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Twelfth Night Overview                                             Weeks 7-9  Q3

TwelfthNight Act I – II.   Act I + II open note quiz Wednesday February 26th. You need to have a dedicated notebook for these M/C, FITB, short answer, who said it, paraphrase. Journal  notes – gather evidence from the text to support these: 

  • Shakespeare’s characterization of Viola, Olivia and Orsino. Remember, this is not a retelling of what they do, but a discussion of who they are as reflected in their words and interactions with others.
  • The purpose of Sir Toby and Sir Andrew.

Quarter Four, Week One – Act III – V Act III-V open note quiz – using notebook only. PLEASE MAKE SURE NOTES ARE NOT ONLY IN YOUR COPY OF TWELFTH NIGHT. This will happen Tuesday March 25.  M/C, FITB, short answer, who said it, paraphrase. Journal  – gather evidence from the text to discuss these:

  • Love and romance as it is experienced through the eyes of any two characters. 
  • The impact of Shakespeare’s dramatic use of mistaken identity
  • Malvolio, Anderw and Antonio: their fates as Shakespeare’s commentary on the nature of love.

. . Continuing Quarter  4 = writing and completion of tasks (and film).


Task I  Part IFound poem for a character. This is a poem made only from lines or single words of the play (you “find” the lines) arranged in any format you choose. The goal is to assemble a work that sharply defines or illustrates the deeper nature of a particular character. The lines you choose need not necessarily be spoken by the character you’ve been assigned. The arrangement of words is up to you. That means you can switch words around and blend lines to fit your needs. The finished poem contains at least 15 and no more than 20 lines.  Q: How long can a line be? A: lines should be a reasonable length, fitting between conventional margins. RUBRIC:

9.0 -10 (to the greatest possible extent; lines paint an insightful, explicit picture of the character, consistent thought/strategy in choice and placement is obvious. Every line is vital)

To what extent does the poem,using the prescribed amount of strategically selected and cleverly arranged lines from the play, deeply explore the true nature of a chosen character?

8.0 – 8.9 (to a great extent; lines paint a clear, if not explicit, picture of the character, obvious thought/strategy in choice and placement is apparent, although not excellent)
7.0 – 7.9 (to an adequate extent; lines give sketchy picture of character, some though/strategy in choice and placement is apparent in a basic way. Some lines don’t seem to serve a purpose)
6.0 – 6.9 (to a minimum, possibly hints at character but lines seem random or incoherently arranged)
Less than 6.0 = minimal, incomplete, not submitted

Class/homework for 3/27: have lines collected (not necessarily arranged) by the end of class Friday 3/28. Put on a word doc. or handwrite in notebook.  FOR ONLINE TEXT, CLICK HERE. FOUND POETRY PART II Partners:  Use the poems you have each created individually and combine them into one. You are still limited to 15-20 lines but now must decide which will stay, which will go, and how they will be rearranged.  You will have one class session (Tuesday 1/1) to work on this.This will be collected Task II – Writing response. GREATNESS GROUPS.   starry_e0Heidi’s Greatness Essay  . FLASH CHARACTER MAP MADE EASY (click for it) Twelfth Night Study Guide

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crucibleThe Crucible is a 20th century drama from the pen of Arthur Miller, a master dramatist. It is set in Salem Massachusetts during the year 1692. This corresponds to the Salem witch trails.  These trials are discussed in this Newsweek article called “The Lessons of Salem”.   This play is widely considered to be an allegory concerning McCarthyism and the Communist scare of the 1950’s in the USA.

It is also a great piece of fiction based on real life events. It has characters you can really love, and others you can really hate. There is romance, conflict and even a bit of tragedy.


a scene from The Crucible

There are four acts in The Crucible. Each week (and each act of the play) consists of the following graded items:

  • A journal in analytical paragraph (AnaPara) form addressing  Miller’s characterization of a particular character (Different character each week, you choose).
  • A journal response in AnaPara form addressing a conflict as it arises in the act.
  • An journal response in AnaPara form addressing Miller’s use of irony as it arises in the act.
  • A straightforward reading/vocabulary quiz on the act.

Arthur Miller annotates with Marilyn at his side..

