Icanidentifythetask,purpose,andaudienceofmyresearch. ● Icanincludebalancedresearchinformationsmoothlyintomy

piece. ● Icanunderstandthedifferencebetweenplagiarismandmyown

workandcitemysourcesinastandardcitationformat.

W.11-12.9.Drawevidencefromliteraryorinformationaltextstosupportanalysis,reflection,andresearch.

● Icandrawevidencefromliteraryorinformationaltextstosupportanalysis,reflection,andresearch.

W11-12.10Writeroutinelyoverextendedtimeframes(timeforresearch,reflectionandrevision)andshortertimeframes(asinglesittingoradayortwo)forarangeoftasks,purposes,andaudiences.

● Icanwriteoverextendedandshortertimeframesforarangeofpurposesandtasks.

ELACoreStandards • StudentLearningTargets SPEAKING&LISTENING

SL.11-12.2:Integratemultiplesourcesofinformationpresentedindiverseformatsandmedia(e.g.,visually,quantitatively,orally)inordertomakeinformeddecisionsandsolveproblems,evaluatingthecredibilityandaccuracyofeachsourceandnotinganydiscrepanciesamongthedata.

● Icanincludemultiplesourcesofinformation,inavarietyofformatsandmedia,tomakedecisionsandsolveproblems.

● Icanevaluatethecredibilityofsourcesandnotethedifferencesamongthesources.

ELACoreStandards • StudentLearningTargets

LANGUAGE L.11-12.2:DemonstratecommandoftheconventionsofstandardEnglishcapitalization,punctuation,andspellingwhenwriting.

● IcandemonstrateanunderstandingofstandardEnglishconventionsincludingcapitalization,punctuation,andspelling.

L.11-12.2(a):Observehyphenationconventions ● Icanusehyphenscorrectly. L.11-12.2(b):Spellcorrectly. ● Icanusecorrectspelling. L.11-12.5:Demonstrateunderstandingoffigurativelanguage,wordrelationships,andnuancesinwordmeanings.

● Icandemonstrateanunderstandingoffigurativelanguage,wordrelationships,andthedistinctioninwordsmeanings.

L.11-12.5(a):Interpretfiguresofspeech(e.g.,hyperbole,paradox)incontextandanalyzetheirroleinthetext.

● Icanidentifyfiguresofspeechinthetext. ● Icananalyzetheimpactoffiguresofspeechinthetext.

L.11-12.5(b):Analyzenuancesinthemeaningofwordswithsimilardenotations.

● Icananalyzethenuances(tone)inthemeaningofwordswithsimilarmeanings.



TextPossibilities:SocialResponsibilityandEthics

● Memoir:Night/ExcerptsbyElieWiesel● NPR:SocialMediaChangingTheNatureOfActivism?● Essays:

○ Thirty-EightWhoSawMurderDidn'tCallthePolice○ PuttingActionBackinActivism○ ChangingtheFace(book)ofSocialActivism○ InDefenseofDangerousIdeas

● Speech:"ThePerilsofIndifference”● Website:GlobalIssues.org● Infographics:WaterRichvs.WaterPoor● Videos:

○ TheMiniatureEarthProject○ WhatisHealthEquity?○ GlobalWealthInequality

TextPossibilities:EquityandDisparity TofocusonraceIssues,Trythesetexts:

● Speech/Eulogy:PresidentObama’sEulogyfortheSCNineThatBroughtDowntheHouse● Essay:“Graduation”byMayaAngelou(BedfordSt.Martin)● GraphsandCharts:GraduationRatesbyRace● Essay:"NotesofaNativeSon"byJamesBaldwin(BedfordSt.Martin)● Essay:“HowitFeelstobeColoredMe”byZoraNealeHurston(BedfordSt.Martin)● Essay:“TheMythoftheLatinWoman:IJustMetaGirlNamedMaria”byJudithOrtizCofer(BedfordSt.Martin)● Memoir:“NotesofaNativeSpeaker”fromTheAccidentalAsianbyEricLiu● Article:“ChoosingtoBeBlackistheEpitomeofWhitePrivilege”(CurrentEvent:RachaelDoleazal)PoliticoMagazine● Infographics,Charts,andGraphs:RacialDisparityintheCriminalJusticeSystem

Toincludediscussionsofequityanddisparitywithregardtodisability,sexual/genderorientation,andwealth,trythesetexts: ● Essay:“OnBeingaCripple”byNancyMairs(BedfordSt.Martin)● Memoir:“AClashofTinySparks:RemembrancesofaGayBoyhood”byBernardCooper(BedfordSt.Martin)● Speech:PresidentObamaDeclaresNationalLGBTMonth(CurrentEvent)● ClosingStatement:JusticeKennedy’sClosingParagraphinthemarriageequalityruling(CurrentEvent)● Article(Opinion):AllMenAreCreatedEqual?Really?byNicholasClairmont(BigThink)● Article:“RichPeopleAretheF--ingWorst:RanchoSantaFe’sResponsetoCalifornia’sdrought.(CurrentEvent)● Essay:“ServinginFlorida”byBarbaraEihrenreich (BedfordSt.Martin)● MagazineArticle:“Nip,Tuck,orElse:WhyYou’llBeGettingCosmeticProcedures,EvenIfYouMayNotWantTo”(Time,

June29th2015)(CurrentEvent)

AdditionalNon-FictionTexts:

● Essay:MeditationXVIIbyJohnDonne● Economicinequalityisthewrongissue,TheWashingtonPost● “BuffetTax”andtruthinnumbers,TheWashingtonPost● Downwithrent,upwithfairness,TheWashingtonPost● WhySocialSecurityiswelfare,TheWashingtonPost● WhySocialSecurityisNOTwelfare,Economist’sView● Whatisfairabout47percentinU.S.payingnofederaltaxes?,TheDeseretNews● I’mcountingeverypenny,TheDailyBeast

NovelOptions: TessoftheD’UrbervillesbyThomasHardy(1160L)* PrideandPrejudicebyJaneAusten(1070L) BeanTreesbyBarbaraKingsolver(900L)* AFineBalancebyRohintonMistry InheritanceofLossbyKiranDesai SnowFlowerandtheSecretFanbyLisaSee CuttingforStonebyAbrahamVerghese Utopia,byThomasMore(L1390) Gulliver’sTravels,byJonathanSwift(L460)* TheFountainhead,byAynRand BraveNewWorld,byAldusHuxley(L1060) LordoftheFliesbyWilliamGolding TheRoadbyCormackMcCarthy AStreetcarNamedDesirebyTennesseeWilliams AThousandSplendidSunsbyKhaledHosseini AntigonebySophocles AThousandSplendidSunsbyKhaledHosseini(L830) KiteRunnerbyKhaledHosseini(L840)* TextpossibilitiesusingTheRoadbyCormacMcArthyastheanchortext

● Poem:“OnTurningTen”byBillyCollins● Review:“ApocalypseNow”byRonCharles● Image:TheOneWhoSuffersbyDamienWorm● Excerpt:ExcerptfromTheRoad(readallthewayuntil“Arewegoingtodie?)● Article:BiographyCormacMcCarthy● Interview:CormacOprahInterview● ReadersGuide:DiscussionQuestionsbyOprah● Comic:TheRoadIfYou’reaParentbySheldon● Article:ThemesinTheRoad:WhereFictionandScienceMeet● Article:WhyWeLovetheApocalypseinFictionbyWriteRightNow

● Studentloansrequirehomework,TheWashingtonPost● Cruelandunusual—atestcase,TheWashingtonPost● Texasmanwronglyputawayfor18yearsdeniedcompensation,YahooNews● ShouldtheU.S.legalizeharddrugs?,TheWashingtonPost● Gettingbackinthegame,TheSaltLakeTribune● AnendtoAIDSiswithinourreach,TheWashingtonPost● Solitarytorture,TheWashingtonPost● Same-sexmarriage:empathyorright?,TheWashingtonPost

TextPossibilities:IsEqualitytheAnswertoAllOurProblems?

● ShortStory:“HarrisonBergeron”● ShortStory:Earth’sHolocaust,byNathanielHawthorne● OpinionArticle:“WhenEveryoneGetsaTrophy,NoOneWins”HuffingtonPost● Essay:“WakeMeUpWhenMenGetPregnant”byTimCavanaugh,Reason(L1200)● Debate:“AtIssue:GeneticEngineering”byProQuestStaff,ProQuestLLC(L1180)● Essay:TheCommunistManifesto,byKarlMarxandFriedrichEngels● Article:“ChoosingBabies”byEmilySinger,TechnologyReview(L1340)● Image:KristenStewartEmotionalChart● FineArt:TheGardenofEarthlyDelights

TextpossibilitiesusingTheRoadbyCormacMcArthyastheanchortext(SuggestedforUnit6aswell):

● Review:“ApocalypseNow”byRonCharles● Image:TheOneWhoSuffersbyDamienWorm● Excerpt:ExcerptfromTheRoad(readallthewayuntil“Arewegoingtodie?)● Article:BiographyCormacMcCarthy● Interview:CormacOprahInterview● ReadersGuide:DiscussionQuestionsbyOprah● Comic:TheRoadIfYou’reaParentbySheldon● Article:ThemesinTheRoad:WhereFictionandScienceMeet● Article:WhyWeLovetheApocalypseinFictionbyWriteRightNow● Article:CormacMcCarthy’sTheRoadMayHavetheScariestPassageinAllofLiteraturebyBenjaminPercy● Image:PortraitofCrimebySantiagoCaruso

TextpossibilitesusingLordoftheFliesbyWilliamGoldingastheanchortext(SuggestedforUnit6aswell):

● Cartoon:“LordoftheFlies”in3Panels● Article:“TheMoralInstinct”byStevenPinker● Article:“WhatMakesUsMoral”byJeffreyKluger● Article:“TragedyAsChildPlay”byLanceMorrow● Article:“TheSecondComingofSigmundFreud”byKatMcGowan● Poem:“BoyWithFrogs”bySyKahn● Poem:“IheardaFlybuzz-whenIdied(591)”byEmilyDickinson● Song:“LittleManBigMan”ToadtheWetSprocket-Lyricshere● Poem:“OnTurning10”byBillyCollins● PowerPoint:“Lead-instoLiterature:Lordoftheflies”byPrestwickHouse● FineArt:TheGardenofEarthlyDelights

UnitAnchorTextOptions:

● Play:PygmalionbyGeorgeBernardShaw(1340L)● Literarynonfiction:Mao’sLastDancerbyMao(810L)*● Children’sliterature:IftheWorldWereaVillage(1350L)

● Article:CormacMcCarthy’sTheRoadMayHavetheScariestPassageinAllofLiteraturebyBenjaminPercy

● Image:PortraitofCrimebySantiagoCaruso

Unit3PlanningNotes:

TwelfthGradeUnit4Theme:TransitiontoAdulthood

Inthisunitstudentswillexaminetheinternalandexternalforcesthatshapetheiridentityandmaturity.

