Year-Long College Prep Writing Intensive Curriculum Guide

District 219 Niles Township High Schools Niles North & Niles West

Skokie, Illinois

Prepared by: Heather Ingraham, North Sharon Swanson, West

Directors:

Roger Stein, North Sanlida Cheng, West

August 2008

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TABLE OF CONTENTS English Program Sequences …………………………………………………………….... 3 College Prep Philosophy and Course Description………………………………………… 4 Student Learning Outcomes Coded to State Goals………………………………………… 7 Instructional Materials ……………………………………………………………………. 10 Agreement Elements of Course……………………………………………………………. 11 Units of Instruction – Thematic……………………………………………………………. 12 Units of Instructions – Grammar/Writing/Research……………………………………….. 14 Literary Terms and Concepts………………………………………………………………. 16 Commonly Confused Words……………………………………………………………… 22 Summative Assessment……………………………………………………………………. 28 Appendix A: Sample Writing and Research Assignments……………………………….. 29 Appendix B: Smaller Literary Research Assignment Sequence …………………………. 32 Appendix C: One Approach to the “Big” Senior Research Paper………………………… 33

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ENGLISH PROGRAM SEQUENCES

Pathways illustrate typical movement within a sequence of courses; however, adjustments in sequence can be made to accommodate individual needs.

Grade Weight Level is indicated in parentheses.

Freshman Year Sophomore Year Junior Year Senior Year

Electives (semester courses) Freshman – Senior Year Sophomore – Senior Year Junior-Senior Year Journalism (III) Images in Literature (III) Lit. of Moral Conflict(IV) Photojournalism & Publications* (III) Lit. of Sports & Amer. Culture (III) Humanities 1* (III) Creative Writing (III) Lit. of Peace & Non-Violence (III) Humanities 2* (III) Public Speaking (III) Bible & Mythology (IV) Advanced Public Speaking (IV) World Literature (III or IV) Newspaper Production* (IV) English Composition & Rhetoric (III) Yearbook Production* (IV)

• These courses do not carry English elective credit but will count as a general elective credit.

Freshman English 13-23 (II)

Soph. English 33-43 (II)

Intro. to Amer Lit. & Composition (II)

Senior English (II)

Freshman English 11-21 Honors (IV)

AP Great American Writers (V)

Soph. English 31-41 Honors (IV)

American Lit. & Comp. Honors (IV)

College Preparatory English Honors (IV)

Freshman English 12-22 (III)

Soph. English 32-42 (III)

American Lit. & Composition (III)

College Preparatory English (III)

ALCUSH (III)

With (West) or W/out Reading 1-2 (II)

AP English (V)

With or Without Reading 1-2 (II) Freshman English

12-22 (III)

With Reading 1-2 (II)

Intro. to ALCUSH (II & III)

Honors ALCUSH (IV)

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YEAR-LONG COLLEGE PREP PHILOSOPHY AND COURSEBOOK DESCRIPTION

The year-long, two semester College Prep English course involves teaching students the skills necessary for them to succeed in college and beyond. This involves developing competency and confidence in college-level reading, writing, research, and the cognitive development these areas involve. The curriculum has been designed to optimize the students' skills and capabilities through progressive instruction that refines academic and professional writing as well as critical thinking. One of the benefits to year-long College Prep is that students have the opportunity, over the course of a two-semester program, to grow into their voices and to consciously develop their self-presentation as writers and as thinkers. We scaffold the instruction in each of the units so that students are able to move with appropriate support from teacher-guided to more self-directed learning. This scaffolding prepares students to succeed in life through and beyond academics. The first semester is designed to accelerate the transition to college-type classes; the second prepares students to proceed independently with college-level and professional work. We start the year with Policies and Procedures, and continue by bridging to a critical review of what they learned junior year, "The American Dream." This beginning allows teachers to find out what students already know and allows students to build on a platform of established knowledge. As this year is a threshold year, establishing common ground allows us to address the unique needs of the College Prep enrollment, which typically includes ELL students taking a mainstream English course for the first time, basic students moving up to regular level, and honors students not continuing in the honors track. "The American Dream" unit metamorphoses into the reality of today's American Dream with an in-depth study of selections from works such as Barbara Ehrenreich's Nickel and Dimed, which begins the transition to the course discussion of life after high school. The college application process comes next, in two phases. Phase One includes researching appropriate schools and financial aid programs, as well as what information is required to complete the application forms; Phase Two includes writing the personal and/or professional statement(s). By the end of this process, students will know how to complete their college applications in a timely and successful manner. As the course continues, students will move from discussion of the American Dream (with personal variations on it) to considerations of "Fate and Free Will." Course readings for this unit include Sophocles' Oedipus Tyrannus and Shakespeare's Macbeth, with accompanying excerpts of literary criticism (Dodds, Aristotle, etc.). These texts invite in-depth consideration of the formal and thematic elements of "The Tragic Hero." Franz Kafka's The Metamorphosis brings the readings into the modern era and provides a thoughtful review of the semester's emphasis on determinism vs. choice. The first semester will conclude with a Public Speaking unit, if time allows. An independent reading unit may also be included here, or staggered throughout the semester/year; past selections have included detective fiction, environmental literature, and poetry or another appropriate unit. Additional elements of instruction, including vocabulary work and grammar, will be done in context; separate lessons may be designed as needed.

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The second semester of year-long College Prep offers considerable flexibility by presenting a range of instructional choices that accommodate students' needs and interests in relation to the senior research paper. Depending on the time allotted to the senior research paper(s) and course materials available through the textbook center, the teacher may choose at least two units from the following: Vietnam literature, Chicago literature, a short story unit, an existentialism unit (including Camus's The Stranger), and/or a comedy unit. Each of these units involves analysis, in-depth research, rhetoric, and critical thinking and writing. The most famous -- or possibly infamous -- aspect of senior year is the senior paper. As the coursebook asserts, "successful completion of the research component is a requirement of this course." Accordingly, the structure of the yearlong College Prep class offers several options for the research paper(s). To this end, the course presents a sequence of research reading and writing that helps students to increase the sophistication and confidence of their writing over time. Some teachers address this requirement through one or two longer papers; others assign two or more shorter research essays (tied to themes and units if desired); many teachers use a combination of both approaches throughout the year.