Annotated books will be collected when we finish the play. Annotate for characterization (words/actions indicating character traits), conflict between and within characters, irony in words and situations, and vocabulary. Needless to say, you will want to keep your book handy at all times. Hilighting and notes in the margins are expected. The more, the better.



Q3 Week ONE

 Monday 1/6

  • Introduction to The Crucible
  • Read “Lessons of Salem” Newsweek archive.
  • Task: complete article responses for discussion. Due before class, digitally through school website dropbox.

 Tuesday 1/7

  • Introduce characters and context.
  • Read P.2 “…Historical Accuracy of This Play” to P.16 “Enter Mercy Lewis
  • Task: Journal paragraph – Miller’s Characterization of Rev. Parris.  Due before class Wednesday, digitally through school website, blog section

Wednesday 1/8

  • Discuss/share characterization journals
  • Read P. 16 “Enter Mercy Lewis” to P. 30 “Enter Reverend John Hale of Beverly”
  • Task: Journal paragraph– Emerging conflict in in Act I. Due before class Thursday, digitally through school website, blog section

Thursday 1/9

  • Review/share conflict journals
  • Read P.30 “Enter Reverend John Hale of Beverly” to P. 46, end of Act I
  • Task: Journal Paragraph – Irony in act I.  Due before class Friday, digitally through school website, blog section

 Friday 1/10

  • Review/share irony journals
  • review vocabulary if necessary
  • Quiz on Act I (reading quiz and vocab words) MC/FITB

On concluding the play, there will be a formal essay using  journal responses as a basis. This will be elaborated on in week three.

The vocabulary words as well as the guide to paragraph writing are located in the Crucible resources area of our class/school website.

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Choose ONE of the following ideas for your response…

  • Make an arguable claim about Chris McCandless and support it with evidence from Into the Wild.
  • Make an arguable claim about Tim Treadwell and support it with evidence from Grizzly Man.

Your claims (which will serve as main ideas/thesis statements) should be based around the concept of tragedy. Your overall claim is your thesis and it must be something arguable about either Chris or Timothy, as opposed to something obvious from the plots.

Body paragraphs in these responses will follow the analytical paragraph style. Every word should work toward proving the topic sentence, and every topic sentence should work toward proving the thesis. The final product will be no more than three pages long. 1.5 or 2.0 spaced, 12 point. Times or Arial.

  • MONDAY – Talk about final tragedy essay response (dealing with ITW or Gman), isolate your thesis and start constructing topic sentences.
  • TUESDAY – Submit an outline with 1) complete introduction containing the thesis highlighted, bold or otherwise indicated clearly 2) topic sentences for at least three body paragraphs. Writing remainder of time.
  • WEDNESDAY – Day set aside for writing. Bring earbuds/ear goggles if needed.
  • THURSDAY – Peer edit day. Finished draft printed and ready to read. Show up empty handed or with anything less than a readable complete draft and it costs you 3 points.
  • FRIDAY – Submit writing response + your annotated copy of Into the Wild.

Remember how to start an essay? A quote, a bold attention getter, a rhetorical question, a definition, an observation or anecdote, or the thesis statement itself.

This is the rubric–> Essay rubric – ITW + Gman


Your analytical paragraphs have EIGHT (8) elements. This is the checklist used. All 8 elements = 8 points.

  1. Topic sentence (given above) _____
  2. Introducing the evidence and building context ______
  3.  First direct evidence ______
  4. Analysis/commentary on first evidence _____
  5. Transition and introduction of second evidence _____
  6. Second direct evidence _____
  7. Analysis/commentary on second evidence_____
  8. Concluding sentence_____

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Treadwell and his bears

Timothy Treadwell was a man with a complicated past and an obsession with bears. Treadwell devoted his life to educating people about bears, and he spent 13 summers living in Alaska. For the last few summers he filmed his experiences. Many people warned him that his actions were foolish, that he was taking too many risks and getting to involved with the bears, that he was becoming blind to his own situation.

Treadwell and his girlfriend Amy, in Alaska. In the end she met the same fate as her boyfriend.

