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START HERE- Unit 4: Literary Research Project

Although this is called "Unit 4", it actually occurs as you complete the other units; thus, we are starting the course with it. It is important for you to start reading the text as soon as possible. Please note which chapters are required in each unit. Chapters that are not indicated in each unit are "recommended" not required. (This means that you do not have to read them...but if you were interested you could!)

—---- Overview

Learning Goals To reinforce and demonstrate what you have learned throughout our course, you will be completing an independent reading task. This task will take place throughout the course, and will reflect the development of your ideas and abilities.

Ultimately, you will:

Analyse and reflect on increasingly complex texts; Research a specific topic and for a specific purpose; Connect and apply a literary critical text to literary samples; Structure, annotate, and document ideas using Reader's Notes.

Cumulative Task Overview As we begin our course, it is important that you are aware of the expectations of the ISU, as well as the pace at which you need to read the text and complete each task.

How to Read Literature Like a Professor For your cumulative task, you must read How to Read Literature Like a Professor. The link to the text is provided here. Please note that this is the second edition, and it is not the "for children" version. If you find a paper copy (book), please make sure that you are reading the correct version. Click on the link below to access the book. Please also note that from this point on, the title may be referred to as HTRLLAP.

How to Read Literature Like a Professor

There is also a PDF version available in the Course Materials. Here's the link: How to Read Literature Like a Professor 2nd Print Copy

https://mseffie.com/assignments/professor/How%20to%20Read%20Literature%20like%20a%20 Professor%202nd.pdf

BOOK LINK ABOVE

Reader's Notes As you read the required chapters for each unit, you will keep detailed Reader's Notes. For each unit, an outline is provided for you to structure your Reader's Notes, and help you to engage with the text. As well, specific rubrics are provided for each Reader's Notes submission. It is important to note that each individual submission of Reader's Notes comprises 5% of your total mark--it is good to demonstrate your best thinking!

Final Culminating Response You will apply the concepts of How to Read Literature Like A Professor to a sight passage in the final days of the course. This will not be released to you until all the other components of the course are complete. The rubric for assessment will also be released at the same time as the task.

Submission All parts of your cumulative task will be submitted in each unit to the appropriate dropboxes which can also be found in the submissions tab at the top of your screen.

—— 4.1 :reading response notes

Overview You are responsible for demonstrating your understanding of the required chapters by submitting Reader's Notes. There is a specific format you must follow as well as specific topics you must make note of. An outline for each assigned chapter is provided for you. Download the document, and complete the outline as you read the chapter. Then, once you have reviewed your notes, and made note of the rubric, upload the document to the specific dropbox. You must submit your Reader's Notes regularly, during each Unit of the course.

Make sure that you submit each document to the drop box by the due date.

https://mseffie.com/assignments/professor/How%20to%20Read%20Literature%20like%20a%20Professor%202nd.pdf

Unit 1 reader notes below) introduction , chapters 1,4,6,14) LMK IF U WANT ME TO SHARE GOOGLE DOC INSTEAD OF PDF SINCE I THINK INTERATCIVE LINKS

file:///C:/Users/shyan/Downloads/Copy%20of%20Copy%20of%20Class%205%20Readers'%20 Notes%20%231%20(Revised).pdf

Unit 2 reader notes (chapter 2 ,12,13,19,21)LMK IF U WANT ME TO SHARE GOOGLE DOC INSTEAD OF PDF SINCE I THINK INTERATCIVE LINKS

file:///C:/Users/shyan/Downloads/Copy%20of%20Copy%20of%20Reader's%20Notes%202%20( revised).pdf

Unit 3 reader notes (chapter 5,16,18,23,24)LMK IF U WANT ME TO SHARE GOOGLE DOC INSTEAD OF PDF SINCE I THINK INTERATCIVE LINKS

file:///C:/Users/shyan/Downloads/Copy%20of%20Copy%20of%20Reader's%20Notes%203%20( revised).pdf

The focus of the Reader's Notes is on summary and reflection - it should document your thinking and understanding as you read the text. As well, you should be connecting what you are reading in the text to what you are learning and reading in the Unit as a whole.