THE SENIOR PROGRAM

Depending upon their past performance in English, seniors may have more or less freedom to choose how to meet the seventh and eighth semester requirements in English. For students whose skills remain in need of remediation, the Senior English course will be required. For students who have met success in the regular and honors English Program, at least one semester of College Preparatory English and an English elective are required. Students whose performance has been excellent and who are so recommended may take Advanced Placement English. AP ENGLISH LITERATURE EN3L01 Length: 2 semesters Credit: 2 credits Open to Grades: 12 Grade Weight: V Prerequisite: AP Great American Writers, or equivalent, and teacher recommendation

Advanced Placement English requires students to reason and read critically, and to write logically, persuasively, and with distinctive prose style. Essays are based on literature (particularly on close analyses of texts) and personal experience. A research paper and a creative project are integral parts of the course. The literature spans more than three thousand years and is predominantly European. AP English helps the student prepare for the college-level English literature and composition examinations given in May of each year by the National Advanced Placement Program. Success in this examination may entitle the student to college credit, advanced college placement, or both. Students are expected to complete both semesters. Note that successful completion of the research component is a requirement of this course.

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COLLEGE PREPARATORY ENGLISH FOR SENIORS (Honors) EN3L05, EN0L50 Length: 2 semesters (EN3L05) – OR -- 1 semester (EN0L50) Credit: 2 credits (EN3L05) – OR -- 1 credit (EN0L50) Open to Grades: 12 Grade Weight: IV Prerequisite: Six (6) semesters of required English and teacher recommendation

Honors College Prep emphasizes critical thinking, writing and rewriting, use of the word processor, and composition of specific essay types, including the research essay. The course also requires study of non-American literature encompassing a broad range of style, form, and concepts. First semester includes the expository essay and an extensive unit on the documented essay of literary analysis, and literature ranging from classical drama to poetry of many periods to contemporary French and Russian novels. Second semester emphasizes persuasive writing and improvement of individual style, with special attention to diction, balanced and periodic sentences, paragraph structure, and the essay examination. The literature studied in the second semester is essentially classical and satirical, and considers a wide variety of poetry, essays, and short stories, as well as drama. This course is intended as college preparation, not necessarily as college test preparation. Because of the sequential and developmental nature of this course, registration for both semesters is recommended. Note that successful completion of the research component is a requirement of this course. COLLEGE PREPARATORY ENGLISH FOR SENIORS EN3L19, EN0L91 Length: 2 semesters (EN3L19) – OR -- 1 semester (EN0L91) Credit: 2 credits (EN3L19) – OR -- 1 credit (EN0L91) Open to Grades: 12 Grade Weight: III Prerequisite: Six (6) semesters of required English and teacher recommendation

College Prep (level 3) is directed toward seniors who expect to attend college or technical school. Emphasis is placed on improved skills in reading fiction and nonfiction of Europe and the Americas. The students will receive practice in organizing clearly and writing perceptively in a variety of modes, in selecting vocabulary words which are appropriate in denotation and connotation, as well as in drawing logicalinferences from reading, distinguishing genres of short story, essay, biography, drama, and reportage. First semester includes the use of research techniques and resources, and an independent reading project. Note that successful completion of the research component is a requirement of this course. SENIOR ENGLISH EN3G02 Length: 2 semesters Credit: 2 credits Open to Grades: 12 Grade Weight: II Prerequisite: Six (6) semesters of required English and teacher recommendation

The course is designed to improve students' reading, writing, and thinking skills. Both fiction and non-fiction works will be used as points of inquiry for a variety of relevant themes, which may include heroism, gender roles, racism, and career exploration. In addition, students will learn to defend their points of view both orally and in writing. Note that successful completion of a research paper is a requirement of this course.

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STUDENT LEARNING OUTCOMES CODED TO ILLINOIS STATE GOALS

READING: Read with understanding and fluency.

Course Outcomes State Goals/Benchmarks A. Apply word analysis

and vocabulary skills to comprehend selections.

B. Apply reading strategies

to improve understanding and fluency.

C. Comprehend a broad

range of reading materials.

IL.1.A.5a Identify and analyze new terminology applying knowledge of word origins and derivations in a variety of practical settings.. IL.1.A.5b Analyze the meaning of abstract concepts and the effects of particular word and phrase choices. IL.1.B.5a Relate reading to prior knowledge and experience and make connections to related information. IL.1.B.5b Analyze the defining characteristics and structures of a variety of complex literary genres and describe how genre affects the meaning and function of the texts. IL.1.B.5 c Evaluate a variety of compositions for purpose, structure, content, and details for use in school or at work. IL1.B.5d Read age-appropriate material with fluency and accuracy. IL.1.C.5a Use questions and predictions to guide reading across complex materials. IL.1.C.5b Analyze and defend an interpretation of a text. IL.1.C.5c Critically evaluate information from multiple sources. IL.1.C.5d Summarize and make generalizations from content and relate them to the purpose of the material. IL.1.C.5e Evaluate how authors and illustrators use text and art to express their ideas (e.g., complex dialogue, persuasive techniques).

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LITERATURE: Read and understand literature representative of various societies, eras, and ideas.

Course Outcomes State Goals/Benchmarks A. Understand how literary elements and techniques are used to convey meaning. B. Read and interpret a variety of works.

IL.2.A.5a Compare and evaluate oral, written, or viewed works from various eras and traditions and analyze complex literary devices (e.g., structures, images, forms, foreshadowing, flashbacks, stream of consciousness). IL.2.A.5b Evaluate relationships between and among character, plot, setting, theme, conflict, and resolution and their influence on the effectiveness of a literary piece. IL.2.A.5c Analyze the development of form (e.g., short stories, essays, speeches, poetry, plays, novels) and purpose in American literature and literature of other countries. IL.2.A.5d Evaluate the influence of historical context on form, style, and point of view for a variety of literary works. IL.2.B.5a Analyze and express an interpretation of a literary work. IL.2.B.5b Apply knowledge gained from literature as a means of understanding contemporary and historical economic, social, and political issues and perspectives.

WRITING: Write to communicate for a variety of pur poses.

Course Outcomes State Goals/Benchmarks A. Use correct grammar, spelling, punctuation, capitalization, and structure. B. Compose well-organized and coherent writing for specific purposes and audiences. C. Communicate ideas in writing to accomplish a variety of purposes.