Grizzly Man is a documentary by German director Werner Herzog.  He is also the narrator (the thick accent guy). He tells the story of Treadwell, his fascination (bordering on obsessive love) with bears, and his ultimate failure to understand the power of the world around him.

Wikipedia entry about the film—> HERE      IMDB (International Movie Database) page –> HERE

Our major goals are to understand the impetus for Treadwell’s behavior, to evaluate him as a potentially tragic figure



Three topics to take notes on as you watch. They all tie into the idea of Treadwell as a doomed person with tragic tendencies.

  1. Timothy Treadwell becomes so engrossed in his existence with the bears that he fails to acknowledge the true danger he faces.
  2. Timothy Treadwell is portrayed as someone striving to escape from the confines and realities of the human world
  3. Interviews with Treadwell’s friends and acquaintances, as well as his own footage, paint a picture of an individual who is complicated and unstable

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Each student per section is responsible for a visual representation of a chapter from Into the Wild. This is a piece of work that blends both words and images, based on the particular chapter.  It demonstrates your ability to isolate specific literary elements from the book. You have a lot of freedom as to the appearance of your piece. However, There are specific criteria for the project.

Your piece will contain the following elements…

  1. The number and title of the chapter. Your name and class # on the front clearly.
  2. A chapter overview. This provides a synopsis (like a one sentence summary) and reveals the purpose of the chapter as it relates to the work as a whole. At least five complete sentences.
  3. At least three images relating to the chapter. These could be symbolic or literal images.
  4. At least three examples of Krakauer’s use of imagery or figurative language (metaphors, similes, sensory details and non-literal images).
  5. At least three unusual or striking vocabulary words, their meanings and the sentence from which they come.
  6. An essential quote from Krakauer’s text (not one of the non-Krakauer quotes at the start, but something from the body of the chapter) that encapsulates the spirit of the chapter, and your explanation of why it is essential.

You may use digital or non-digital media, or a combination. The paper will be LEDGER size: 11″x 17″.  Other sizes are not acceptable either larger or smaller.  Late work loses 3 points per day.

The rubric /15 points possible.

             Weak -1 Satisfactory -2        Strong – 3
Chapter overview Sketchy, vague. Poorly written or with obvious errors, careless. Incomplete sentences. Illegible or indecipherable, poorly sized. Chapter not named. Sloppy. Basic but not elaborate. Errors exist.  Not strong. Informative, elaborate and complete. Clear and appropriately sized. Legible/decipherable.
Visual images Poor connection to content, random, confusing, Too few, poorly sized, hastily created or of poor quality. Unrefined.Illogical layout OK, gets the job done, but not strong.somewhat logical layout Strong/explicit connection to story, accurate (or greater) number of examples. Well sized and clear, obvious care in creation. Refined.Logical layout
Metaphor/Imagery examples Missing or too few (less than three), inaccurate, misspellings, no direct text example. Illegible or indecipherable. Poorly sized. Sloppy.  ——->or—-> Accurate, ample, direct examples (3 or more) correct spelling/mechanics. Clear, appropriately sized. Neat, readable.
Vocabulary Missing or too few (less than three), Example sentence missing, definition missing or inaccurate, misspellings. Poorly sized. Sloppy.  ——->or—> Accurate, ample direct examples, authentic example sentence, correct definition, spelling/mechanics correct. Clear, appropriately sized. Neat, readable
Essential quote and explanation Missing, or present but very poorly explained. No justification as to why quote essential. Misspellings/mechanics inaccuracy.  Incomplete sentences. Sloppy Present but not adequately explained or justified. Some mistakes. Incomplete sentences. Present, accurate, well explained and strongly justified. Complete sentences with elaboration. Neat, readable.

Some examples from the Wall of Fame 2012

Chapters galore

Please record your NAME and the CHAPTER NUMBER YOU HAVE DRAWN in the comments section below. Lets make the due date Wednesday 11/20/13. That means you are finished, complete, ready to display the product on the start of that class day.

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John Krakauer

This is the true story of one person who decided to live his life a certain way. He grew up in an affluent home but he turned his back on his family and gave itall away. He drifted on the roads. He attempted to become a man of nature. He was prepared in his spirit but not in his mind or in his body. He did not survive in nature, for some very interesting reasons.

it is also a story about the author, John Krakauer, and his own difficult relationship with his own family and with nature.