EssentialQuestion SupportingQuestions CapstoneConnection

Whatqualities,characteristics,andeventscontributetoshapingyouridentity?

• Whatdoesitmeantobemature?• Whatdoesitmeantobearesponsibleadult?• Arematureadultsresponsible?• Howdopersonalchoiceshelporhinderyour

transitiontoadulthood?• Howdowegrowupbyadaptingtoour

environment?• Howdoyounavigatethejourneyfromadolescence

toadulthood?

OralPresentationandPublication


READING

RL.11-12.1:Citestrongandthoroughtextualevidencetosupportanalysisofwhatthetextsaysexplicitlyaswellasinferencesdrawnfromthetext,includingdeterminingwherethetextleavesmattersuncertain.

● Icancitestrongandthoroughtextualevidencetosupportanalysis.● Icancitespecificmaterialfromthetext,drawinferencesfromthetext,

anddeterminewherethetextleavesmattersuncertain.

RL.11-12.2.Determinetwoormorethemesorcentralideasofatextandanalyzetheirdevelopmentoverthecourseofthetext,includinghowtheyinteractandbuildononeanothertoproduceacomplexaccount;provideanobjectivesummaryofthetext.

● Icandeterminetwoormorethemesofatextandanalyzetheirdevelopmentoverthecourseofatext.

● Icandeterminehowtextsinteractandbuildononeanothertoproduceacomplexaccount.

● Icanprovideanunbiasedsummaryofthetext.

RL.11-12.3.Analyzetheimpactoftheauthor’schoicesregardinghowtodevelopandrelateelementsofastoryordrama(e.g.,whereastoryisset,howtheactionisordered,howthecharactersareintroducedanddeveloped).

● Icananalyzehowtheauthor'schoicesimpactthedevelopmentofastoryordrama.

RL.11-12.6.Analyzeacaseinwhichgraspingpointofviewrequiresdistinguishingwhatisdirectlystatedinatextfromwhatisreallymeant(e.g.,satire,sarcasm,irony,orunderstatement).

● Icananalyzeatext'spointofviewthatspecificallyrequiresusingsatire,sarcasm,irony,orunderstatement.


● Icananalyzemultipleversionsofastory,drama,orpoem. ● Icanevaluatehowmultipleversionsofastory,drama,orpoem

interpretthesourcetext.

RL.11-12.10.Bytheendofgrade12,readandcomprehendliterature,includingstories,dramas,andpoems,atthehighendofthegrades11–CCRtextcomplexitybandindependentlyandproficiently.

● Icanreadandcomprehenddifficulttextsindependentlyandproficiently.


● Icananalyzeacomplexsetofideasorsequenceofeventsandexplainhowspecificindividuals,ideas,oreventsinteractanddevelopoverthecourseofthetext.

RI.11-12.4:Determinethemeaningofwordsandphrasesastheyareusedinatext,includingfigurative,connotative,andtechnicalmeanings;analyzehowanauthorusesandrefinesthemeaningofakeytermortermsoverthecourseofatext(e.g.,howMadisondefinesfactioninFederalistNo.10).

● Icandeterminethemeaningofwordsandphrasesastheyareusedintext.

RI.11-12.5.Analyzeandevaluatetheeffectivenessofthestructureanauthorusesinhisorherexpositionorargument,includingwhetherthestructuremakespointsclear,convincing,andengaging.

● Icanexaminehowtheauthorchoosestostructurethetext. ● Icandeterminehowthestructurecontributestothemeaningofthe

text. ● Icanevaluatewhetherthestructureisclear,convincing,andengaging.

RI.11-12.10.Bytheendofgrade12,readandcomprehendliterarynonfictioninatthehighendofthegrades11-CCRtextcomplexitybandindependentlyandproficiently.

● Icanreadandcomprehenddifficulttextsindependentlyandproficiently.


WRITING


● Icanwriteanargumentusingvalidreasoningwithrelevantandsufficientevidence.


● Icanidentifysignificantandopposingarguments.● Icanlogicallysequenceclaims,counterclaims,reasons,andevidence.


● Icandevelopclaimsandcounterclaimswithrelevantevidence.● Icanidentifythestrengthsandlimitationsofclaimsandcounterclaims

whileanticipatingtheaudience'sknowledgelevel,concerns,values,andpossiblebiases.

W.11-12.1(c).Usewords,phrases,andclausesaswellasvariedsyntaxtolinkthemajorsectionsofthetext,createcohesion,andclarifytherelationshipsbetweenclaim(s)andreasons,betweenreasonsandevidence,andbetweenclaim(s)andcounterclaims.

● Icanusesyntax(sentencefluency)toclarifytherelationshipsamongmyclaims,reasons,andcounterclaims.


● Icanuseappropriatestyleandtonetocreateawrittenproduct. ● Icanusecorrectandappropriateconventionsinmywriting.


● Icanprovideaconcludingstatementthatsupportsmyargument.

W11-12.4Produceclearandcoherentwritinginwhichthedevelopment,organization,andstyleareappropriatetotask,purpose,andaudience.(Grade-specificexpectationsforwritingtypesaredefinedinstandards1–3above.)

● Icandevelop,organize,andcreateclearandcoherentwritinginmultiplegenres.

● Icanwritepiecesthatareappropriatetotask,purpose,andaudience.

W.11-12.5:Developandstrengthenwritingasneededbyplanning,revising,editing,rewriting,ortryinganewapproach,focusingonaddressingwhatismostsignificantforaspecificpurposeandaudience.(EditingforconventionsshoulddemonstratecommandofLanguagestandards1–3uptoandincludinggrades11–12onpage54.)

● Icanusemultipletechniquesofeditingandrevisiontodevelopwritingpieceswithpurpose.

W.11-12.6.Usetechnology,includingtheInternet,toproduce,publish,andupdateindividualorsharedwritingproductsinresponsetoongoingfeedback,includingnewargumentsorinformation.

● Icanusetechnologytoproduce,publishandupdateindividualwritingproductsinresponsetoongoingfeedback,includingnewargumentsorinformation.

● Icanusetechnologytoproduce,publishandupdatesharedwritingproductsinresponsetoongoingfeedback,includingnewargumentsorinformation.

W.11-12.7:Conduct(shortaswellas)moresustainedresearchprojectstoansweraquestion(includingaself-generatedquestion)orsolveaproblem;narroworbroadentheinquirywhenappropriate;synthesizemultiplesourcesonthesubject,demonstratingunderstandingofthesubjectunderinvestigation.

● Icanansweraquestion(includingself-generated)orsolveaproblemthroughshortaswellassustainedresearch.

● Icannarroworbroadeninquirywhenappropriateandcombinemultiplesourcestodemonstratemyunderstandingofthetopic.

W.11-12.8:Gatherrelevantinformationfrommultipleauthoritativeprintanddigitalsources,usingadvancedsearcheseffectively;assessthestrengthsandlimitationsofeachsourceintermsofthetask,purpose,andaudience;integrateinformationintothetextselectivelytomaintaintheflowofideas,avoidingplagiarismandrelianceonanyonesourceandfollowingastandardformatforcitation.

● Icandetermineauthoritativeandaccuratesourcesfrominferiorsourcesandidentifythestrengthsandweaknessesofeachsource.

● Icanuseavarietyofprintanddigitalsourcesanduseadvancedsearcheseffectively.

● Icanidentifythetask,purpose,andaudienceofmyresearch.● Icanincludebalancedresearchinformationsmoothlyintomypiece.● Icanunderstandthedifferencebetweenplagiarismandmyownwork

andcitemysourcesinastandardcitationformat.

W.11-12.9:Drawevidencefromliteraryorinformationaltextstosupportanalysis,reflection,andresearch.

● Icandrawevidencefromliteraryorinformationaltextstosupportanalysis,reflection,andresearch.

W.11-12.10:Writeroutinelyoverextendedtimeframes(timeforresearch,reflection,andrevision)andshortertimeframes(asinglesittingoradayortwo)forarangeoftasks,purposes.

● Icanwriteoverextendedandshortertimeframesforarangeofpurposesandtasks.

ELACoreStandards StudentLearningTargets SPEAKING&LISTENING

SL.11-12.1:Initiateandparticipateeffectivelyinarangeofcollaborativediscussions(one-on-one,ingroups,andteacher-led)withdiversepartnersongrades11–12topics,texts,andissues,buildingonothers’ideasandexpressingtheirownclearlyandpersuasively.

● Icaninitiateandparticipateindiscussions. ● Icandiscusswithdiversepartnersabouttexts,andissues,whilebuildingon

othersideas. ● Icanexpressmyideasclearlyandpersuasively.

a.Cometodiscussionsprepared,havingreadandresearchedmaterialunderstudy;explicitlydrawonthatpreparationbyreferringtoevidencefromtextsandotherresearchonthetopicorissuetostimulateathoughtful,well-reasonedexchangeofideas.

● Icancometoclassprepared,havingreadandresearchedthematerial. ● Icanusemyreadingandresearchasevidenceforathoughtful,well-

reasonedclassdiscussion.

b.Workwithpeerstopromotecivil,democraticdiscussionsanddecision-making,setcleargoalsanddeadlines,andestablishindividualrolesasneeded.

● Icanworkwithpeerstohelpcreateacivilanddemocraticdiscussionandpromotedecision-making.

● Icanworkwithpeerstosetcleargoals,deadlines,andestablishindividualroles. c.Propelconversationsbyposingandrespondingto ● Icanposeandrespondtoquestionsthatexaminereasoningandevidence.

questionsthatprobereasoningandevidence;ensureahearingforafullrangeofpositionsonatopicorissue;clarify,verify,orchallengeideasandconclusions;andpromotedivergentandcreativeperspectives.

● Icanlistentoavarietyofpositionsonatopicorissue. ● Icanclarify,verify,orchallengeideasandconclusions. ● Icanpromotedifferingandcreativeperspectives.

d.Respondthoughtfullytodiverseperspectives;synthesizecomments,claims,andevidencemadeonallsidesofanissue;resolvecontradictionswhenpossible;anddeterminewhatadditionalinformationorresearchisrequiredtodeepentheinvestigationorcompletethetask.

● Icanrespondthoughtfullytodiverseperspectives. ● Icanblendcomments,claims,andevidencemadeonallsidesofanissue. ● Icanuseresearchtoprovideadditionalinformationtoinvestigate,resolve

contradictions,andcompletethetask.

SL.11-12.2:Integratemultiplesourcesofinformationpresentedindiverseformatsandmedia(e.g.,visually,quantitatively,orally)inordertomakeinformeddecisionsandsolveproblems,evaluatingthecredibilityandaccuracyofeachsourceandnotinganydiscrepanciesamongthedata.