IL.3.A.5 Produce grammatically correct documents using standard manuscript specifications. IL.3.B.5 Using contemporary technology, produce documents of publication quality for specific purposes and audiences; exhibit clarity of focus, logic of organization, appropriate elaboration and support, and overall coherence. IL.3.C.5a Communicate information and ideas in narrative, informative, and persuasive writing with clarity and effectiveness in a variety of written forms using appropriate traditional and/or electronic formats; adapt content, vocabulary, voice, and tone to the audience, purpose, and situation. IL.3.C.5b Write for real or potentially real situations in academic, professional and civic contexts (e.g., applications, job applications, business letters, resumes, petitions).

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RESEARCH: Use the language arts to acquire, assess, and communicate information.

Course Outcomes State Goals/Benchmarks A. Locate, organize, and use information from various sources to answer questions, solve problems, and communicate ideas. B. Analyze and evaluate information acquired from various sources. C. Apply acquired information, concepts, and ideas to communicate in a variety of formats.

IL.5.A.5a Develop a research plan using multiple forms of data. IL.5.A.5b Research, design, and present a project to an academic, business, or school community audience on a topic selected from among contemporary issues. IL.5.B.5a Evaluate the usefulness of information, synthesize information to support a thesis, and present information in a logical manner in oral and written forms. IL.5.B.5b Credit primary and secondary sources in a form appropriate for presentation or publication for a particular audience. IL.5.C.5a Using contemporary technology, create a research presentation or prepare a documentary related to academic, technical, or occupational topics and present the findings in oral or multimedia formats. IL.5.C.5b Support and defend a thesis statement using various references including media and electronic sources.

DISCUSSION: Listen and speak effectively in a variety of situations.

Course Outcomes State Goals/Benchmarks A. Listen effectively in formal and informal situations. B. Speak effectively using language appropriate to the situation and audience.

IL.4.A.5a Use criteria to evaluate a variety of speakers’ verbal and nonverbal messages. IL.4.A.5b Use techniques for analysis, synthesis, and evaluation of oral messages. IL.4.B.5a Deliver planned and impromptu oral presentations, as individuals and as members of a group, conveying results of research, projects, or literature studies to a variety of audiences (e.g., peers, community, business/industry, local organizations) using appropriate visual aids and available technology. IL.4.B.5b Use speaking skills to participate in and lead group discussions; analyze the effectiveness of the spoken interactions based upon the ability of the group to achieve its goals. IL.4.B.5c Implement learned strategies to self-monitor communication anxiety &Z apprehension (e.g., relaxation and transference techniques, scripting, extemporaneous outlining, repetitive practice). IL.4.B.5d Use verbal and nonverbal strategies to maintain communication and to resolve individual, group, and workplace conflict (mediation skills, formal and informal bargaining skills).

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INSTRUCTIONAL MATERIALS

College Prep students should study both fiction and non-fiction as indicated below. As a great part of this course involves fine-tuning research paper skills, time is allotted herein to do so.

Literature: Semester 1: Selections from British and Western Selections from Literature: The Human Experience (West) Oedipus Tyrannus Macbeth Metamorphosis “The Silver-Colored Yesterday,” Algren “King of the Bingo Game" or “Battle Royal,” Ellison Selections from Nickel and Dimed, Ehrenreich College Application Materials from College Resource Center

• College Board’s College Search Website (http://collegesearch.collegeboard.com/search/index.jsp)

• Sample Application Forms (Oakton, UIC, UIUC, Common App) Films: Scotland, PA Sliding Doors Macbeth Mighty Aphrodite Forrest Gump Hero Semester 2: Selections from British and Western Lit Selections from Literature: The Human Experience (West) The Things They Carried (West) Chicago Stories The Stranger Individual works/selections Films: Various Vietnam War films: We Were Soldiers, Uncommon Valor, Letters from the Wall (W) Selections from various Chicago films WTTW Documentaries One Flew Over the Cuckoo’s Nest

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AGREED-UPON ELEMENTS

Technology Expectations: Students will use relevant technology as a tool and resource for the course. Types of Assessments: In-class essays Out of class-essays Research component Informal Writing Quizzes Tests Presentations Active Participation Types of Homework Assignments: Reading Written Responses Research Test preparation Discussion questions Identifying and utilizing credible sources Using literary criticism Grading Procedures: Year-long College Prep follows the Departmental Grading Scale: 100-90 A 89-80 B 79-70 C 69-60 D 59-0 F Types of Instructional Strategies: Discussion Socratic seminars Cooperative group work Lecture Note-taking Performance and presentations Debate Peer revision and metacognition

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UNITS OF INSTRUCTION – THEMATIC

SEMESTER ONE UNITS Texts and supplemental materials may be chosen for each unit as appropriate. The units and guiding questions are as follows: The American Dream/The American Nightmare What constitutes the American Dream? From where does it come? How does it affect who we are and what we become? Why/how does it often turn into a “nightmare”? Fate and Free Will How much of our lives do we control? Why are we right here, right now? Do we all end up where we’re “supposed to be”? How much of an impact do our decisions have on our lives? The Hero: Tragic and Otherwise What constitutes the true “tragic hero”? What makes someone a hero in today’s society? Why is the tragic hero tragic? What makes the tragic hero endure in spite of – or because of – the tragedy? How have the definitions of “tragedy” and “hero” changed over time? SEMESTER TWO UNITS Vietnam Literature To what extent is historical fiction important? How did the Vietnam War impact freedom of expression in literature? In relation to The Things They Carried, is it important to know what is fact? fiction? How can the same incident be expressed/explained in different ways? What impact do the expressions/explanations have on fiction and literature? How does perspective affect perception? Chicago Literature What is the Chicago literary movement? How have major Chicago authors impacted the canon of literature, especially in the 20th century? How has the history of Chicago affected its literature? Comedy What is comedy? What are the different genres of comedy? How does humor affect who we are? How does who we are affect what we find humorous? How has comedy changed over the years? How is comedy a reflection of the times in which we live?