Selfie with machete, in Alaska.

Selfie with machete, in Alaska.

Three main goals for this reading unit:

  • To evaluate Chris Mccandless (the focus of the story), draw conclusions about him and his tale in the context of a modern tragedy.
  • To analyze and appreciate how John Krakauer uses language to effectively tell the story.
  • Expose ourselves to new vocabulary in a contemporary nonfiction text

McCandless’ last days

McCandless photo (self-taken) with the 142 bus

Alex/Chris S.O.S. note



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Hubris: Hubris is an overwhelming pride…an often fatal overestimation of one’s ability to navigate one’s circumstances. Hubris is often worsened by an underestimation of the circumstances themselves.

Tragedy: A tragedy is the downfall of a good or great person, usually a man, due to his own hubris and lack of self-knowledge.


“O Light! May I never look on you again…”

BIG QUESTIONS. These are what we must answer as we read the play.

  • First Big Oedipus Question: How does the character of Oedipus serve as an ideal tragic figure?
  • Second Big Oedipus Question: How does Sophocles use the ideas of sight, eyes and seeing in Oedipus the King?
  • Third Big Oedipus Question: What purpose does tragedy serve? In other words, why have it? Why would we want to see bad things happen?

Our Task for Oedipus is…






“A programme or program is a booklet available for patrons attending a live event such as theatre performances, concerts, sports events, etc. It is a printed booklet outlining the parts of the event scheduled to take place, principal performers and background information. In the case of theatrical performances, the term playbill is also used. It may be provided free of charge by the event organisers or a charge may be levied.”

A 17th century programme for Oedipus.

You are an Organizer for the drama production during the Feast of Dionysus, circa 430 BC.  You have been asked to create the programme/playbill for a production of Oedipus the King. Something that Greeks would like! You want to make a career in drama productions and this is your chance to make a real impression on the Dionysian priests, the citizens of Athens, and on Sophocles himself.

What’s in it:

  • a front cover to arrest the attention of audience members/spectators
  • a synopsis of the plot and action. This gives a summary of the story but does not reveal the plot twist/ending!.
  • a “who’s who” guide to the major characters: Oedipus, Jocasta, Creon, Teiresias, Laius, and the Chorus. This provides a paragraph dealing with the traits of the character. Answers the question “Who exactly are they and what are they trying to accomplish?” Includes an essential quote from the character.
  • a “spiderweb” diagram of the major character relationships/connections in the play.
  • a section celebrating the author and context for the play (a drama contest in Athens during the feast of Dionysus). This proves a knowledge of the importance of the play and the context of it’s existence
  • A section dealing with Oedipus as a tragic figure. This is in multiple paragraph form, discussing Oedipus a tragic figure according to our definition, with direct examples and lines from the play to support your points. Not a summary


  • A section dealing with of the importance of sight/light in the play. This is another multiple paragraph discussion of the light/dark/seeing/sight symbolism, using direct examples, lines and quotes to support your points. Not a summary.

 ——> Oedipus Programme rubric <——












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Oedipus and Tiresias:

Oedipus, Jocasta and the Chorus

Oedipus sees the truth

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Your final:  A personal reflection on the year.                         9H 2013/14

Discuss a personally transformative event or experience in your life from this past (2013-2014) school year. This could be a single event or an experience had over time. It could be an accomplishment, a victory or even a defeat. It could be a relationship built or lost. It could be a lesson learned, a good time or a bad time. It does not have to be purely school related.  It must be something you were (or still are) a part of.

It is not about something you merely witnessed or heard about (news story, gossip, a movie you saw). It is not about something you bought or was bought for you. It is not about what you own.

Whatever you choose, it will be something that has actually altered you in some way from the person you were in August.