● Icanincludemultiplesourcesofinformation,inavarietyofformatsandmedia,tomakedecisionsandsolveproblems.

● Icanevaluatethecredibilityofsourcesandnotethedifferencesamongthesources.

SL.11-12.4:Presentinformation,findings,andsupportingevidence,conveyingaclearanddistinctperspective,suchthatlistenerscanfollowthelineofreasoning,alternativeoropposingperspectivesareaddressed,andtheorganization,development,substance,andstyleareappropriatetopurpose,audience,andarangeorformalandinformaltasks.

● Icanpresenttheinformationandsupportingevidencetoconveyaclearpointofview.

● Icanpresentinformationsolistenerscanfollowmylineofreasoning.● Icanaddressalternativeoropposingperspectives.● Icanuseappropriateorganization,development,substance,andstyleto

establishapurposeandaudience.



TextPossibilities:Traditionvs.Change ShortStory:“MarriageisaPrivateAffair”byChinuaAchebe Essay:HowtoTameaWildTongue ShortStory:TheLotterybyShirleyJackson Argument:“WhyILoveBlackandWhite”byRogerEbert Poem:“MendingWall”byRobertFrost Speech:SouthCarolina’sGovernor,NikkiHaley,demandsaremovaloftheConfederateFlag(CurrentEvent) Article:WelcomeRobotOverlords,PleaseDon’tFireUs(CurrentEvent) OP-EDArgument:“TheCaseforOldIdeas”(NYTimes) Memoir:“NotesofaNativeSpeaker”fromTheAccidentalAsianbyEricLiu AdditionalNon-FictionTexts: TheMythofAssimilation(L1300) OneNation,Indivisible?(L1530) Sweatoftheirbrowsreshapeseconomy(L1320) EthnicShiftsGraph ForeignersAdaptQuickly(L1350) PowerpointImmigrationSurvey AMuslimAmericanreflectsonOsamabinLaden’sDeath,TheWashingtonPost ShowingMyColor:ImpoliteEssaysonRaceandIdentity,byClarencePage Transgenderat5,TheWashingtonPost TheAfghanGirlsWhoLiveasBoys,BBCNewsMagazine TextSetfor“ARoseforEmily”byWilliamFaulkner(asanchortext):

● Article:“PsychologicalCharacterAnalysisofMissEmilyin‘ARoseforEmily’byFaulkner”byNicoleSmith● Article:“FaulknersARoseforEmily:FallenMonumentsandDistortedRelics”byNicoleSmith● Article:“ComparisonofThemesin‘ARoseforEmily’‘TheYellowWallpaper’and‘Sweat’”byNicoleSmith● Video:Slideshowwithmusic-funforintroducingthestory ● andsettingthe“scene”and“mood”Clickhere● Video:“ARoseforEmily”starringAngelicaHouston(26:31)

TextpossibilitiesusingTheirEyesWereWatchingGodbyZoraNealeHurstonasanchortext:

● Article:“AHeadstoneforanAunt:HowAliceWalkerFoundZoraNealeHurston”byGeoOng● Article:“LookingforZora”byAnnDuCille,NYTimes● ShortStory:SweatbyZoraNealeHurston● Teacher’sGuide:TheirEyesWereWatchingGodbyTheBigRead● Letter:LettertoCounteeCullenbyZoraNealeHurston● Teacher’sGuide:ExcerptfromTeachersGuidebyNCTE● Website:BriefGuidetotheHarlemRenaissancebypoets.org● Website:www.zoranealehurston.com● Documentary:TheRiseofAfricanLiterature,ArtandMusic● Video:HarlemRenaissance“CrashCourse”-focusonLangsonHughes● Video:HarlemRenaissancebyPBS● Video:HarlemRenaissanceMusic(montageofartists)● Video:AliceWalkertalksaboutZora● LibraryofCongress:TheLibraryofCongressAmericanMemoryCollection-Inthe“searchallcollections”box,typeinZoraNealeHurston.Itwillopena

treasurechestofprimarydocumentsincludingphotosandlotsofsongs.CheckoutZoraintroducingandsinging“MamaDon’tWantNoPeas,NoRice,”the“Jook”songcalled“Halimuhfack,”andthemostwidelydistributed“worksong”intheUScalled“muleontheMount.”Alsocoolisthedocumentcalled“ProposedRecordingExpeditionintotheFlordas”writtenbyZoraandsubmittedtotheWorksProgressAdministrationinJacksonville,Florida.

● Video:ZorasingsCrowDancewithpictures● Essay:AliceWalker’s1975essay,“LookingforZora,”whichreignitedinterestintheauthor.● Website:LangstonHughes,contemporary&friend● Website:CounteeCullen,contemporary&friend

Unit4AnchorTextsOptions

JoyLuckClubbyAmyTan(L940)* ALightInAugust,byWilliamFaulkner TheHelpbyKathrynStockett SnowFlowerandtheSecretFan(Footbindingchapter)byLisaSee TheChosenbyChaimPotok(L970)* BlessMeUltimabyRudolfoAnaya(L840)* AntigonebySophocles TheirEyesWereWatchingGodbyZoraNealeHurston Literarynonfiction:TheColorofWaterbyJamesMcBride

Unit4PlanningNotes:

“Youmustbethechangeyouwanttoseeintheworld.” -MahatmaGhandi

TableofContents

Title SeniorCapstoneOverview ReferenceGuideforResearch AnnotatedBibliographyorAACC:Annotation,Abstract,ContextualConnection EssayOutline C.R.A.P.Test Multi-Genreproject-PossibleGenres LiveYourTopic Endnotes ReflectionPaper

SENIORCAPSTONEPROJECT

"Youmustbethechangeyouwanttoseeintheworld."–MahatmaGhandi.Thisassignmentaskshowyouplantodojustthat.Youare

enteringaworldwithlotsofproblems;howwillyoucontributetothesolutions?

Overview: TheSeniorCapstoneProjectisapersonalizedandculminatingprojectfocusedonarelevantandsignificantsocial/societalissue.Asacitizenofthisworld,weinheritavarietyofsocialissuesanddebates.Yourabilitytoevaluateandunderstandrelevantsocialissuesandtoengagepurposefullyindebateanddiscussionisnecessaryforyoursuccessasa21stcenturylearner.Thisprojectcanalsobeagreatexperienceforyoutoresearchsomethingyouarepassionateaboutandsharewithuswhatyouandallofuscandoaboutit! ProjectDescription: TheSeniorCapstoneProjectisacompilationofstudentworkthatincludesavarietyofstudentwritingaswellasmultimediaproducts.Youwillmovefromchoosingarelevanttopicthatexploresasignificantsocialissue,tocompilingandorganizingresearchinformation,towritingaformalargumentativepaper,andfinallytopresentingresearchfindingsviaaminimumofsixdifferentgenres,suchaspoetry,editorialwriting,interviews,websites,photographicessays,music,timelines,letters,Prezi/digitalpresentations,newscasts,charts,graphs,etc.Oneofyourgenresmustshowushowyou“LiveYourTopic,”meaningthatitreflectswhatyouhavepersonallydonetoeffectchangeorworktowardasolution.Yourfinalportfoliowillincludeatableofcontents,topicproposal,annotatedresearch,researchpaper,fourgenres,endnotes,andreflection. StudentLearningObjectives:

● Icanchooseatopic,analyzetherhetoricofopposingviews,andapplythoseviewstosupportmyownclaim. ● Icandetermineifasourceisusefulandaccurateforansweringmyresearchquestion;Icanutilizeinformationtofromthesesources

withoutplagiarizingother’swordsandideas. ● Icanidentifyandapplytheelementsofwritingrhetoricinorderto: o answeraself-generatedquestion o solveaproblem o narroworbroadenmyinquirywhenappropriate o synthesizemultiplesourcesonmysubjectofinquiry o demonstrateunderstandingofthesubjectofinvestigation. ● Icanwriteargumentstosupportclaimsusingvalidreasoningandrelevantandsufficientevidence;alternateoropposingperspectivesare

exploredandaddresses. ● Icanidentifystrengthsandlimitationsofclaimsandcounterclaimswhileanticipatingtheaudience’sknowledgelevel,concerns,valuesand

possiblebiases. ● Icanpresentinformation,findings,andsupportingevidence,conveyingaclearanddistinctperspective. ● Icanmakestrategicuseofdigitalmediainapresentationtoenhanceunderstandingoffindings,reasoning,andevidenceandtoadd

interest. ● IcanadaptspeechtothecontextofaformalCapstoneProjectpresentation,demonstratingacommandofformalEnglish.

PowerCommonCoreStandards: UsethefollowingstandardstoassesstheSeniorCapstoneProject.ThethreehighlightedstandardswerechosenfortheSLOcomponenttothemaptoshowhowwearetrackingargumentwritingforCTESSreportingpurposesonstudentgrowth.SimplifiedCapstonerubricswillbecreated(hopefully)thisfallafterseniorteachersmeettocalibratepapersfornorming. CFA #2 4

Highly Proficient

3 Proficient 2

Minimally Proficient

1 Below Proficient

(L) Standard 1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

a. apply the understanding that usage is a matter of convention, can change over time, and is sometimes contested.

b. Resolve issues of complex or contested usage, consulting references (e.g. Merriam-Webster’s Dictionary) as needed.

(L) Standard 6 Acquire and use accurately general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

(SL) Standard 2 Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data.

(SL) Standard 4 Present information, findings, and supporting evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range of formal and informal tasks.

(SL) Standard 5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

(R) Standard 1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text, including determining where the text leaves matters uncertain.

(R) Standard 7 Integrate and evaluate multiple sources of information presented

in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

(W) Standard 1a Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that logically sequences claim(s), counterclaims, reasons, and evidence.

(W) Standard 1b Develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level, concerns, values, and possible biases.

(W) Standard 1c Use words, phrases, and clauses as well as varied syntax to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and reasons, between reasons and evidence, and between claim(s) and counterclaims.

(W) Standard 1d Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.

(W) Standard 1e Provide a concluding statement or section that follows from and supports the argument presented.

(W) Standard 6 Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information.

(W) Standard 7 Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

(W) Standard 8 Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the task, purpose, and audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.

REFERENCEGUIDETOSEARCHINGFORRESEARCH Note:Whenyouareatschool,youwillhaveaccesstothesedatabaseswithoutusingtheloginandpassword,butathome,youwillneedtousethemaslistedbelow: TOBEGIN,GOTO: DESTINYWEBSITE-http://destiny.canyonsdistrict.org Usethesameloginasyoudoforschool-1stletterfirstname,1st3lastname,last4studentid,thenfullstudentidnumberforpassword.Theloginisintheupperright-handcorner.Youcanalsogettothesedatabasesbygoingtocchs.canyonsdistrict.organdchoosingOurSchool,thenMediaCenter,thenOnlineResources.