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Existentialism What are the great enduring philosophical questions? (ontological, teleological, epistemelogical) Who am I? Toward what end is my life directed? How do I know what I know? What does it mean to “be”? to “exist”? What’s the difference? How do we make meaning from a fractured world? What is my responsibility to that world? Short Story What are the structural conventions of a standard narrative? What does each structural element add to the artistic and thematic impact of that narrative? What elements of story-telling are (nearly) universal? If we all go through the same (or similar) phases of life, what makes our stories unique? How do we tell the “old” stories in “new” ways? How have historical events shaped and re-shaped (sometimes violently) the form(s) of narrative in the twentieth century? Senior Research Paper What is the role of research in college-level literature classes? How is this kind of research different from science or engineering research? Similar to it? What resources are available to researchers from within the school building? the school district? the school’s larger community? local colleges and universities? How can a researcher make most effective use of these resources? How can a researcher determine reliable vs. unreliable sources? In what phases of planning and work must a research engage in order to build a successful research paper? How can a researcher narrow his or her focus to something manageable? original? worthy of demonstrating a graduating senior’s academic abilities? How can a research avoid accusations of academic dishonesty? How can a researcher present his or her best possible work in every way?

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Units of Instruction - Grammar/Writing/Research GRADE 9 GRADE 10 GRADE 11 GRADE 12 Grammar Emphasis Sentence Construction Sentence Variety

Economy, Clarify, ACT Refinement and Senior

* Parts of Sentences * Sentence combining Review Research Paper

(subject, predicate, (to teach colons, semicolons, * Stylistic elements

in/dependent clauses, variety, etc.) (tone, voice, syntax,

phrases/sentence fragments) * More sophisticated diction)

* Comma Splices subordination * Sentence combining

(run-on sentences) * Pronoun/antecedent (for economy and

* Subject/verb agreement * Tense consistency clarity)

* Tense consistency (present, past[imperfect, * ACT review

(present, past, future) perfect, pluperfect] future) exercises

* Commonly confused * Parallelism in a series

words (they're/their/there, * Possessives

its/it's, etc.) * Indefinite Pronouns

* Sentence combining (pronoun/verb agreement;

(to teach parts of speech/ e.g. someone is there)

sentences. Prep phrases too) * Discourage Passive Voice

* Subordination

Writing Emphasis Semester I 1 ICE per Marking Perio d 2 ICE's per Marking Period Preparing for the Future

Note: Assessment 3 pieces of Narrative Writing (6 total by year-end) 12 total by year-end)

Rubric for −creation myth By second semester prompts (12 total by year-end) −College Essay Writing

State of Illinois: −character sketch (god teach) without prior class time Prompts not given before −Building a Resume

Focus −narrative (end of childhood devoted to prep. hand. −Writing a letter

Support/Elaboration,

Organization, Persuasive Writing 1 OCE (out of class essay) OPTIONAL 1 OCE per Senio r Research Paper

Conventions, −focus on claims & evidence per marking period. (6 semester (Max 2 for

Integration −Reading responses total by year-end) the year) 1 ICE per marking −single paragraph or short Prompts can still be OCE's diminish in period

essays Generated by the teacher importance here

(9.3. agree or disagree with because it's a

Semester II the following:) Emphasis big test year and kids

Three ICE's (in class essays) on warrants, introducing have a better

−can be reading responses quotes in context, handle on manipulating

−can be fully prepped; i.e. transitional phrases. the internet.

outline, notes, book

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Research Recognize and use of the Generate and defend a thesis independently and

Generate and defend a thesis Use a more sophisticated

Emphasis (hypo)thesis, its purpose and based on an inquiry independent of teacher approach to creating and

Note terminology: placement. Find date to given by the teacher prompt. Reinforcement of supporting an argumentative

Claim, support an accepted Evaluate date from 10th grade with added thesis. Reinforcement of

Evidence and generalization given by the opposing viewpoints. emphasis on using data 11th grade with added

Warrant teacher. Seek data that is Evaluate internet but researching opposing emphasis on more

reliable, current and sources. viewpoints and refuting sophisticated sources:

authoritative. Recognize them. Search for literary criticism; university

bias. Use internet sources and use of primary publications; non-reliance

which are "hard copy" i.e. source materials. on pamphlets or

NY Times encyclopedias.

Skills: (from Research Manual)

Skills: (from Research Manual)

Skills: (from Research Manual)

Skills: (from Research Manual)

selecting sources citing Quotations conducting Interviews alternatives to quote cards

bibliography paraphrasing formatting a Research (i.e. Research logs)

quote cards evaluating Sources Paper finding Literary Criticism

quotation basics literary Criticism (i.e. title page, first page, developing an original thesis

outlining finding Literary Criticism/ Works cited page…) statement

MLA parenthetical citations IRC Tour

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LITERARY TERMS AND CONCEPTS

Act – The major division of the action in a drama. Alliteration – A repetition of sounds, usually consonant sounds, but sometimes vowel sounds, at the beginnings of words in the same line or in successive lines. For example: “O wild West Wind, thou breath of Autumn’s being”

--Percy Bysshe Shelley, “Ode to the West Wind” Allusion – A reference to a presumably familiar person, object, place or event, or to a literary, historical, artistic, mythological, or biblical passage or work which the writer expects will be known to his readers. Antagonist – The character in fiction or drama who stands directly opposed to the protagonist. Apostrophe – The direct address to a deceased or absent person as if he were present, or to an animal or thing, or an abstract idea or quality. Apostrophe is sometimes used with personification.

An example of apostrophe without personification is: “Little Lamb, who made thee?”

--William Blake, “The Lamb”

An example of apostrophe with personification is: “With how sad steps, O Moon, thou climb’st the skies How silently, and with how wan a face!” --Philip Sidney, “With How Sad Steps, O Moon” Archetype – A term brought into literary criticism from the depth psychology of Carl Jung, who holds that behind each individual’s “unconscious” – the blocked-off residue of his past – lies the “collective unconscious” of the human race – the blocked off memory of our human past, even of our pre-human experiences. The unconscious memory makes powerfully effective for us a group of “primordial images” shaped by the repeated experience of our ancestors and is expressed in myths, religions, dreams, fantasies, and in literature. The literary critic applies the term to an image, a descriptive detail, a plot pattern, or a character type that occurs frequently in literature, myth religion, or folklore and is, therefore, believed to evoke profound emotions in the reader because it awakens a primordial image in the unconscious memory. Aside – Private words that a character in a play speaks to the audience or to another character which are not supposed to be overhead by others onstage. Blank Verse – Unrhymed poetry, in which each line usually has ten syllables. Five of the syllables are stressed – generally the second, fourth, sixth, eighth, and tenth syllables. For examples: “But, SOFT! What LIGHT through YONder WINdow BREAKS! It IS the EAST, and JULiet IS the SUN! A-RISE, fair SUN, and KILL the Envious MOON

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Who IS already SICK and PALE with GRIEF That THOU her MAID art FAR more FAIR than SHE.” --William Shakespeare, Romeo and Juliet Characterization – The manner in which an author reveals aspects of characters. A writer can reveal a character in the following ways:

1. Telling the reader directly what the character is like. 2. Describing how the character looks and dresses. 3. Letting the reader “hear” how the character speaks. 4. Revealing the character’s private thoughts and feelings. 5. Revealing the character’s effect on other people – showing how other characters feel or

behave toward the character. 6. Showing the character’s actions.