As a personal essay, this uses “I” frequently and has a somewhat more personal or casual tone than a literary analysis. Your personal reflection…

  • Has an introduction paragraph that introduces (of course) the topic and contains the thesis, or claim you are making about yourself in relation to the event or experience. For example, “My experiences as a volunteer have made me a stronger and more compassionate person”, or “I appreciate life far more than I used to after losing my grandfather”.  This is the idea you will be discussion in the writing.
  • Explains in detail the topic/focus. Gives context for the reader. Gives background. Defines what you’re discussing.
  • Explains your own role in the experience – Gives particular examples of what happened, your involvement and possibly the involvement of others
  • Reflects and provides insights into your deeper personal feelings concerning the topic and how you are/have been affected by the event/experience.
  • Has a conclusion that touches on the ideas of the introduction.

Writing Rubric –








Ideas & Content creates a focused, very detailed picture of the experience; expresses fresh insights about a sense of personal involvement.




Ideas & Content crafts a clear description of the experience; details help convey key ideas and insights to the reader.




Ideas & Content attempts to describe the experience, but may not give details or may lost control or narrative; details may be general or unrelated to the story.




Ideas & Content does not tell a personal story; writer may go off in several directions without a sense of purpose.




Organization unfolds a carefully-organized narrative, in a sequence that moves the reader smoothly through the text; ideas, sentences, and paragraphs are tied together.




Organization shows a well-planned narrative strategy; writing is easy to follow; ideas are evenly tied together; events and details fit where they are placed.




Organization may not craft a complete story structure, or may have trouble tying ideas together; reader may be confused by poorly-placed events or details.




Organization writing is extremely hard to follow; story sequence, if any, is disorganized or incomplete; ideas and details are not tied together.




Word Choice uses everyday language in a natural way; uses sophisticated vocabulary strategically that creates a striking picture and brings the story to life.




Word Choice uses words that fit the story and create an accurate picture of a place; experiments with some new words.




Word Choice may not use words that convey strong feelings or images; some words are overused or may not fit the story purpose.




Word Choice has a hard time finding the right words; may use words that do not fit the topic; some vocabulary detracts from the meaning of the text.




Sentence Fluency well-crafted simple and complex sentences flow in a smooth rhythm ; dialogue, if used, sounds natural and strengthens the story; sentence lengths and patterns vary.




Sentence Fluency crafts easy-to-follow sentences; may effectively use fragments and/or dialogue to enhance the story.




Sentence Fluency simple sentences work, but may have trouble with more complicated structures; sentences are understandable, but may be choppy, rambling or awkward.




Sentence Fluency sentences are incomplete, rambling, or confusing; may have trouble understanding how words and sentences fit together.




Conventions is skilled in most writing conventions; proper use of the rules of English enhances clarity and narrative styles. Spelling/grammar not an issue.




Conventions spelling, capitalization, punctuation and usage are mostly correct; minor errors don’t interfere with following the writing; some editing may be needed.




Conventions makes frequent, noticeable mistakes, which interfere with a smooth reading of the story; extensive editing is needed.




Conventions makes repeated errors in spelling, word choice, punctuation and usage; sentence structures may be confused; few connections made between ideas.

FINAL REFLECTION/NARRATIVE  <—– the document above (in Word)


We will spend class time writing during the pre-finals week.


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Slaughterhouse 5 – 3D symbolism

Slaughterhouse Five is a novel about alien abduction, time travel, bombs, family ties and surviving as an American prisoner of war in nazi Germany.

This will be the final book, and the final project is based on it.

The project is to create (not purchase) a three dimensional object that symbolizes an aspect/aspects of the book. This product will be accompanied by a written rationale explaining your product’s symbolism in detail. Use common sense when deciding on the size of your product. If it can be cupped in the palm of your hand it is too small. If it cannot sit on a shelf or is physically inconvenient to move, then it is too big.

It will be due on the day of the final –> (Thursday finals week)

Slaughterhouse 5 – 3D symbolism Rubric!



Demonstrates insightful and engaged knowledge of the text through the creation.


Attention to detail and quality are very evident in the product. Reflects a sustained effort.


Product itself is elaborate, unusual, unique or creative, approaches the source text in an abstract way.


Amount of text in rationale is ample and descriptive in explaining the symbolic value of the product. (Text fully rationalizes the product). Text is mechanically/grammatically sound.


 Product and rationale are submitted on time, complete


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