1. ClickonPioneerLibrary

LOGIN:pioneer PASSWORD:discover

GaleReferenceCollection ● GototheleftsideandchooseGlobalIssuesinContext-lookupmagazines,newsarticles,etc.relatedtoyourtopic. ● GototherightsideandchooseOpposingViewpointsformorearticles ● CitationsforWorksCitedpageareatthebottomofthearticles.Justcopy/pasteintoyourgoogledoc.

EBSCO(Magazine/NewspaperPeriodicalSearch)

● ClickEBSCO ● ChooseAllDatabases(firstonelisted) ● GodowntoMASCompleteorStudentResearchCenter(giveshighschoolmagazinesandarticles) ● Whereitsays“LimitYourResults,”clickonFULLTEXT.Thensearchtopic. ● CitationsforWorksCitedpage-clickon“Cite”ontherightside.ThenscrolldownforMLAandcopy/pasteintoyourgoogledoc.

2.GobacktotheDestinywebsite-ClickonSIRSResearcher

● LOGIN:CORNERCANYON PASSWORD:chargers

● Clickonyourtopicandyouwillseeprovs.conarticlesatthetop,aswellasotherarticlesbelow. ● CitationsforWorksCitedpageareatthetopright-clickonCitationandcopy/pastintoyourgoogledoc.

3.GobacktotheDestinywebsite-ClickonWebPathExpress

● ChooseCornerCanyonHighSchool ● Onthelefthandsideofthepage,clickonWebPathExpress(3rdonedown) ● TypeyourtopicintheFindbar—thissitewillgiveyousafe,academicInternetwebsitesforanytopic.

*Ifyouchoosetouseasourcethatisnotfromoneofthesevetteddatabases,youmustdoaC.R.A.A.Ptest(seeinstructions)andattachittothearticle.

● CitationsfortheWorksCitedpagemustbedoneonEasybiborcitationmachine.Thenyoucancopy/pastethecitationintoyourgoogledoc.

AACCStrategyforCloseReadingandReflection

A AnnotateClosely

● Markwords,phrasesorpassagesandreflectontheirmeaningsinthemargins ● Identifynewvocabularywordsanddefinethem. ● Askquestions—andtrytoanswerthem--inthemargins. ● Writeconnectionyoumadeinthemargins. ● Identifymainthemesofthetext. ● Noticehowthetextisorganized,andthinkaboutthepurposefortheorganization. ● Respondtopassagesthatarepowerfulorbeautiful. ● Agreeordisagreewithanidea. ● Makenoteofliteraryandrhetoricalstrategiesthatareused,andidentifytheirpurposein

thetext. ● Considerthespeakerandtheaudience. ● Discussthecontext/historyinwhichthetextwaswritten. ● Identifyandevaluateclaimsandsupportingevidence ● Andsomuchmore...

A

WriteanAbstract(Precis/Summary)

● Typed,½page,12-pointfont,double-spaced,MLAformat ● Required:Usethetopicsentenceframe(below)andthenfollowitwithasummaryofallthe

mainpointsfromthearticle. ● Donotinsertyouropinionintotheparagraph.Theabstractisanobjectivesummaryofthe

text. TopicSentenceFrame “Article”by(author’sname)+(pickaperfectverb)+givemainideaoftext. Example: “SnowplowParents”byTessTosteronidiscussesthenegativeaffectsof“over-parenting”onyoungpeople’semotionalandmentalhealth.

CC

Writea ContextualConnection

● Typed,½page,12-pointfont,double-spaced,MLAformat(pleasetypeonthesamesheetasyourabstract/summary.

● Acontextualconnectionisaresponseto,analysisof,orevaluationofthepiece. SentenceFrames

✓ Istronglyagreewith_________because_______________. ✓ Istronglydisagreewith_____________because____________ ✓ Ineverknewthat____________. ✓ Iwishthewriterhadincludedmoreinformationabout_______________.

(Reflection) ✓ Thereason(s)theauthorwrotethistextinclude_________________ ✓ Ithinkthistextisimportantandrelevanttomytopic

because____________.

CAPSTONEARGUMENTESSAYOUTLINE Youressayshouldincludethefollowingsections:

• Introduction(1paragraph)◦ Thiscouldbeastartlingfact,problemstatement,shortstory,orquote◦ PleasedoNOTstartyouressaywithyouressentialquestion

• Thesis(1paragraph)◦ Thisshouldbedrawnfromyourresearchproposalthesis◦ Itshouldoutlinethemainargumentsyouaregoingtopresenttoproveyourthesis

• Background(1paragraphs)◦ Shouldbeveryfactual◦ Explainthe"big"problem

▪ Explaintheharms-badthingshappeningrightnowrelatedtotheproblem.▪ Explainthesignificance-howbigadealthisis(makeitmeasurable)

◦ Explainhowwegottothispoint• Argument

◦ 1stmainclaim/argumentthatprovesyourthesis-Oreoparagraph▪ Topicsentence▪ Concretedetail(evidence/quote)▪ Commentary(1-explainyourevidenceand2-howitrelatestoyourthesis)▪ 2ndConcretedetail▪ Commentary

▪ Concludingstatement◦ 2ndclaim/argument

Followsameformatas1stargumentOreoparagraph ◦ 3rdclaim/argument

Sameformatas1stand2ndarguments ◦ 4thclaim/argumentifyouhaveone

• CounterArgument(1paragraphaddressingcounter,1paragraphrefutation)◦ Identifyandexplainanotherperspectiveontheissue—whatwouldtheothersidesay?Bedetailed.

◦ Addressandrefutetheirclaimswithyourownevidence-whyaretheywrong?◦ Oneparagraph

• Solutions(atleast2paragraphs)◦ Whatshouldbedoneaboutthisissue?◦ Whoshouldbeinvolved?◦ Howwouldthesesolutionsworktowardsolvingtheproblem?◦ Atleasttwoparagraphs-presentmultiplepossibleactionsthatcanbetaken

• Conclusion(1paragraph)◦ Brieflyrestateyourthesisandmainpointsinanewway(nottheexactlanguage)◦ MakemefeelgoodaboutwhatstepsarebeingtakentowardyoursolutionsOR

Makeacalltoaction-makemewanttojoinyouanddosomethingtohelp

Questions:

Doesyourgenrecontainfactsandnewinformationrelatedtoyourtopic?

Doesithelptoproveyourthesis?

Isthisthebestgenrefortheinformation?

Doesitlookauthentic? Doesitlook

professional? Isitmyoriginalwork? Aretheinformationand

purposeclear? “LiveYourTopic”-Does

oneofyourgenresdisplayhowyouhavepersonallymadeadifferencetowardsolvingyourissue?

Journalism Newspaperarticle Editorial Interview Advertisement Photoessay

POSSIBLEGENRES

Directions:Youwillselectfourgenrestotellthestoryofyourresearchtopic.Informationaboutyoursubjectshouldnotberepeatedindifferentgenres.Choosethebestgenresfortheresearchinformation.Themulti-genrepiecesshouldlookprofessionalandauthenticandbeinsomelogicalorderinyourbinder.Youwillbeshownseveralsamplesofgenreworkbyformerstudentssoyouknowwhatyouareexpectedtodo!

Informational Triviagame Biography Speech Poll/Survey Brochure PublicServiceAnnouncement Creative OneActPlay ShortStory TheABCsof... TwoVoicePoem BlackoutPoetry DiaryEntries Monologue BoardGame Song Visual/Digital Artwork Collage(Glogster) Facebookpage Prezi Trailer/Video Commercial Website/blogspot Podcast PinterestBoard Statistical Graph Chart Timeline Map FlowChart Diagrams Catalog

LIVEYOURTOPIC

ForONEofyourFOURgenres,youwill“liveyourtopic,”meaningyouwilltakeactioninsomewaytoforwardyourthesisorsolvetheissue.Thegenreyoucreatetorepresentthisproactive“something”couldtakeavarietyofforms,butitmustfocusonmakingadifference. THREECOMPONENTSTHISGENREMUSTHAVE:

● Thisgenreshoulddemonstratewhatactionyouhavetakenregardingyourtopic.Inorderwords,itshowsthatyouhaven’tjusttalkedaboutit,you’ve“donesomethingaboutit.”

● Whileyoudon’thavetohavesolvedtheproblemorresolvedtheissue,youneedtoshowthatyouhaveworkedinsomewaytomakeadifference.Thegenreshouldprovideevidenceofthis.

● Youneedtoprovideanexplanationbelowofwhatyouproposetodo,howyouwilldoitandwhyitwillmakeadifference.Theactualgenrewillbeincludedwiththeothersixintheportfolio.

SOMEIDEASFOR“LIVEYOURTOPIC”GENRES -Volunteerforanorganizationthatdealswithyourissue -Writealettertoyourlocal,state,ornationalrepresentative(Senator/Congressmember)regardingtheissue -Gatherdonationsandsendthemtoareputableorganization. -CreateaFacebookpage(orothersocialmediaformat)tocreateawarenessandstartaconversationaboutyourtopic. -Createanddistributeapetitionthatisdeliveredtoanappropriateagencyorrepresentative. -Createanddistributeasurveyandreportfindings. -Writeaneditorialorarticleandactuallysubmitittoanewsorganization. -Createablog. -Interviewanexpertorauthorityandreportyourfindings.(youcandothisthroughSkypeandrecorditifyourexpertisn’tlocal) *Thisisnotacomprehensivelist—justsomesuggestionstogetyouthinking.Choosesomethingthatfitsyourparticularissueandclearitwithmeifyouareunsure. Thisgenrewillrequireyoutothinkaheadanddosomeplanning.Describeherehowyouplantoliveyourtopic.Whatdoyouproposetodo?Howwillyoucarryitout?Whywillitmakeadifference?

ENDNOTES

YourendnotesanalyzeyourresearchexperienceattheconclusionoftheCapstoneProject.Howdidyoudecidetousethisgenre?Whatdifficultiesdidyouhavewithfinding/organizinginformation?Whatdidyoulikebestaboutit?Whereisthesourceofinformationforthepiece? Thisisthesecondtolastpageofyourproject,typedonaseparatesheet.NOTE:Thisisnotyourworksconsultedorworkscitedpage.Eachendnoteshouldbeatleast100+wordsinlength. Youwillnumberyourendnotesbygenrenumber.Thismeansthatyourfirstgenreinyourbookletwillcorrespondtoendnote#1andsoon. Twoexamplesofendnotes:

1. Thishastobemyfavoritegenre.IdocumentedmanyfactsfromRogersandJohnSwick’sBoondock’sinformation.Thesefactswerescatteredinvariouswebsources,soIhadtofinallycompileacompleteimpressionIhadofUncleSam.Whilewritingthepoem,Ihadtroublerhymingphraseswith“Wilson”though.Intheend,itwasworththehoursofrhymingtoproducesuchanimpressivepiece.InordertomakeUncleSamseemlikeaplayfulperson,IusedtheABABrhymescheme.