The first method of revealing a character is called direct characterization. The other five methods of revealing a character are called indirect characterization. Climax – The point in dramatic structure that designates the turning point in the action, the place at which rising action reverses and becomes the falling action. Connotation – An association or suggestion which a word calls to mind in addition to its literal meaning. Couplet – Two successive lines, usually rhymed, which form a single unit of verse. For example: “I was angry with my foe. I told it not, my wrath did grow.” --William Blake, “A Poison Tree” Denotation – The literal or dictionary meaning of meanings of a word. Dialogue – A conversation of two or more people as reproduced in writing. Drama – A story that is written to be acted out in front of an audience. Fiction – Prose writing that includes invented material and that does not claim to be factually true. The term fiction most often refers to prose narratives such as novels and short stories. Even though plays and poems are also works of the imagination, they are not usually classified as fiction. Figurative language – Language that is not meant to be interpreted on a strict literal level because it is in tended to mean something more than or other than its literal meaning. Figure of speech – A word or phrase which describes something in a way that is not literally true but may be meaningful in a deeper sense. The effect of a figure of speech on the reader is generally stronger than that produced by everyday language. Foil – A character who is used as a contrast to another character. This contrast emphasizes the differences between the two characters, bringing out the distinctive qualities in each. Foot – The unit of rhythm in a verse. A foot usually consists of one stressed or long syllable and one or more unstressed or short syllables.

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Free verse – Poetry that has no regular meter or rhyme scheme. Free verse usually relies instead on the natural rhythms of ordinary speech. Hyperbole – Deliberate overstatement, used for effect. Iambic pentameter – A line of poetry made up of five iambs. An iamb is a metrical foot, or unit of measure, consisting of an unstressed syllable followed by a stressed syllable. Iambic pentameter is by far the most common verse line in English poetry. Shakespeare’s poems, for example, are written primarily in this meter. Image – A word or phrase which brings a picture to the reader’s mind or appeals to his senses of sight, hearing, touch, taste or smell. The collective term for images is imagery. Irony – There are three forms of irony: Verbal (also called Rhetorical), Dramatic and Situational.

Rhetorical Irony occurs when a character says one thing but means another. Dramatic Irony occurs when we know what is in store for a character, but the character does not know. This is called dramatic irony because it is so often used in drama (that is, on the stage). Situational Irony describes an occurrence that is not just surprising; it is the opposite of what we expected. In an ironic situation, what actually happens is so contrary to our expectations that it seems to mock human intentions and the confidence with which we plan our futures.

Metaphor – A figure of speech in which one thing is compared indirectly to another dissimilar thing, without the use of like, as, or than. For example: “Clouds and eclipses stain both moon and sun” --William Shakespeare, “No More Be Grieved”

Metaphors may appear in more than one line of verse only, or they may be extended through many lines. For example, the first four lines of Shakespeare’s “Sonnet 73” contain an extended metaphor in which late middle age is compared to late autumn: “That time of year thou may’st in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang.”

Meter – An organized rhythmic pattern created by the repetition of the same foot, or group of stressed and unstressed syllables, throughout a poem. Monologue – Any speech or narrative presented wholly by one person. Mood – The prevailing tone in a piece of literature. Motif – An idea, subject, or pattern that is regularly repeated and developed in a literature, film, music, or the visual arts. Narrator – In the broadest sense, anyone who recounts a narrative, either in writing or orally. In fiction the term is used in a more technical sense, as the ostensible author or teller of the story.

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Onomatopoeia – The use of words which in their pronunciation suggest the sound of a particular action; for example, “buzz,” “crash,” “sizzle.” However, in poetry it is a much more subtle device than simply the use of such words, when, in an effort to suit sound to sense, the poet creates verses which carry their meaning in their sounds. Oxymoron – A combination of contradictory or incongruous words; e.g. Bittersweet Paradox – A self-contradictory statement or situation which nevertheless reveals some truth. For example: “Stone walls do not a prison make, Nor iron bars a cage.” --Richard Lovelace, “To Althea, from Prison” Personification – A figure of speech in which the writer attributes human qualities to animals, inanimate objects, or ideas. For example, “Pale Ocean in unquiet slumber lay, And the wild Winds flew round, sobbing in their dismay.” --Percy Bysshe Shelley, “Adonais” Poetry – A kind of rhythmic, compressed language that uses figures of speech and imagery designed to appeal to our emotions and imaginations. Point of view – The vantage point from which a writer tells a story. There are three main points of view:

1. Omniscient or all knowing, in which the person telling the story knows everything that is going on in the story.

2. First person, in which the narrator is a character in the story. Using the pronoun “I,” the narrator tells us his or her own experience, but cannot reveal any other character’s private thoughts.

3. Limited third person, in which the narrator is outside the story, like an omniscient narrator, but tells the story from the vantage point of only one character.

Prologue – A preface or introduction, most frequently associated with drama. Prose – In the broadest sense, the term is applied to all forms of written or spoken expression which do not have a regular rhythmic pattern. Protagonist – The main character in fiction or drama. Pun – A play on the multiple meanings of a word, or on two words that sound alike but have different meanings. Rhyme – The repetition of two or more words reasonably close to each other in which the last a vowel sound and the last consonant sound are the same. Example: June – moon; sea – me; sleep – weep. If the rhyme occurs at the end of the line, it is called an end rhyme.