Submission Reader's Notes should be submitted to the appropriate dropboxes:

Reader Notes 1 Reader Notes 2 Reader Notes 3 —-----------

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

Introduction

Please make notes on the following questions: How do memory, symbol, and pattern affect the reading of literature? How does the recognition of patterns make it easier to read complicated literature? Discuss a time when your appreciation of a literary work was enhanced by your understanding of a symbol or pattern CHAPTER 1: Every Trip is a Quest (Except When It’s Not)

What quest examples can you think of? Remember, “The real reason for a quest is always self-knowledge.” (p. 3)

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

CHAPTER 4: Now, Where Have I Seen Her Before?

Finding Allusions in Textual Excerpts Take a look at three different textual references in the handout below. One is the original text from Genesis of Cain and Abel. The second two are from Beowulf and East of Eden.

What examples of intertextuality can you find?

Were these references difficult or easy to spot?

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14 How to Read Literature Like a Professor by Thomas C. Foster Chapter 4 Textual Excerpt

Analyzing Biblical Allusions in Literature Genesis 4:1-16

Beowulf, translated by Seamus Heaney East of Eden by John Steinbeck

Genesis 4:1-16

Adam made love to his wife Eve, and she became pregnant and gave birth to Cain.

She said, “With the help of the Lord I have brought forth a man.” Later she gave birth

to his brother Abel.

Now Abel kept flocks, and Cain worked the soil. In the course of time Cain brought

some of the fruits of the soil as an offering to the Lord. And Abel also brought an

offering—fat portions from some of the firstborn of his flock. The Lord looked with

favor on Abel and his offering, but on Cain and his offering he did not look with

favor. So Cain was very angry, and his face was downcast.

Then the Lord said to Cain, “Why are you angry? Why is your face downcast? If you

do what is right, will you not be accepted? But if you do not do what is right, sin is

crouching at your door; it desires to have you, but you must rule over it.”

Now Cain said to his brother Abel, “Let’s go out to the field.” While they were in the

field, Cain attacked his brother Abel and killed him.

Then the Lord said to Cain, “Where is your brother Abel?”

“I don’t know,” he replied. “Am I my brother’s keeper?”

The Lord said, “What have you done? Listen! Your brother’s blood cries out to me

from the ground. Now you are under a curse and driven from the ground, which

opened its mouth to receive your brother’s blood from your hand. When you work

the ground, it will no longer yield its crops for you. You will be a restless wanderer

on the earth.”

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

Cain said to the Lord, “My punishment is more than I can bear. Today you are

driving me from the land, and I will be hidden from your presence; I will be a

restless wanderer on the earth, and whoever finds me will kill me.”

But the Lord said to him, “Not so; anyone who kills Cain will suffer vengeance seven

times over.” Then the Lord put a mark on Cain so that no one who found him would

kill him. So Cain went out from the Lord’s presence and lived in the land of Nod, east

of Eden.

From Seamus Heaney’s translation of Beowulf (1999) Grendel was the name of this grim demon haunting the marches, marauding round the heath and the desolate fens; he had dwelt for a time in misery among the banished monsters, Cain's clan, whom the creator had outlawed and condemned as outcasts. For the killing of Abel the Eternal Lord had exacted a price: Cain got no good from committing that murder because the Almighty made him anathema and out of the curse of his exile there sprang ogres and elves and evil phantoms and the giants too who strove with God time and again until He gave them their reward. (102-114) From John Steinbeck’s East of Eden “I believe that there is one story in the world, and only one…Humans are caught—in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too—in a net of good and evil…There is no other story. A man, after he has brushed off the dust and chips of his life, will have left only the hard, clean questions: Was it good or was it evil? Have I done well—or ill?”