2. ThefirstpartofmyresearchhadcontainedanoverwhelmingamountofinformationabouttheGildedAge.Cartoonsarrivedinthatperiodwiththefatherofpoliticalcartoons,ThomasNast.InTheUngentlemanlyArt,thebeginningchaptersfocusedonNast’saccomplishments.IfurtherusedtheThomasNastbiographyforspecifics.IusedanewspaperarticleforthisgenrebecauseNastoftendrewforHarper’sWeekly.IalsousedthealternativewritingstyleofdoublevoicebetweenNastandTweed,asifthetwowereindirectlyarguing.ThegenrewentsmoothlybecauseoftheamountofinformationIhad. HELPFULHINTS

● Chooseapointofviewfromwhichtoconveytheinformation(concernedcitizen,activist,collegestudent,smallbusinessowner,taxpayer,etc.)

● Useeffectivetransitionsbetweengenres-putgenresinalogicalsequence ● Makeeffectivechoicesofgenres ● Makesurethegenresmakesensewithyourtopic

● Appearancematters-fromthecoverofyourprojecttothefonts,colorspictures,etc.thatyouuseaffectyourpresentationineveryway.

SENIORCAPSTONEPROJECT ReflectionPaper Name: /Topic 1.Whydidyouchooseyourtopic?Doyouthinkthatthiswasagooddecision?Whyorwhynot? 2.Whatgoalsdidyouhaveforyourresearch?Didyoumeetthem? 3.Whataboutyourtopicinterestedyouthemost? 4.Howeasy/hardwasittocollectyourinformation?Explain. 5.Whatdidyoulearnabouttheresearchprocessfromthisproject?Bespecific. 6.Whatcriteriadidyouuseindecidingonthegenrestoincludeinyourpaper?

7.Whatgenrewasthehardest/mostchallengingtowrite?Why? 8.Whatgenrewasthemostinteresting/fun?Why? 9.Howdidyoudecideontheorganizationofthepiecesintoacohesivewhole? 10.Didyouenjoythisproject?Whyorwhynot?Whatchangeswouldyoumake? Finally,pleaseprovideanoverallassessmentofyourprojectbasedoncontent,organization,creativity,mechanicsandeffort.Whatgradewouldyougiveyourself?Explainwhy. ________________________________________________________________________________________________ ________________________________________________________________________________________________ ________________________________________________________________________________________________ Self-AssessmentGrade ThegradeIbelieveIdeserveforthisprojectis:______________ Thesematerialsarestillavailableforyoutouseatyourdiscretion.

College Application Essay Tips for choosing a prompt Have you selected a topic that describes something of personal importance in your life, with which you can use vivid personal experiences as supporting details? ● Is your topic a gimmick? That is, do you plan to write your essay in iambic pentameter or make it funny? You should

be very, very careful if you are planning to do this. We recommend strongly that you do not do this. Almost always, this is done poorly and is not appreciated by the admissions committee. Nothing is worse than not laughing or not being amused at something that was written to be funny or amusing.

● Will your topic only repeat information listed elsewhere on your application? If so, pick a new topic. Don’t mention GPAs or standardized test scores in your essay unless you feel your "stats" will be impressive and relevant to the essay.

● Can you offer vivid supporting paragraphs to your essay topic? If you cannot easily think of supporting paragraphs with concrete examples, you should probably choose a different essay topic.

● Can you fully answer the question asked of you? Can you address and elaborate on all points within the specified word limit, or will you end up writing a poor summary of something that might be interesting as a report or research paper? If you plan on writing something technical for college admissions, make sure you truly can back up your interest in a topic and are not merely throwing around big scientific words. Unless you convince the reader that you actually have the life experiences to back up your interest in neurobiology, the reader will assume you are trying to impress him/her with shallow tactics. Also, be sure you can write to admissions officers and that you are not writing over their heads.

● Can you keep the reader's interest from the first word? The entire essay must be interesting, considering admissions officers will probably only spend a few minutes reading each essay.

● Is your topic overdone? To ascertain this, peruse through old essays. However, most topics are overdone, and this is not a bad thing. A unique or convincing answer to a classic topic can pay off big. Will your topic turnoff a large number of people? If you write on how everyone should worship your God, how wrong

or right abortion is, or how you think the Republican or Democratic Party is evil, you will not get into the college of your choice. The only thing worse than not writing a memorable essay is writing an essay that will be remembered negatively. Stay away from specific religions, political doctrines, or controversial opinions. You can still write an essay about Nietzsche's influence on your life, but express understanding that not all intelligent people will agree with Nietzsche's claims. Emphasize instead Nietzsche's influence on your life, and not why you think he was wrong or right in his claims.

● In this vein, if you are presenting a topic that is controversial, you must acknowledge counter arguments without sounding arrogant.

● Will an admissions officer remember your topic after a day of reading hundreds of essays? What will the officer remember about your topic? What will the officer remember about you? What will your lasting impression be?

College Application Essay Topics 1. What are your major accomplishments and why do you consider them accomplishments? Do not limit yourself to accomplishments that were of a formal nature, the most interesting accomplishments are those that just occur and then become crucial and important to you in that specific time of your life. 2. What attribute quality or skill do you possess that makes you unique? How did you develop and perfect this skill. 3. Consider your favorite book, movies, music, and art; how have they influenced your life in a positive and meaningful life? 4. What was the most difficult time of your life and why? How did your perspective on life change as a result of this challenge? 5. Have you ever struggled mightily and succeeded? What made you successful? 6. Of everything in the world what would you most like to be doing right now? Where would you most like to be? Who of everyone living or dead would you most like to be with at this time in your life? These questions should help you to realize what you love most – what have you discovered? 7. Have you experienced a moment of epiphany (an AH HA moment), as if your eyes were opened to something that you were previously “blind” to? 8. What is your strongest, most unwavering personality trait? Do you maintain strong beliefs or adhere to a philosophy? How would your friends characterize you? What your friends write about you if they were writing your admissions essay for you? 9. What have you done outside the classroom that demonstrates qualities sought after my universities? Of these which means most to you? 10. What are your most important extracurricular or community activities? What made you join these activities? What made you continue to contribute and participate in these activities?

11. What are your dreams of the future? When you look back on your life in thirty years, what would it take for you to consider your life successful? What people, things, and accomplishments do you need? How does the university you are applying for fit into your plans for the future.

College Application Essay

Writing Tips

1. If you are planning on writing an essay on how you survived poverty in Russia, your mother's suicide, your father's

kidnapping, or your immigration to America, you should be careful that your main goal is to address your own personal

qualities. Just because something sad or horrible has happened to you does not mean that you will be a good college or

graduate school student. You don't want to be remembered as the pathetic applicant. You want to be remembered as the

applicant who showed impressive qualities under difficult circumstances. It is for this reason that essays relating to this topic

are considered among the best. Unless you only use the horrible experience as a lens with which to magnify your own

personal characteristics, you will not write a good essay. Graduate and professional school applicants should generally

steer clear of this topic altogether unless you can argue that your experience will make you a better business person,

doctor, lawyer, or scholar.

2. Essays should fit in well with the rest of a candidate's application, explaining the unexplained and steering clear of that

which is already obvious. For example, if you have a 4.0 GPA and a 1500 SAT, no one doubts your ability to do the

academic work and addressing this topic would be ridiculous. However, if you have an 850 SAT and a 3.9 GPA or a 1450

SAT and a 2.5 GPA, you would be wise to incorporate in your essay an explanation for the apparent contradiction. For

example, perhaps you were hospitalized or family concerns prevented your dedication to academics; you would want to

mention this in your essay. However, do not make your essay one giant excuse. Simply give a quick, convincing

explanation within the framework of your larger essay.

3. "Diversity" is the biggest buzzword of the 1990's. Every college, professional school, or graduate school wants to

increase diversity. For this reason, so many applicants are tempted to declare what makes them diverse. However, simply

saying you are an American Indian Buddhist female will not impress admissions officers in the least. While an essay

incorporating this information would probably be your best topic idea, you must finesse the issue by addressing your own

personal qualities and how you overcame stigma, dealt with social ostracism, etc. If you are a rich student from Beverly Hills

whose father is an engineer and whose mother is a lawyer, but you happen to be a minority, an essay about how you dealt

with adversity would be unwise. You must demonstrate vividly your personal qualities, interests, motivations, etc. Address

specifically how your diversity will contribute to the realm of campus opinion, the academic environment, and social life.

4. Don't mention weaknesses unless you absolutely need to explain them away. You want to make a positive first

impression, and telling an admissions officer anything about drinking, drugs, partying, etc. undermines your goal. College

admissions read more essays on ADD (Attention Deficit Disorder) than could ever be imagined. Why admit to weakness

when you can instead showcase your strengths?

5. Be honest; your best, most passionate writing will be about events that actually occurred.

● Be Original. Even seemingly boring essay topics can sound interesting if creatively approached. If writing about a

gymnastics competition you trained for, do not start your essay: "I worked long hours for many weeks to train for

XXX competition." Consider an opening like, "Every morning I awoke at 5:00 to sweat, tears, and blood as I trained

on the uneven bars hoping to bring the state gymnastics trophy to my hometown."

● Be Yourself. Admissions officers want to learn about you and your writing ability. Write about something meaningful

and describe your feelings, not necessarily your actions. If you do this, your essay will be unique. Many people travel

to foreign countries or win competitions, but your feelings during these events are unique to you. Unless a

philosophy or societal problem has interested you intensely for years, stay away from grand themes that you have

little personal experience with.

● Don't "Thesaurize" your Composition. For some reason, students continue to think big words make good essays.

Big words are fine, but only if they are used in the appropriate contexts with complex styles. Think Hemingway.

● Use Imagery and Clear, Vivid Prose. If you are not adept with imagery, you can write an excellent essay without it,

but it's not easy. The application essay lends itself to imagery since the entire essay requires your experiences as

supporting details. Appeal to the five senses of the admissions officers.

● Spend the Most Time on your Introduction. Expect admissions officers to spend 1-2 minutes reading your essay.

You must use your introduction to grab their interest from the beginning. You might even consider completely

changing your introduction after writing your body paragraphs.

o Don't Summarize in your Introduction. Ask yourself why a reader would want to read your entire essay

after reading your introduction. If you summarize, the admissions officer need not read the rest of your essay.

o Create Mystery or Intrigue in your Introduction. It is not necessary or recommended that your first

sentence give away the subject matter. Raise questions in the minds of the admissions officers to force them

to read on. Appeal to their emotions to make them relate to your subject matter.

● Body Paragraphs Must Relate to Introduction. Your introduction can be original, but cannot be silly. The

paragraphs that follow must relate to your introduction.