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For example: “He hangs in shades the orange bright, Like golden lamps in a green night.” --Andrew Marvell, “Bermudas”

If a rhyme occurs within a line, it is called an internal rhyme. For example: “The ant and the mole sit both in a hole.” --Ben Jonson, “The Masque of Queens”

Rhyme scheme – The pattern in which end rhyme occurs throughout a stanza or an entire poem. Rhyme schemes are usually denoted by italicized letters of the alphabet. For example, if the first and third lines of a four-line stanza rhyme, we say that the rhyme scheme is abac (a represents the rhyming words, while b and c represent the words that do not rhyme). If there are two rhymes in a four-line stanza, the rhyme scheme is abab, and if all four lines rhyme, it is aaaa. Scene – In drama, a scene is divisions within the acts. Setting – The time and place of a story. Simile – A figure of speech in which the comparison between two unlike things is expressed directly, usually by means of like or as, or than. Two examples are William Wordsworth’s line, “I wandered lonely as a cloud,” and Robert Burns’s line, “O, my luve’s like a red, red rose.” Soliloquy – A long speech in which a character expresses private thoughts or feelings. This convention generally occurs when the character is alone on stage. Sonnet – A lyric poem of fourteen lines usually written in rhymed iambic pentameter. Sonnets usually follow one of two types of rhyme schemes, but the rhymes may vary. Stanza – A group of lines which constitute a division in a poem. There is space before the last line, and after the last line in each group. Each stanza in a poem usually contains the same number of lines. Suspense – The uncertainty or anxiety we feel about what is going to happen next in a story. Symbol – In a poem, generally a figure of speech in which an object, person , place, event or quality is chosen to stand for something in addition to itself – something which may not be directly mentioned in the poem. For example, the road is a symbol of movement through life in “Sixty-Eighth Birthday” by James Russell Lowell: “As life runs on , the road grows strange With faces new, and near the end The milestones into headstones change, ‘Neath every one a friend.”

Notice that although life is mentioned, the road is not described directly as the road of life(a metaphor), or compared to life by means of like, as, or than (a simile). The literal meaning of a symbol is preserved along with the additional meaning that it represents.

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Theme – The central idea or insight of a work of literature. The theme is not the same as the subject of a work, and is different from a moral (which is a lesson about how to live). Tone – The attitude a writer takes toward the reader, subject, or character. Definitions adapted from: Elements of Literature (1989) by Holt, Rinehart and Winston, Inc. A Handbook to Literature (1960), Thrall, Hibbard and Homan, The Odyssey Press, New York. A Book of Poetry – 1 Harcourt, Brace & World, Inc. 1969.

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COMMONLY CONFUSED WORDS

By mastering the spelling of these often-confused words, you’ll take care of many of your spelling problems. Study the words carefully, with their examples, before you try the exercises. accept, except Accept is a verb and means “to receive willingly.” I accept your apology. (receive it willingly) Except means “excluding” or “but.” I answered all except the last question. (all but…) advice, advise Advise is a verb (pronounce the s like z). I advise you to go. Use advice when it’s not a verb. I need some advice. affect, effect Affect is a verb and means “to influence.” His opinion will affect my decision. Effect means “result.” If a, an or the is in front of the word, then you’ll know it isn’t a verb and will be effect. His words had an effect on my decision. all ready, already If you can leave out the all and the sentence still makes sense, then all ready is the form to use. (In that form, all is a separate word and can be left out.) I’m all ready to go. (I’m ready to go makes sense.) Dinner is all ready. (Dinner is ready makes sense.) But if you can’t leave out the all and still have the sentence make sense, then use already (the form in which the al has to stay in the word). I’m already late. (I’m ready late doesn’t make sense.) are, or, our Are is a verb. We are working hard. Or is used between two possibilities, as “tea or coffee.” Take it or leave it. Our shows we possess something. Our class meets at eight.

brake, break Brake means “to slow or stop motion.” It’s also the name of the device that slows or stops motion. You brake to avoid an accident. You slam on your brakes. Break means “to shatter” or “to split.” It’s also the name of an interruption, as “a coffee break.” You break a dish or an engagement or a record. You enjoy your Thanksgiving break.

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choose, chose I will choose my course of study right now. I chose my course of study yesterday. clothes, cloths She makes her own clothes. We used soft cloths to polish the car. coarse, course Coarse describes texture, as coarse cloth. The sofa was upholstered in coarse cloth. Course is used for all other meanings. Of course I enjoyed that course. complement, compliment The one spelled with an e completes something or brings it to perfection. A 30’ angle is the complement of a 60’ angle. His blue tie complements his gray suit.

The one spelled with an i has to do with praise. Remember “I like compliments,” and you’ll remember to use the i spelling when you mean praise. She gave him a compliment. He complimented her on her well-written paper.

conscious, conscience Conscious means “aware.” I was not conscious that it was raining.

The extra n in conscience should remind you of NO, which is what your conscience often says to you. My conscience told me not to cut class.

dessert, desert

Dessert is the sweet one, the one you like two helpings of. So give it two s’s! We had chocolate cake for dessert. The other one, desert, is used for all other meanings. Don’t desert me. The camel moved slowly across the desert.

do, due You do something. I do the best I can. But a payment or an assignment is due; it is scheduled for a certain time. My paper is due tomorrow. does, dose Does is a Verb. He does his work well. She doesn’t care about cars. A dose is an amount of medicine. That was a bitter dose to swallow.

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feel, fill Feel describes your feelings. I feel ill. I feel happy about that B. Fill is what you do to a container. Will you fill my glass again? fourth, forth

The number fourth has four in it. (But note that forth does not. Remember the word forty-fourth.) This is our fourth game. That was our forty-fourth point. If you don’t mean a number, use forth. She walked back and forth.

have, of

Have is a verb. When you say could have, the have may sound like of, but it must not be written that way. Always write could have, would have, should have, might have. I should have finished my work sooner. Then I could have gone home. Use of only in a prepositional phrase. I often think of him.

hear, here The last three letters of hear spell “ear.” You hear with your ear. I can’t hear you. Speak up.

The other spelling here tells “where.” Note that the three words indicating a place or pointing out something all have here in them: here, there, where.

Where are you? I’m right here. it’s, its It’s is a contraction and means “it is” or “it has.” It’s too late now. (it is too late now.) It’s been a long time. (it has been a long time.)

Its is a possessive. (Possessives such as its, yours, hers, ours, theirs, whose are already possessive and never take an apostrophe.) Where are you? I’m right here.

knew, new Knew has to do with knowledge (both start with k). New means “not old.” I knew I wanted a new job. know, no Know has to do with knowledge (both start with k). I know what I am doing. No means “not any” or the opposite of “yes.” No, I can’t go.

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lead, led The past form of the verb is led. She led the parade yesterday.