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

CHAPTER 6: …Or the Bible

Consider these Bible stories that are commonly alluded to. Are you familiar with them? Make notes on the ones you aren’t familiar with. Consider what universal themes might be evident in each story. Old Testament

● The creation story (Adam & Eve, Forbidden Fruit, serpent as a symbol, etc.)

● Cain and Abel

● Noah’s Ark

● Tower of Babel

● Lot and his wife (Sodom and Gomorrah)

● Abraham and Isaac

● David & Goliath

● The story of Job

New Testament ● Jesus’ birth (virgin birth, the wise men, star in the sky, Jesus born in a manger, etc.)

● Parables: (The Good Samaritan, The Prodigal Son, The Parable of the Mustard Seed, etc.)

● Jesus’ miracles (feeding 5000, water into wine, walking on water, bringing Lazarus back from the

dead, etc.)

● Jesus’ betrayal, crucifixion, and resurrection

● Revelations (four horsemen of the apocalypse, etc.)

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

CHAPTER 14: Yes, She’s a Christ Figure, Too

Textual Excerpt—Lord of the Flies Read the excerpt from William Golding’s Lord of the Flies. (Feel free to annotate!)This novel makes frequent use of ___________________, so it is a highly suggested read for AP students.

In this excerpt, what evidence can you find to support Simon as a Christ figure? Underline evidence as you find it.

Afterwards, discuss why Golding may employ Simon as a Christ figure in this text? How does his character differ from the other boys’?

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14 How to Read Literature Like a Professor by Thomas C. Foster Chapter 14 Textual Excerpt

Analyzing Christ Figures in Literature Lord of the Flies by William Golding

The boys are growing restless and frightened on the island, mostly due to a fear of some terrible “beast” roaming around. The more violent boys hunt and kill a wild pig, skewering its head in the forest. Meanwhile, an introspective and mysteriously wise boy named Simon wanders into the forest to be alone. He encounters the pig head and becomes terrified as it begins to speak. "You are a silly little boy," said the Lord of the Flies, "just an ignorant, silly little boy." Simon moved his swollen tongue but said nothing. "Don't you agree?" said the Lord of the Flies. "Aren't you just a silly little boy?" Simon answered him in the same silent voice. "Well then," said the Lord of the Flies, "you'd better run off and play with the others. They think you're batty. You don't want Ralph to think you're batty, do you? You like Ralph a lot, don't you? And Piggy, and Jack?" Simon's head was tilted slightly up. His eyes could not break away and the Lord of the Flies hung in space before him. "What are you doing out here all alone? Aren't you afraid of me?" Simon shook. "There isn't anyone to help you. Only me. And I'm the Beast." Simon's mouth labored, brought forth audible words. "Pig's head on a stick." "Fancy thinking the Beast was something you could hunt and kill!" said the head. For a moment or two the forest and all the other dimly appreciated places echoed with the parody of laughter. "You knew, didn't you? I'm part of you? Close, close, close! I'm the reason why it's no go? Why things are what they are?" The laughter shivered again. "Come now," said the Lord of the Flies. "Get back to the others and we'll forget the whole thing." Simon's head wobbled. His eyes were half closed as though he were imitating the obscene thing on the stick. He knew that one of his times was coming on. The Lord of the Flies was expanding like a balloon. "This is ridiculous. You know perfectly well you'll only meet me down there--so don't try to escape!" Simon's body was arched and stiff. The Lord of the Flies spoke in the voice of a schoolmaster.