● Use Transition. Applicants continue to ignore transition to their own detriment. You must use transition within

paragraphs and especially between paragraphs to preserve the logical flow of your essay. Transition is not limited to

phrases like "as a result, in addition, while . . . , since . . . , etc." but includes repeating key words and progressing

the idea. Transition provides the intellectual architecture to argument building.

● Conclusions are Crucial. The conclusion is your last chance to persuade the reader or impress upon them your

qualifications. In the conclusion, avoid summary since the essay is rather short to begin with; the reader should not

need to be reminded of what you wrote 300 words before. Also do not use stock phrases like "in conclusion, in

summary, to conclude, etc." You should consider the following conclusions:

o Expand upon the broader implications of your discussion.

o Consider linking your conclusion to your introduction to establish a sense of balance by reiterating introductory

phrases.

o Redefine a term used previously in your body paragraphs.

o End with a famous quote that is relevant to your argument. Do not try to do this, as this approach is overdone.

This should come naturally.

o Frame your discussion within a larger context or show that your topic has widespread appeal.

o Remember, your essay need not be so tidy that you can answer why your little sister died or why people starve

in Africa; you are not writing a "sit-com," but should forge some attempt at closure.

● Do Something Else. Spend a week or so away from your draft to decide if you still consider your topic and

approach worthwhile.

● Give your Draft to Others. Ask editors to read with these questions in mind:

o What is the essay about?

o Have I used active voice verbs wherever possible?

o Is my sentence structure varied or do I use all long or all short sentences?

o Do you detect any clichés?

o Do I use transition appropriately?

o Do I use imagery often and does this make the essay clearer and more vivid?

o What's the best part of the essay?

o What about the essay is memorable?

o What's the worst part of the essay?

o What parts of the essay need elaboration or are unclear?

o What parts of the essay do not support your main argument or are immaterial to your case?

o Is every single sentence crucial to the essay? This MUST be the case.

o What does the essay reveal about your personality?

o Could anyone else have written this essay?

o How would you fill in the following blank based on the essay: "I want to accept you to this college because

our college needs more."

● Revise, Revise, Revise. You only are allowed so many words; use them wisely. If H.D. Thoreau couldn't write a

good essay without revision, neither will you. Delete anything in the essay that does not relate to your main

argument. Do you use transition? Are your introduction and conclusions more than summaries? Did you find every

single grammatical error?

o Allow for the evolution of your main topic. Do not assume your subject must remain fixed and that you can

only tweak sentences.

o Editing takes time. Consider reordering your supporting details, delete irrelevant sections, and make clear

the broader implications of your experiences. Allow your more important arguments to come to the

foreground. Take points that might only be implicit and make them explicit.

College Application Essay Sample 1 Hello. I’m John Anonymous from a once rural, now sprawling suburbia named Draper, Utah, at the foot of the Wasatch Mountains. As you peruse these applications piled before you, you’ll encounter candidates who will claim athletic prowess along with impressive academic records; others will favor the arts: musicians, artists, writers; still others will shine through extensive community service and impressive leadership. You’ll no doubt scan application after application of dedicated, accomplished students vying for the envied laurels of national merit—but… How many applications offer a young person forged from the fires of all these elements? A 17-year-old who places in a national wrestling tournament and boasts over 100 wins, but who also can sit serenely at a Steinway and play a Chopin? A teenager, who conquered three AP tests so far with perfect scores, nailed the ACT with a 33 composite and maintains a humble 4.0 GPA, but who can also slice Utah powder and plow waves on a wakeboard with a zeal and respect for nature that only an Eagle Scout and Silver Palm recipient can have? A young man who knows himself to be a deeply religious soul, with an allegiance to his Heavenly Father and an appreciation for the beauty and life around him, but who also yearns to face the fearsome ravages of disease, pain, and death as a medical doctor someday. Over the next several years, I long to make the absolute most of myself through all channels: physical, mental, emotional,

and spiritual—to be a modern “Renaissance Man.” Then it will be my privilege to give back…to my wife and children, my friends and neighbors, my community and my world. College Application Essay Sample 2 Sometimes, the most significant accomplishments stem from a seemingly minor life event. My parents bought my first bicycle (a pink Disney princess model) the summer of my 5th year. I rarely even tried it. The following two summers I tried, but failed. I remember teetering along the sidewalk leaning heavily on my left training wheel watching the other kids my age zoom past on their sleek two-wheelers. It was classic childhood humiliation. Then, miraculously, one June morning before my 8th birthday, I simply got on my bike (the same one I received three years back) and pedaled. Sure, I skidded into the holly bush and face-planted a time or two. But I was off! Zooming, speeding, with that wind-in-your-hair and nothing-can-stop-me sensation that happens far too little in life. My parents tell me that the same deal happened when I potty-trained. After months of parental cajoling, bribing, stickers on calendars, M&Ms, and Parent Choice Award DVDs and books, I just decided one day to do it. And I never looked back. So what does all this mean? What have I learned? What really are my accomplishments? Well, let’s gently put aside for now my good grades (Honor Roll and National Honor Society; GPA 3.86), my extra-curricular activities (Madrigals, School Musical, Key Club), and my job experience (two years at Chili’s-bussing, waiting tables, and now manager trainee), and look at what I have learned about myself. I’m a bit of a late bloomer…but, when I bloom, it’s 110%. I am social and outgoing, but I have to push myself to take risks and go out of my comfort zone. I study hard, but I know that I could study even harder by taking the most challenging classes and by improving my time management skills. So, yes, I have a shelf of “accomplishments,” but the most significant accomplishments occurred along the path to the goal, the insights I gained about myself, and the desires to make the most of my opportunities—and make the most opportunities I possibly could. To trust myself. Accomplishments are always awards, trophies, and certificates, but rather frames of mind, an understanding of one’s weaknesses and either compensating for them or completely overcoming them. Accomplishment is more of a journey of self-discovery, adaptation, and acquisition of knowledge through experiences both small and great.

College Application Essay Sample 3 A mighty struggle, you say? Ah, where to begin. I suppose Dickens is a good place…”it was the best of times, it was the worst of times... it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair...” First, the best of times. I was a motivated and enthusiastic student taking challenging classes and participating on the school newspaper staff my junior year. I was vivacious, clever, optimistic, funny, and dare I say a bit impish and immature. A typical fun-loving boyish lad who absolutely enjoyed life and people and noise and movement. I recall one day wrapping myself in aluminum foil, jousting upon desks with an imaginary light sword. My passions were two-fold: writing and Photoshop special effects. I created the most bizarre and entertaining edited photographs for the paper, and my writing was light-hearted. I’m sure my teachers don’t remember me without a smile on my face. In the fall of my senior year, the worst of times arrived. Cancer. I was summarily withdrawn from school, which included my AP Literature class, and placed on Home and Hospital leave. I had no idea what to expect. In the following months, I was at my most vulnerable and my most victorious. The treatments were brutal, and I wasted away. My body was shrinking, my skin translucent. Certain colors and smells nauseated me, my strength left. My hair shed. I started out with stacks of makeup work and my English teacher, who volunteered to work with me on my Home and Hospital program…I was buried under silly chapters in a Health book about eating nutritious foods and exercising and dating do’s and don’ts, short essays on government, and endless explications of poetry. It was soon obvious that I did not have the strength to keep up with the incessant string of assignments typical in a high school curriculum. While my English teacher liaison agonized and debated and worked deals with teachers, I quietly wrote a letter to them explaining precisely my condition and asked that they provide meaningful and substantive assignments for me rather than piles of busy work. A new me was emerging. A young man, who with dignity and maturity, communicated his predicament and his needs, who wanted to learn but realized the limitations he shouldered. And so, a new journey began. We forgot about study guides and chapter outlines and started talking about life, and literature, and faith, and pain, and endurance, and fear, and survival. We drew connections between the real and the surreal, the past and the future, the child and the adult. I transformed from a carefree kid to an empathetic adult who walked “through the valley of the shadow of death” and discovered that elusive “meaning of life.” I come to you with an unquenchable thirst for knowledge, a deep reservoir of compassion, an acute understanding of life’s ironic humor and deep despair, and a bright, quick mind.

Cover Letter Cover Letter Workshop - Formatting and Organization Media File: Cover Letter Workshop - Formatting and Organization This resource is enhanced by an Acrobat PDF file. Download the free Acrobat Reader The cover letter is one of the most challenging documents you may ever write: you must write about yourself without sounding selfish and self-centered. The solution to this is to explain how your values and goals align with the prospective organization's and to discuss how your experience will fulfill the job requirements. Before we get to content, however, you need to know how to format your cover letter in a professional manner.

Formatting your cover letterYour cover letter should convey a professional message. Of course, the particular expectations of a professional format depend on the organization you are looking to join. For example, an accounting position at a legal firm will require a more traditional document format. A position as an Imagineer at Disney might require a completely different approach. Again, a close audience analysis of the company and the position will yield important information about the document expectations. Let the organization's communications guide your work. For this example, we are using a traditional approach to cover letters:

● Single-space your cover letter ● Leave a space between each paragraph ● Leave three spaces between your closing (such as "Sincerely" or "Sincerely Yours") and typed name ● Leave a space between your heading (contact information) and greeting (such as, "Dear Mr. Roberts") ● Either align all paragraphs to the left of the page, or indent the first line of each paragraph to the right ● Use standard margins for your cover letter, such as one-inch margins on all sides of the document ● Center your letter in the middle of the page; in other words, make sure that the space at the top and bottom of the

page is the same ● Sign your name in ink between your salutation and typed name

Organizing your cover letterA cover letter has four essential parts: heading, introduction, argument, and closing. The heading In your heading, include your contact information:

● name ● address ● phone number ● email address

The date and company contact information should directly follow your contact information. Use spacing effectively in order to keep this information more organized and readable. Use the link at the top of this resource to view a sample cover letter - please note the letter is double-spaced for readability purposes only.

Addressing your cover letter

Whenever possible, you should address your letter to a specific individual, the person in charge of interviewing and hiring (the hiring authority). Larger companies often have standard procedures for dealing with solicited and unsolicited resumes and cover letters. Sending your employment documents to a specific person increases the chances that they will be seriously reviewed by the company. When a job advertisement does not provide you with the name of the hiring authority, call the company to ask for more information. Even if your contact cannot tell you the name of the hiring authority, you can use this time to find out more about the company. If you cannot find out the name of the hiring authority, you may address your letter to "hiring professionals" - e.g., "Dear Hiring Professionals."