If you don’t mean past time, use lead, which rhymes with head. (Don’t confuse it with the metal lead, which rhymes with dead.) She will lead the parade today.

loose, lose

Loose means “not tight.” Note how l o o s e that word is. It has plenty of room for two o’s. My shoestring is loose. The other one, lose, has room for only one o. They are going to lose that game.

moral, morale

Pronounce these two words correctly, and you won’t confuse them-moral, morale. Moral has to do with right and wrong. It was a moral question. Morale means “the spirit of the group or an individual.” The morale of the team was excellent.

passed, past Passed is a verb. He passed the house. Use past when it’s not a verb.

He walked past the house. (It’s the same as He walked by the house, so you know it isn’t a verb.) He’s coasting on his past reputation. In the past he has always passed his exams.

personal, personnel Pronounce these two correctly, and you won’t confuse them,--personal, personnel. That was his personal opinion. Personnel means “a group of employees.” She was in charge of personnel at the factory. piece, peace

Remember “piece of pie.” The one meaning “a piece of something” always begins with pie. I gave him a piece of my mind. The other one, peace, is the opposite of war. They signed a peace treaty.

quiet, quite

Pronounce these two correctly, and you won’t misspell them. Quiet rhymes with diet. Be quiet. Quite rhyme with bite. I’m quite sure of it.

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right, write Right means “correct” or “proper.” I got ten answers right. Write is what you do with a pen. I’ll write you a long letter soon. than, then Than compares two things. I’d rather have this than that. Then tells when (then and when rhyme, and both have e in them). She finished shopping; then she went home. their, there, they’re Their is a possessive pronoun. Their 1965 car is now a classic.

There points out something. (Remember the three words indicating a place or pointing out something all have here in them: here, there, where.) There is where I left it. There were clouds in the sky. There is a contraction and means “they are.” They’re happy now. (They are happy now.)

threw, through Threw means “to throw something” in past time. He threw the ball. If you don’t mean “to throw something,” use through. I walked through the door. She’s through with her work. two, too, to Two is a number. I made two B’s last semester. Too means “more than enough” or “also.”

The lesson was too difficult and too long. (more than enough.) I found it boring too. (also) Use to for all other meanings. He likes to snorkel. He’s going to the beach. weather, whether Weather refers to atmospheric conditions. I don’t like cold weather. Whether means “if.” I don’t know whether I’ll go. Whether I’ll go depends on the weather.

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were, where Were is a verb. We were miles from home.

Where refers to a place. who’s, whose Who’s is a contraction and always means “who is” or “who has.” Who’s there? (Who is there?)

Who’s been eating my pie? (Who has been …?) Whose is a possessive. (Possessives such as whose, its, yours, hers, ours, theirs are already possessive and never taken an apostrophe). Whose coat is this?

woman, women Remember that the word is just man or men with wo in front of it. Wo man … woman … one woman Wo men … women … two or more women I’ve seen that woman before. Those women are helping with the Red Cross drive. you’re, your You’re is a contraction that always means “you are.” You’re very welcome. (You are very welcome.) Your is a possessive. Your bike is in the driveway.

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SUMMATIVE ASSESSMENT A CRT involving an essay component will be used for the summative assessment at the end of the first semester. A research-based essay CRT will be used for the summative assessment at the end of the second semester. Summative assessment for each semester must show how students are progressing toward displaying knowledge of the course outcomes and state standards listed in the “Student Learning Outcomes Coded to Illinois Learning Goals.” Data on student performance will be recorded in a way that can be analyzed by teachers and the director and then used to improve performance in subsequent years. Summative assessments will take place at the end of each semester and will measure student progress toward the state benchmarks and standards in the previous section.

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APPENDIX A: SAMPLE WRITING/RESEARCH ASSIGNMENTS

College Prep - Chicago Research Papers You will each get a topic about Chicago. You can trade with someone if you wish--but only once and only right away--and you are going to find out everything you can about the HISTORY of that topic. For example, if you received "Chicago Cubs," I don't want to know about their last season--I want to know how, when and where the team got started, what (if any) significant events occurred re: the Cubs (good or bad) from their beginning until now. You MUST use AT LEAST 3 sources; you MAY NOT use the Internet. If you use an encyclopedia, you still need 3 additional sources. If your "Works Cited" page is incorrect, I will return your paper to you so you can make the necessary adjustments before I grade it (and take off late points). I will collect and check a rough draft on ______________. The paper is to be AT LEAST 3and NO MORE THAN 5 pages typed. Final due date_____________________________

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Detective Fiction Reading/Research Assignment Here's what's involved in this unit: You will be reading three novels by your author, you will be doing research on the author's life AND you will be doing critical research on the author--that is, what people have written about the author's work. At the end of the unit, you will be giving an oral report on your author's life, his writings, and criticism re: his writing, and his works. The latter will involve summarizing the three novels, especially as to how the detective solves crimes. You will be taking notes on each person's report--and they'd better be good notes, because a large part of your final exam will be an open note test on everyone's reports. Every Friday will be an in-class reading day; you MUST bring your book to class or you will lose points.

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Independent Reading/Author Research Paper Requirements Your research paper will be 4-5 pages, without the Works Cited page. EACH AND EVERY CITATION—BOTH IN AND AT THE END OF YOUR PAPER—MUST BE 100% ABSOLUTELY CORRECT, OR I WILL NOT ACCEPT YOUR PAPER. (In other words, you’d better get an MLA guide and use it!) The parts/due dates are as follows: #1 Monday, November 8—Hand in your thesis statement and a general list of your ideas—what you want to discuss/focus on, etc. (typed) and a list of which stories you will use to support your thesis. #2 Tuesday, November 16—Hand in a list IN CORRECT MLA FORM of the works/resources you are going to use (also typed) and the one-paragraph summaries of the stories you will use. #3 Monday, November 22--Author biographical information due, typed (at least one page, no more than two), AND CORRECTLY CITED WITH A BIBLIOGRAPHY, containing the information relevant to your thesis #4 Monday, November 29—Draft/Research paper due This is a rough draft ONLY in the respect that you will be allowed to rewrite it, if you choose. (Bear in mind your final grade will be an average of your rough draft and your final draft--or just the grade on your rough draft, if you do not choose to rewrite.) It has to be a finished product, however, with correct citations and bibliography. I will not accept any paper that is incorrectly cited, has an incorrect bibliography, or obviously has not been proofread. #5 Monday, December 6—Your research paper is due. YOU MUST AGAIN HAND IN ALL THE PARTS (#1-4) HANDED IN EARLIER. If you have any questions at any time about anything, please come see me. The life you save may be your own!! *********