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

"This has gone quite far enough. My poor, misguided child, do you think you know better than I do?" There was a pause. "I'm warning you. I'm going to get angry. D'you see? You're not wanted. Understand? We are going to have fun on this island. Understand? We are going to have fun on this island! So don't try it on, my poor misguided boy, or else--" Simon found he was looking into a vast mouth. There was blackness within, a blackness that spread. "--Or else," said the Lord of the Flies, "we shall do you? See? Jack and Roger and Maurice and Robert and Bill and Piggy and Ralph. Do you. See?" Simon was inside the mouth. He fell down and lost consciousness. Over the island the build-up of clouds continued. A steady current of heated air rose all day from the mountain and was thrust to ten thousand feet; revolving masses of gas piled up the static until the air was ready to explode. By early evening the sun had gone and a brassy glare had taken the place of clear daylight. Even the air that pushed in from the sea was hot and held no refreshment. Colors drained from water and trees and pink surfaces of rock, and the white and brown clouds brooded. Nothing prospered but the flies who blackened their lord and made the spilt guts look like a heap of glistening coal. Even when the vessel broke in Simon's nose and the blood gushed out they left him alone, preferring the pig's high flavor. With the running of the blood Simon's fit passed into the weariness of sleep. He lay in the mat of creepers while the evening advanced and the cannon continued to play. At last he woke and saw dimly the dark earth close by his cheek. Still he did not move but lay there, his face sideways on the earth, his eyes looking dully before him. Then he turned over, drew his feet under him and laid hold of the creepers to pull himself up. When the creepers shook the flies exploded from the guts with a vicious note and clamped back on again. Simon got to his feet. The light was unearthly. The Lord of the Flies hung on his stick like a black ball. Simon spoke aloud to the clearing. "What else is there to do?" Nothing replied. Simon turned away from the open space and crawled through the creepers till he was in the dusk of the forest. He walked drearily between the trunks, his face empty of expression, and the blood was dry round his mouth and chin. Only sometimes as he lifted the ropes of creeper aside and chose his direction from the trend of the land, he mouthed words that did not reach the air. Presently the creepers festooned the trees less frequently and there was a scatter of pearly light from the sky down through the trees. This was the backbone of the island, the slightly higher land that lay beneath the mountain where the forest was no longer deep jungle. Here there were wide spaces interspersed with thickets and huge trees and the trend of the ground led him up as the forest opened. He pushed on, staggering sometimes with his

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

weariness but never stopping. The usual brightness was gone from his eyes and he walked with a sort of glum determination like an old man. A buffet of wind made him stagger and he saw that he was out in the open, on rock, under a brassy sky. He found his legs were weak and his tongue gave him pain all the time. When the wind reached the mountain-top he could see something happen, a flicker of blue stuff against brown clouds. He pushed himself forward and the wind came again, stronger now, cuffing the forest heads till they ducked and roared. Simon saw a humped thing suddenly sit up on the top and look down at him. He hid his face, and toiled on. The flies had found the figure too. The life-like movement would scare them off for a moment so that they made a dark cloud round the head. Then as the blue material of the parachute collapsed the corpulent figure would bow forward, sighing, and the flies settle once more. Simon felt his knees smack the rock. He crawled forward and soon he understood. The tangle of lines showed him the mechanics of this parody; he examined the white nasal bones, the teeth, the colors of corruption. He saw how pitilessly the layers of rubber and canvas held together the poor body that should be rotting away. Then the wind blew again and the figure lifted, bowed, and breathed foully at him. Simon knelt on all fours and was sick till his stomach was empty. Then he took the lines in his hands; he freed them from the rocks and the figure from the wind's indignity. At last he turned away and looked down at the beaches. The fire by the platform appeared to be out, or at least making no smoke. Further along the beach, beyond the little river and near a great slab of rock, a thin trickle of smoke was climbing into the sky. Simon, forgetful of the flies, shaded his eyes with both hands and peered at the smoke. Even at that distance it was possible to see that most of the boys--perhaps all of the boys--were there. So they had shifted camp then, away from the beast. As Simon thought this, he turned to the poor broken thing that sat stinking by his side. The beast was harmless and horrible; and the news must reach the others as soon as possible. He started down the mountain and his legs gave beneath him. Even with great care the best he could do was a stagger. The perspective shifts to the rest of the boys, experiencing a power struggle between two boys who want to be in charge. Jack claims power, leading them in a tribal ritual and longing to kill again, after their successful hunt and slaughter of the pig. The dark sky was shattered by a blue-white scar. An instant later the noise was on them like the blow of a gigantic whip. The chant rose a tone in agony. "Kill the beast! Cut his throat! Spill his blood!" Now out of the terror rose another desire, thick, urgent, blind. "Kill the beast! Cut his throat! Spill his blood!" Again the blue-white scar jagged above them and the sulphurous explosion beat down. The littluns screamed and blundered about, fleeing from the edge of the forest, and one of them broke the ring of biguns in his terror. "Him! Him!"

