Wednesday, September 7, 2011

Fairy Tale Journal










Fairy Tale Journals
1.              Each journal entry should be about 200-250 words in length.
2.              Write a fairy tale based off of another fairy tale.
3.              Blog posts are worth 10 points each.
4.              Artwork that represents/interprets each story assigned. (Not all stories will have to have an artistic interpretation.
5.              The cover to your journal should be decorated. The first page of your journal should contain your name and a table of contents.
6.              Research summaries of assigned articles/websites etc.
7.              Homework assignments, both graded and ungraded should be included.
8.              Comparison/contrast paper on Little Red Riding Hood-due 9/29
Characterization is the hallmark of good fiction.  There are eight basic ways in which characters are revealed to readers:
    through their names
    their physical appearances
    their personal histories
    the things they say
    the things others say about them
    the ways they act in response to specific situations
    the ways they act habitually
and their thoughts

Some ideas about how to write your own fairy tale:
Change the main character
Have the story take place somewhere else
Have the story take place in another time
Tell the story form a different character’s point of view
Make the problem of the story different
Change an important item in the story
You can even change the end of the story. Maybe they don’t live happily every after-- after all!

Some ideas for your comparison/contrast paper on Little Red Riding Hood
1.Purpose and Supporting Details: The paper compares and contrasts items clearly. The paper points to specific examples to illustrate the comparison. The paper includes only the information relevant to the comparison.
2. Organization and Structure: The paper breaks the information into whole-to-whole, similarities-to-differences, or point-by-point structure. It follows a consistent order when discussing the comparison.
3. Transitions: The paper moves smoothly from one idea to the next. The paper uses comparison and contrast transition words to show relationships between ideas. The paper uses a variety of sentence structures and transitions.
4. Conclusion: States a thoughtful or logical conclusion based on similarities and differences.








Gretel in Darkness

BY LOUISE GL√úCK
This is the world we wanted.
All who would have seen us dead
are dead. I hear the witch’s cry
break in the moonlight through a sheet
of sugar: God rewards.
Her tongue shrivels into gas. . . .

             Now, far from women’s arms
and memory of women, in our father’s hut
we sleep, are never hungry.
Why do I not forget?
My father bars the door, bars harm
from this house, and it is years.

No one remembers. Even you, my brother,
summer afternoons you look at me as though
you meant to leave,
as though it never happened.
But I killed for you. I see armed firs,
the spires of that gleaming kiln—

Nights I turn to you to hold me
but you are not there.
Am I alone? Spies
hiss in the stillness, Hansel,
we are there still and it is real, real,
that black forest and the fire in earnest.



Tuesday, September 6, 2011

Paper for When Living was a Labor Camp


Poetry Explications: When Living Was a Labor Camp
A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's plot and conflicts with its structural features. This handout reviews some of the important techniques of approaching and writing a poetry explication, and includes parts of two sample explications.
  1. READ the poem silently, then read it aloud (if not in a testing situation). Repeat as necessary.
  2. Consider the poem as a dramatic situation in which a speaker addresses an audience or another character. In this way, begin your analysis by identifying and describing the speaking voice or voices, the conflicts or ideas, and the language used in the poem.
The Large Issues
Determine the basic design of the poem by considering the who, what, when, where, and why of the dramatic situation.
·         What is being dramatized? What conflicts or themes does the poem present, address, or question?
·         Who is the speaker? Define and describe the speaker and his/her voice. What does the speaker say? Who is the audience? Are other characters involved?
·         What happens in the poem? Consider the plot or basic design of the action. How are the dramatized conflicts or themes introduced, sustained, resolved, etc.?
·         When does the action occur? What is the date and/or time of day?
·         Where is the speaker? Describe the physical location of the dramatic moment.
·         Why does the speaker feel compelled to speak at this moment? What is his/her motivation?
The Details
To analyze the design of the poem, we must focus on the poems' parts, namely how the poem dramatizes conflicts or ideas in language. By concentrating on the parts, we develop our understanding of the poem's structure, and we gather support and evidence for our interpretations.
The explication should follow the same format as the preparation: begin with the large issues and basic design of the poem and work through each line to the more specific details and patterns.
The First Paragraph
The first paragraph should present the large issues; it should inform the reader which conflicts are dramatized and should describe the dramatic situation of the speaker. The explication does not require a formal introductory paragraph; the writer should simply start explicating immediately. According to UNC 's Professor William Harmon, the foolproof way to begin any explication is with the following sentence: "This poem dramatizes the conflict between …" Such a beginning ensures that you will introduce the major conflict or theme in the poem and organize your explication accordingly.
An undergraduate recently began an explication of Wordsworth's "Composed upon Westminster Bridge" in the following way:
This poem dramatizes the conflict between appearance and reality, particularly as this conflict relates to what the speaker seems to say and what he really says. From Westminster Bridge, the speaker looks at London at sunrise, and he explains that all people should be struck by such a beautiful scene. The speaker notes that the city is silent, and he points to several specific objects, naming them only in general terms: "Ships, towers, domes, theatres, and temples" (6). After describing the "glittering" aspect of these objects, he asserts that these city places are just as beautiful in the morning as country places like "valley, rock, or hill" (8,10). Finally, after describing his deep feeling of calmness, the speaker notes how the "houses seem asleep" and that "all that mighty heart is lying still" (13, 14). In this way, the speaker seems to say simply that London looks beautiful in the morning.
The Conclusion??
The explication has no formal concluding paragraph; do not simply restate the main points of the introduction! The end of the explication should focus on sound effects or visual patterns as the final element of asserting an explanation. Or, as does the undergraduate here, the writer may choose simply to stop writing when he or she reaches the end of the poem:
The poem ends with a vague statement: "And all that mighty heart is lying still!" In this line, the city's heart could be dead, or it could be simply deceiving the one observing the scene. In this way, the poet reinforces the conflict between the appearance of the city in the morning and what such a scene and his words actually reveal.



Tips to keep in mind
1.      Refer to the speaking voice in the poem as "the speaker" or "the poet." For example, do not write, "In this poem, Wordsworth says that London is beautiful in the morning." However, you can write, "In this poem, Wordsworth presents a speaker who…" We cannot absolutely identify Wordsworth with the speaker of the poem, so it is more accurate to talk about "the speaker" or "the poet" in an explication.
2.      Use the present tense when writing the explication. The poem, as a work of literature, continues to exist!
3.      To avoid unnecessary uses of the verb 'to be' in your compositions, the following list suggests some verbs you can use when writing the explication:

dramatizes
presents
illustrates
characterizes
underlines
asserts
posits
enacts
connects
portrays
contrasts
juxtaposes
suggests
implies
shows
addresses
emphasizes
stresses
accentuates
enables