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Nickel and Dimed Project This project has two parts. For Part I, I want you to find at least two articles from a reliable source (Newsweek, New York Times, etc.) that address how low wage earners are treated, either at Wal-Mart or some other place where minimum wage is paid. You must copy and hand in each of the two articles, along with a precis (I will explain) for each. For Part II, your research may involve sources in addition to those found in the IRC. Here's the situation: you need to get a job--right here, right now--to support yourself. You will not be going to school--you will not be living at home. You need to pay rent, buy groceries, etc. So you need to do what you need to do to find a job and an apartment. Check the want-ads; make phone calls; next time you're driving by Wal-Mart, stop in--ask them how much they pay and if they're hiring. Find out about, at least in brief, about benefits (insurance, etc.), responsibilities, and conditions of employment. Will you have to take a drug test? How many sick days do you get? How long do you have for lunch? Gather as much information as you need--you will be writing a mini-Nickel and Dimed of your own! *************** Mini-Nickel and Dimed Assignment Using the facts and figures from your new job (and life!), you are to pretend you've been living and working accordingly for the past two months. Now it's time for reflection. Here's what I want you to do. Part One: I want a couple of paragraphs WITH SPECIFICS that tell about what your typical day was like. What time did you wake up? How long did it take you to go to work? What did you do once you got there? How about when you got home? When and what did you eat--where did you shop--what did you do/where did you go (and how much did it cost!) when you went out with your friends. In other words, what has the experience been like from a day-to-day, practical point of view. Part Two: So how did it feel? What did you learn? What were the good things? the bad things? This should be between 2-4 pages (no less, no more) TYPED.

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APPENDIX B: SMALLER LITERARY RESEARCH ASSIGNMENTS

Part I: Close Textual Analysis with One Primary Source. Please write a traditional, multi-paragraph essay in which you answer the following question:

How does the author of “Battle Royal” use animal imagery to show the corrupting effects of power?

As part of your analysis, you will use mini-quotes, extensive warrants, parenthetical citations, and a correctly-formatted MLA Work Cited page. Part II: Close Textual Analysis and Evaluation Based on One Primary Source + One Secondary Source

THE OEDIPUS / ARISTOTLE MINI-RESEARCH PAPER

As a warm-up for the Senior Research Paper, we will be working on a mini-research paper using one thesis and a limited number of sources. This will allow you to practice key research skills

• reading to find relevant evidence in a college-level text • using story evidence + critical evidence to support a literary thesis • MLA parenthetical citations • MLA bibliography formats

This paper uses limited choices to teach you the basics; you will have more freedom with the Senior Research Paper

• You will receive a given thesis, then do research to support that thesis. • The research will come from only TWO sources:

o A primary source: Sophocles’ Oedipus Tyrannus o A secondary source: Aristotle's Poetics

You will be doing research to support the following thesis:

Oedipus Tyrannus exemplifies Aristotle’s perfect tragedy because of Sophocles’ skillful use of A, B, and C.

It will not be easy to read Aristotle. This is a college-level text based on a very formal translation from 2500-year old Greek to 1940’s British English. But with a few notes to guide you, enough time to read, and asking questions of your teacher, I am confident that you can do it. As part of your analysis, you will be examining how Sophocles structured his play, how the structure creates meaning and impact, and why the play endures so vividly after 2500 years.

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APPENDIX C: ONE APPROACH TO THE “BIG” SENIOR RESEA RCH PAPER This is one teacher’s approach; many other approaches are possible.

What Will I Hand In?

• You will hand in a typed, double-spaced 5-7 page essay that addresses one of the topics specific to this class.

• Your essay will include MLA parenthetical citations (Author Page) for all quotes and all paraphrased evidence.

• Your essay will include an MLA Works Cited (bibliography) page at the end

• You must meet all Working Deadlines in order to pass the final paper.

What Can I Write About?

• The senior paper for English is a literary paper. • That means you will read a short story and analyze its architecture, methods, and

meaning. • The story is your primary source. • You will find and research articles about your story to help you make sense of it; these

are called secondary or critical sources. • Note: “criticism” here does NOT mean “attack” -- it means “analysis”!

What About Sources?

• You must use at least FOUR reputable sources in addition to your short story. • That’s FIVE sources total.

How Do the Deadlines Work?

• All deadlines come due on Wednesday. You have two “no-penalty” extension days to hand in your work for that week.

• Late papers will not earn any credit (but must still be handed in to prove that you are making progress).

• This policy allows me to collect all your work and grade it over the weekend, and it allows YOU to concentrate on one step at a time so that you don’t procrastinate and don’t fall behind.

Do Citations Matter?

• Absolutely. Cheating and carelessness look the same, and both will earn you an F on the senior paper — which means no graduation.

• I will teach you how to do both kinds of citation (parenthetical and Works Cited), and when (every quote, every idea, every summary you put in your own words) so you can’t claim ignorance.

• Then it’s up to you to follow through!

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RESEARCH PAPER DUE DATES Selection of Short Story : ________________ with no-penalty extension until ____________ Working Bibliography #1: ________________ with no-penalty extension until ____________

(story + three sources, no annotations)

Working Bibliography #2: ________________ with no-penalty extension until ____________ (story + five sources with annotations indicating what makes the source useful or not)

Preliminary Thesis: ________________ with no-penalty extension until __________ Working Bibliography #3: ________________ with no-penalty extension until _________

(story + five useful sources + annotations listing specific quotations and ideas you plan to use)

Revised Thesis: ________________ with no-penalty extension until ____________

(full introductory paragraph; use inverted triangle)

Outline or Partial Draft: ________________ with no-penalty extension until ____________ Working (≠ Rough) Draft: ________________ with no-penalty extension until ____________ Final Draft: ________________ with no-penalty extension until ____________ All deadlines come due on Wednesdays, which allows me (on the shorter assignments) to grade and return your work in time for you to plan your next steps over the weekend. Please note the no-penalty “extension” until Friday for each deadline: this structure allows you to hand in your work on Wednesday, Thursday, or Friday for full credit. NO CREDIT will be given to work received — for any reason, including absence or computer problems — after each week’s Friday deadline. You must e-mail your work if you will be absent!