The introduction

The introduction should include a salutation, such as "Dear Mr. Roberts:" If you are uncertain of your contact's gender, avoid using Mr. or Mrs. by simply using the person's full name. The body of your introduction can be organized in many ways. However, it is important to include, who you are and why you are writing. It can also state how you learned about the position and why you are interested in it. (This might be the right opportunity to briefly relate your education and/or experience to the requirements of the position.) Many people hear of job openings from contacts associated with the company. If you wish to include a person's name in your cover letter, make certain that your reader has a positive relationship with the person. In some instances, you may have previously met the reader of your cover letter. In these instances it is acceptable to use your introduction to remind your reader of who you are and briefly discuss a specific topic of your previous conversation(s). Most important is to briefly overview why your values and goals align with the organization's and how you will help them. You should also touch on how you match the position requirements. By reviewing how you align with the organization and

how your skills match what they're looking for, you can forecast the contents of your cover letter before you move into your argument.

The argument

Your argument is an important part of your cover letter, because it allows you to persuade your reader why you are a good fit for the company and the job. Carefully choose what to include in your argument. You want your argument to be as powerful as possible, but it shouldn't cloud your main points by including excessive or irrelevant details about your past. In addition, use your resume (and refer to it) as the source of "data" you will use and expand on in your cover letter. In your argument, you should try to:

● Show your reader you possess the most important skills s/he seeks (you're a good match for the organization's mission/goals and job requirements).

● Convince your reader that the company will benefit from hiring you (how you will help them). ● Include in each paragraph a strong reason why your employer should hire you and how they will benefit from the

relationship. ● Maintain an upbeat/personable tone. ● Avoid explaining your entire resume but use your resume as a source of data to support your argument (the two

documents should work together). ●

Reminder: When writing your argument, it is essential for you to learn as much as possible about the company and the job (see the Cover Letter Workshop - Introduction resource).

The closing

Your closing restates your main points and reveals what you plan to do after your readers have received your resume and cover letter. We recommend you do the following in your closing:

● Restate why you align with the organization's mission/goals. ● Restate why your skills match the position requirements and how your experience will help the organization. ● Inform your readers when you will contact them. ● Include your phone number and e-mail address. ● Thank your readers for their consideration. ●

A sample closing: I believe my coursework and work experience in electrical engineering will help your Baltimore division attain its goals, and I look forward to meeting with you to discuss the job position further. I will contact you before June 5th to discuss my application. If you wish to contact me, I may be reached at 765-555-6473, or by e-mail at [email protected]. Thank you for your time and consideration. Although this closing may seem bold, potential employers will read your documents with more interest if they know you will be calling them in the future. Also, many employment authorities prefer candidates who are willing to take the initiative to

follow-up. Additionally, by following up, you are able to inform prospective employers that you're still interested in the position and determine where the company is in the hiring process. When you tell readers you will contact them, it is imperative that you do so. It will not reflect well on you if you forget to call a potential employer when you said you would. It's best to demonstrate your punctuality and interest in the company by calling when you say you will. If you do not feel comfortable informing your readers when you will contact them, ask your readers to contact you, and thank them for their time. For example: Please contact me at 765-555-6473, or by e-mail at [email protected]. I look forward to speaking with you. Thank you for your time and consideration.

Clarence Darrow and the Leopold & Loeb Trial ArgumentWriting:FocusonDevelopingtheCounterargument(ConcessionandRefutation)

For Students: Darrow R.A.F.T. Organizer

R Your Role You will play the part of a prosecuting attorney in the Leopold & Loeb Trial; that is, you will compose a powerful closing statement that rebuts (counters) defense attorney Clarence Darrow’s closing arguments.

A Your Audience

Your audience is the judge assigned to this case. He will decide what sentence Leopold & Loeb deserve. In a larger sense, your audience is also any part of the public who was swayed by Clarence Darrow’s closing arguments.

F Format You will construct a written closing argument with at least six paragraphs: ● An introduction ● A paragraph countering Darrow’s first argument ● A paragraph countering Darrow’s second argument ● A paragraph countering Darrow’s third argument ● A paragraph countering Darrow’s fourth argument ● A powerful conclusion

T Topic In your written closing argument, you will discuss why Clarence Darrow is wrong, how Darrow tried to sway the judge, and why Leopold & Loeb do, in fact, deserve to die for the crime they committed.

AmericanRhetoric.com Transcription by Stephanie Worley. Property of AmericanRhetoric.com ©2010. All rights reserved. Page 1 Clarence Darrow A Plea for Mercy Delivered 24 September 1924

SECTION #1 Annotate (mark and write in margins) for ● Main argument ● Methods or strategies Darrow uses to make his argument powerful

○ Ethos, Logos, Pathos ○ Rhetorical Devices: figurative language, sound devices, sentence structures / syntax,

etc. (1) Now, your Honor, I have spoken about the war1. I believed in it. I don’t know whether I was crazy or not. Sometimes I think perhaps I was. I approved of it; I joined in the general cry of madness and despair. I urged men to fight. I was safe because I was too old to go. I was like the rest. What did they do? Right or wrong, justifiable or unjustifiable which I need not discuss today it changed the world. (2) For four long years the civilized world was engaged in killing men. Christian against Christian, barbarian uniting with Christians to kill Christians; anything to kill. It was taught in every school, aye2 in the Sunday schools. The little children played at war. The toddling children on the street. Do you suppose this world has ever been the same since? How long, your Honor, will it take for the world to get back the humane emotions that were slowly growing before the war? How long will it take the calloused3 hearts of men before the scars of hatred and cruelty shall be removed?

1 The War: WWI 2 Aye: Yes or Indeed 3 Calloused: Hardened

(3) We read of killing one hundred thousand men in a day. We read about it and we rejoiced in it if it was the other fellows who were killed. We were fed on flesh and drank blood. Even down to the prattling4 babe. I need not tell you how many upright, honorable young boys have come into this court charged with murder, some saved and some sent to their death, boys who fought in this war and learned to place a cheap value on human life. You know it and I know it. These boys were brought up in it. The tales of death were in their homes, their playgrounds, their schools; they were in the newspapers that they read; it was a part of the common frenzy. What was a life? It was nothing. It was the least sacred thing in existence and these boys were trained to this cruelty. (4) It will take fifty years to wipe it out of the human heart, if ever. I know this, that after the Civil War in 1865, crimes of this sort increased, marvelously. No one needs to tell me that crime has no cause. It has as definite a cause as any other disease, and I know that out of the hatred and bitterness of the Civil War crime increased as America had never seen before. I know that Europe is going through the same experience today; I know it has followed every war; and I know it has influenced these boys so that life was not the same to them as it would have been if the world had not made red with blood. I protest against the crimes and mistakes of society being visited upon them. All of us have a share in it. I have mine. I cannot tell and I shall never know how many words of mine might have given birth to cruelty in place of love and kindness and charity. (5) Your Honor knows that in this very court crimes of violence have increased growing out of the war. Not necessarily by those who fought but by those that learned that blood was cheap, and human life was cheap, and if the State could take it lightly why not the boy? There are causes for this terrible crime. There are causes as I have said for everything that happens in the world. War is a part of it; education is a part of it; birth is a part of it; money is a part of it all these conspired to compass the destruction of these two poor boys.



etc.

4 Prattling: speaking nonsense or jibberish

(6) Has the court any right to consider anything but these two boys? The State5 says that your Honor has a right to consider the welfare of the community, as you have. If the welfare of the community would be benefited by taking these lives, well and good. I think it would work evil that no one could measure. Has your Honor a right to consider the families of these defendants? I have been sorry, and I am sorry for the bereavement6 of Mr. And Mrs. Frank7, for those broken ties8 that cannot be healed. All I can hope and wish is that some good may come from it all. But as compared with the families of Leopold and Loeb, the Franks are to be envied and everyone knows it. (7) I do not know how much salvage9 there is in these two boys. I hate to say it in their presence, but what is there to look forward to? I do not know but what your Honor would be merciful to them, but not merciful to civilization, and not merciful if you tied a rope around their necks and let them die; merciful to them, but not merciful to civilization, and not merciful to those who would be left behind. To spend the balance of their days in prison is mighty little to look forward to, if anything. Is it anything? They may have the hope that as the years roll around they might be released. I do not know. I do not know. I will be honest with this court as I have tried to be from the beginning. I know that these boys are not fit to be at large10. I believe they will not be until they pass through the next stage of life, at forty-five or fifty. Whether they will then, I cannot tell. I am sure of this; that I will not be here to help them. So far as I am concerned, it is over. (8) I would not tell this court that I do not hope that some time, when life and age have changed their bodies, as they do, and have changed their emotions, as they do that they may once more return to life. I would be the last person on earth to close the door of hope to any human being that lives, and least of all to my clients. But what have they to look forward to? Nothing. And I think here of the stanza of Housman11: Now hollow fires burn out to black, And lights are fluttering low: Square your shoulders, lift your pack And leave your friends and go. O never fear, lads, naught’s to dread, 5 The State: Referring to the laws of Illinois 6 Bereavement: The period of mourning after a death 7 Mr. and Mrs. Frank: The parents of the victim 8 Those broken ties: the death of their son 9 How much salvage: how much worth saving there is . . . 10 At large: Free 11A.E. Housman: A famous English poet of Darrow’s era

Look not left nor right: In all the endless road you tread There’s nothing but the night. (9) I care not, your Honor, whether the march begins at the gallows or when the gates of Joilet12 close upon them, there is nothing but the night, and that is little for any human being to expect.



etc. (10) But there are others to consider. Here are these two families, who have led honest lives, who will bear the name that they bear, and future generations must carry it on. (11) Here is Leopold’s father and this boy was the pride of his life. He watched him, he cared for him, he worked for him; the boy was brilliant and accomplished, he educated him, and he thought that fame and position awaited him, as it should have awaited. It is a hard thing for a father to see his life’s hopes crumble into dust. (12) Should he be considered? Should his brothers be considered? Will it do society any good or make your life safer, or any human being’s life safer, if it should be handed down from generation to generation, that this boy, their kin13, died upon the scaffold14? (13) And Loeb’s the same. Here are the faithful uncle and brother, who have watched here day by day, while Dickie’s15 father and his mother are too ill to stand this terrific strain, and shall be waiting for a message 12 Joilet: The name of a prison in Illinois 13 Kin: relative 14 Scaffold: Platform used for hangings

which means more to them than it can mean to you or me. Shall these be taken into account in this general bereavement? (14) Have they any rights? Is there any reason, your Honor, why their proud names and all the future generations that bear them shall have this bar sinister written across them? How many boys and girls, how many unborn children will feel it? It is bad enough as it is, God knows. (15) It is bad enough, however it is. But it’s not yet death on the scaffold16. It’s not that. And I ask your Honor, in addition to all that I have said to save two honorable families from a disgrace that never ends, and which could be of no avail to help any human being that lives.