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

The circle became a horseshoe. A thing was crawling out of the forest. It came darkly, uncertainly. The shrill screaming that rose before the beast was like a pain. The beast stumbled into the horseshoe. "Kill the beast! Cut his throat! Spill his blood!" The blue-white scar was constant, the noise unendurable. Simon was crying out something about a dead man on a hill. "Kill the beast! Cut his throat! Spill his blood! Do him in!" The sticks fell and the mouth of the new circle crunched and screamed. The beast was on its knees in the center, its arms folded over its face. It was crying out against the abominable noise something about a body on the hill. The beast struggled forward, broke the ring and fell over the steep edge of the rock to the sand by the water. At once the crowd surged after it, poured down the rock, leapt on to the beast, screamed, struck, bit, tore. There were no words, and no movements but the tearing of teeth and claws. Then the clouds opened and let down the rain like a waterfall. The water bounded from the mountain-top, tore leaves and branches from the trees, poured like a cold shower over the struggling heap on the sand. Presently the heap broke up and figures staggered away. Only the beast lay still, a few yards from the sea. Even in the rain they could see how small a beast it was; and already its blood was staining the sand.

Reader’s Notes 1 Introduction, Chapters 1, 4, 6, 14

Final Reflection and Connection What connections can you make between the content of these chapters and the literary texts presented in this unit? Use specific examples and be sure to explain your thinking. Express yourself in complete sentences and paragraphs.

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21 How to Read Literature Like a Professor by Thomas C. Foster

CHAPTER 12: Is That a Symbol?

1. “OF COURSE IT IS” (104). Why does Foster affirm that so directly?

2. Explain the difference between a symbol and an allegory in at least one sentence.

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21

CHAPTER 19: Geography Matters…

Watch this video on “how to summarize”. Then, in a brief paragraph, summarize the first part of the chapter “Geography Matters” (until page 179). Going South

● Foster continues, saying there is a noted pattern among characters who move _____________. ● “When writers send characters south, it’s so they can run ___________…We might add, if we’re

being generous, that they run amok because they are having direct, raw encounters with the _______________________” (119).

● Some titles that prove this tendency include (add to these two examples with two of your own):

Divine Secrets of the Ya-Ya Sisterhood

“Jackson” by Johnny Cash and June Carter

Textual Excerpt – In the Lake of the Woods (Feel free to annotate the text) · Read the excerpt of the first two pages of Tim O’Brien’s In the Lake of the Woods. · Try to piece the plot and story together based on this information alone. · When reading this, use the geography details to build information about the setting. Context and Details (read the excerpt and fill in the blanks, then answer the questions). · These pages present John Wade and his wife Kathy as they find solitude in a rented cabin in _____________________ northernmost point, Lake of the Woods. · John recently lost the election running for _________________ after details from his time spent in the ________________ War came to light, particularly his involvement in the My Lai _____________________. · The __________ of this book follows various hypotheses on what happened to _________, as she disappears days after the events in these pages. Some ______________ include Kathy running off with a lover, her ______________ in the lakes and bogs around their cabin, or John __________________ her and hiding her body. Use the Geography to find MORE ★ Reread the excerpt, using the context and background details to find more evidence and literary

analysis.