SECTION #4

Annotate (mark and write in margins) for ● Main argument ● Methods or strategies Darrow uses to make his argument powerful


etc. (16) Now, I must say a word more and then I will leave this with you where I should have left it long ago. None of us are unmindful of the public; courts are not, and juries are not. We placed our fate in the hands of a trained court, thinking that he would be more mindful and considerate than a jury. I cannot say how people feel. I have stood here for three months as one might stand at the ocean trying to sweep back the tide. I hope the seas are subsiding and the wind is falling, and I believe they are, but I wish to make no false pretense to this court. (17) The easy thing and the popular thing to do is to hang my clients. I know it. Men and women who do not think will applaud. The cruel and thoughtless will approve. It will be easy today; but in Chicago, and reaching out over the length and breadth of the land, more and more fathers and mothers, the humane, the kind and the hopeful, who are gaining an understanding and asking questions not only about these poor boys, but about their own these will join in no acclaim17 at the death of my clients. 15 Dickie: Richard Loeb, the defendant (nicknamed Dick Loeb) 16 Scaffold: Platform used for hanging 17 Acclaim: Praise

(18) These would ask that the shedding of blood be stopped, and that the normal feelings of man resume their sway. And as the days and the months and the years go on, they will ask it more and more. But, your Honor, what they shall ask may not count. I know the easy way. I know the future is with me, and what I stand for here; not merely for the lives of these two unfortunate lads, but for all boys and all girls; for all of the young, and as far as possible, for all of the old. I am pleading for life, understanding, charity, kindness, and the infinite mercy that considers all. I am pleading that we overcome cruelty with kindness and hatred with love. (19) I know the future is on my side. Your Honor stands between the past and the future. You may hang these boys; you may hang them by the neck until they are dead. But in doing it you will turn your face toward the past. In doing it you are making it harder for every other boy who in ignorance and darkness must grope his way through the mazes which only childhood knows. In doing it you will make it harder for unborn children. You may save them and make it easier for every child that sometime may stand where these boys stand. You will make it easier for every human being with an aspiration18 and a vision and a hope and a fate. I am pleading for the future; I am pleading for a time when hatred and cruelty will not control the hearts of men. When we can learn by reason and judgment and understanding and faith that all life is worth saving, and that mercy is the highest attribute of man. (20) I feel that I should apologize for the length of time I have taken. This case may not be as important as I think it is, and I am sure I do not need to tell this court, or to tell my friends that I would fight just as hard for the poor as for the rich. If I should succeed, my greatest reward and my greatest hope will be that for the countless unfortunates who must tread the same road in blind childhood that these poor boys have trod, that I have done something to help human understanding, to temper19 justice with mercy, to overcome hate with love. (21) I was reading last night of the aspiration20 of the old Persian poet, Omar Khayyam. It appealed to me as the highest that I can vision. I wish it was in my heart, and I wish it was in the hearts of all: So I be written in the Book of Love, I do not care about that Book above. Erase my name or write it as you will, So I be written in the Book of Love.

18 Aspiration: hopes and goals 19 Temper: neutralize or offset 20 Aspiration: Hope or Goal

Darrow’s Argument ● Summarize the argument ● Include a quote that

captures the main argument

Analyze: ● Why is Darrow’s argument

powerful? What rhetorical strategies did he use? (Mark these strategies as part of your annotation.)

Think: ● If you were the prosecution

(other side), how would you refute this argument?

Think again: ● How could you make

your argument powerful? What rhetorical strategies could you use in your writing?

Section 1: (I Do)

Section 2: (We Do)

Darrow’s Argument ● Summarize the argument ● Include a quote that

captures the main argument

Analyze: ● Why is Darrow’s argument

powerful? What rhetorical strategies did he use?

Think: ● If you were the prosecution

(other side), how would you refute this argument?

Think again: ● How could you make

your argument powerful? What rhetorical strategies could you use in your writing?

Section 3: (Y’all Do)

Section 4: (You Do)

Wrap-up:StudentswritetheirownintroductionandconcludingparagraphsusingeffectiveOpeningandClosingstrategiesreviewedinclass ESSAYOPENINGANDCLOSINGSTRATEGIES ARGUMENTWRITING Claim-aclaimisyourreasonable,defendablepositionorassertion;grabthereader’sattentionwithoneofthefollowingopeningstrategiesthatbest“fits”yourclaim,purpose,andaudience. OPENINGPARAGRAPHSTRATEGIES 1. Quotation,smoothlyintegrated 2. Acknowledgmentofanopinionoppositetotheoneyouwilldefend 3. Shortanecdoteornarrative 4. Analogy 5. Specificexampleordescription 6. Personalexperience 7. Startlingstatement(couldbeaparadoxicalorironic) 8. Interestingfact(NOTdictionarydefinition) 9. Poseaquestionthatrelatestoyourclaim CLOSINGPARAGRAPHSTRATEGIES 1. Confirmyourmainpoint-finishargumentbydrawingyourbestthoughtstogetherintoalogicalconclusion;makeafinalappealtoyouraudienceasaclearandcompellingreiterationofyourclaim.

2. Summarize/synthesizeusingdifferentdictionthanwhatyouusedintheintroduction,andaddadditionalinsightarrivedatasaresultofyourcloseexaminationofyourtopic.SYNTHESIZE—don’tjustsummarize.Showhowthepointsyoumadeandtheevidenceyouusedfittogethertoadduptosomethingmoreexpansivethaneachindividualitem. 3. Showtheimportanceoftheimplicationsyourargumentandevidencereveals;i.e.whyshouldwecare? 4. Makeaproposalofthelogicalandnextstepgiventhecurrentunderstandingofyourtopic;a“CALLTOACTION” 5. Endwithapowerfulquotationthatsumsupandencapsulatestheclaim. 6. Echothebeginning,tyingyourconclusionbacktoyourintroductionbyrepeatingkeywords,phrasesandideas. 7. Envisionthefuturegivenacceptanceofyourargumentorfindings. 8. Suggesthowtheconclusionmightimpactorapplytoalargeraudienceorsetting,a“universal”applicationofyourfindings. 9. Don’tendwithaquestionorintroduceanewcommentthatdoesnotfurtheryourmainclaim…it’syourjobtoANSWERthequestionsandPROVEtheassertionsyoupresentinyourpaper,notintroducenewonesattheend. Closingstrategies:SAMPLESforfictionandnonfictionessays 1. Confirmyourclaim:So,basedonthenauseatingevidenceofhowoil,money,andpowerwerethetruemotivesbehindtheIraqiwar,inspiteofindividuals’honestpatriotism,Americanscannotaffordtonotbemorediscriminatinginthefuturewhenpoliticians,liberalorconservative,“cryhavocandletslipthedogsofwar.” 2. Summarize:So,whereaspoliticians’perceptionsofspreadingfreedominIraqaretarredandfeatheredwithoilandmoney,andwhiletheystarveforpower,hopefullyAmericansbegintofear,ratherthanworship,war. 3. Emphasizeimportanceofimplications:Thus,Romanticidealism,manifestedinAngel’sseeminglyharmlessidealizationofTessas“Artemis,”canironicallyandmonstrouslysmotherthesubtler,moredown-to-earth,butnonethelessbreathtakingbeautiesandwondersofthereallife,or,inthiscase,therealgirl. 4. Aproposal:So,Igavesomemoneytothebeggar,realizingthatmyconscienceisallIown;materialpossessionswilldissolveintimeandspace.AndIurgeconscientiouspeopleeverywheretonot,bywithholdingtheirmoney,compromisetheirsolepossession.

5. Endwithquotationthatencapsulatesclaim:Sowhile,“amidthegreyhalf-tonesofthemorning,”AngelmistakesTessDurbeyfieldforArtemis,flatteringasthatmaybe,hisidealizationofherblindshimtothecomplex,“gray,”layereddepthsofTess’womanhood.Thebeautifullytangible. 6. DifferentScenario/sameimplications:Therefore,whileinky,innatedarkness,accordingtoGolding,blackenshumanity’severycell—toacknowledgeandconfrontitfacetofacemayredeemboththehumanconditionandthehumansoul. 7. Circlebacktoopeningstrategy:So,whileIdon’tactuallyhatepuppies,sunshine,andsymmetry—ugly,brokenthings/peoplehaveashineandasymmetrythatperhapsmorestronglyevokesourdeeperemotionalresponses. 8. Envisionthefuture:Warisnotinherentlybad.ButIenvisionafuturewherethereasonsforwagingwarwillbepresentedobjectively,andwithilluminatingclarity,tothegeneralpopulous—before,notafter,thewar. 9. Conclusionappliedtolargeraudience:Oedipusismauledbybear-likeFate—eyeless.Songless.Butthefearoffate’sarbitrarywillisrelevanttodayandstillaffectspeoples’choices.Humanity,asawhole,broodsonlikeone,bigself-fulfillingprophecy. 10. Answeryourquestion:Therefore,AngeldidnottrulyloveTess,atleastatthetimeoftheirmarriage.Yet,withtimeandprofoundreflection,hefelthislossofLoveintheend. Openingstrategies:SAMPLESforfictionandnonfictionessays 1. Quote:“Fairisfoulandfoulisfair,hoverthroughthefogandfilthyair…”Indeed,intotheair,Shakespeare’sMacbethsuspendsthepossibilitythatMacbeth’svisionofhimselfasking—whilebeingapropheticandjuicyidea—may,inreality,beaself-destructivedelusion. 2. Oppositeopinion:ManyAmericansbelievethatgoingtowarwithIraqin2003wasamoralobligationtofreetheIraqisfromoppression;however,thisessaywillexplorehowoil,money,andpower,morethanaltruisticduty,incentivizedthedeclarationofwar. 3. Analogy/Anecdotal:Likemoonlightfilteringthroughoceanwaves—likebroodingprisms,Golding’sLordoftheFliesgivestransparencytothefrightening,organicevilswimminginthehumanpsyche. 4. Specificexample:AssweetasitmayseemwhenAngelClarecallsTesshis“Artemis,”theseflatteriesforecastwhatHardylaterrevealsastheterribleconsequencesofRomanticIdealism.

5. Personalexperience:Stumblingtowardsmeinthedarkness,thehomelessmanbeggedthroughtwisted,toothlesslipsformoney.Uncomfortably,Ireachedformywallet,realizingthatmoreunnervingthanhisartless,grovelingpetition,wouldbeformetothinkIambetterthanheandthatIsomehowdeservethepossessionsIown. 6. Startlingstatement:Ihatepuppies.Ishrugoffsunshine.Iloathesymmetry.Tome,beautifulthings,whilepleasingtothesenses,donotemotionallymovemethewaybroken,ugly,heart-breakingthingsdo. 7. Interestingfact:InLatin,theword“Philosophy”actuallydenotestheLoveofWisdom,whichleadsonetobelievethatphilosophersaremorethanjustknow-it-alls,butpassionatelearners. 8. RhetoricalQuestion:DidAngeltrulyLoveTess,ordoesHardy’snovelrevealthetragictendencyofpeopletopursueanillusionofperfectionratherthanembracetheimperfectbutsweetrealities.

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