○ How does the description of the lake and surrounding area of the cabin reflect the couple’s marriage?

https://www.youtube.com/watch?v=eGWO1ldEhtQ

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21

○ Knowing the fate of Kathy, what evidence of foreshadowing can you find in the geography?

○ Can you use any of the tips from the chapter on rain and weather to help you build theme and find symbols?

How to Read Literature Like a Professor by Thomas C. Foster Chapter 19 Textual Excerpt Analyzing Geography in Literature

In the Lake of the Woods by Tim O’Brien

In September, after the primary, they rented an old yellow cottage in the timber at the edge of Lake of the Woods. There were many trees, mostly pine and birch, and there was the dock and the boathouse and the narrow dirt road that came through the forest and ended in polished gray rocks at the shore below the cottage. Then there were no roads at all. There were no towns and no people. Beyond the dock the big lake opened northward into Canada, where the water was everything, vast and very cold, and where there were secret channels and portages and bays and tangled forests and islands without names. Everywhere, for many thousand square miles, the wilderness was all one thing, like a great curving mirror, infinitely blue and beautiful, always the same. Which was what they had come for. They needed the solitude. They needed the repetition, the dense hypnotic drone of woods and water, but above all they needed to be together. At night they would spread their blankets on the porch and lie watching the fog move toward them from across the lake. They were not yet prepared to make love. They had tried once, but it had not gone well, so now they would hold each other and talk quietly about having babies and perhaps a house of their own. They pretended things were not so bad. The election had been lost, but they tried to believe it was not the absolute and crushing thing it truly was. They were careful with each other; they did not talk about the sadness or the sudden trapdoor feeling in their stomachs. Lying still under their blankets, they would take turns thinking up names for the children they wanted—funny names, sometimes, so they could laugh—and then later they would plan the furnishings for their new house, the fine rugs they would buy, the antique brass lamps, the exact colors of the wallpaper, all the details, how they would be sure to have a giant sun porch and stone fireplace and a library with tall walnut bookcases and a sliding ladder.

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21

In the darkness it did not matter that these things were expensive and impossible. It was a terrible tie in their lives and they wanted desperately to be happy. They wanted happiness without knowing what it was, or where to look, which made them want it all the more. “Verona,” Kathy would say, “I’d love to spend a few days in Verona.” And then for a long while they would talk about Verona, the things they would see and do, trying to make it real in their minds. All around them, the fog moved in low and fat off the lake, and their voices would seem to float away for a time and then return to them from somewhere in the woods beyond the porch. It was an echo, partly. But inside the echo there was also a voice not quite their own—like a whisper, or a nearby breathing, something feathery and alive. They would stop and listen, except the sound was never there when listened for. It mixed with the night. There were rustlings in the timber, things growing and things rotting. There were night birds. There was the lap of lake against shore. And it was then, listening, that they would feel the trapdoor drop open, and they’d be falling into that emptiness where all the dreams used to be.

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21

CHAPTER 21: Marked for Greatness

· Foster says, “…in literature we continue to understand _________________ imperfection in symbolic terms. It has to do with being different, really. Sameness doesn’t present us with ___________________ possibilities, whereas difference—from the _______________, the typical, the expected—is always __________ with possibility” (202). · Encountering a character with a physical marking is like the ___________ signaling you to pay attention to this character. “Physical markings by their very nature __________ attention to themselves and signify some _____________________ or thematic point the writer wants to make” (208). What physically marked characters are included in the chapter, and what others can you think of? Close Reading – Frankenstein · Mary Shelley’s Frankenstein uses the concept of _______________ markings in a brilliant way. · The creature, although physically _____________, does not feel hideous inside. Instead, he learns his ________________ from men, just as he learns his capacity for ________. · Victor Frankenstein, despite being completely ______________-looking on the outside, has an ambition inside him that cannot be stopped. It causes him to create the ______________, without proper forethought to the ramifications of his _________________. · The first excerpt is from the point of view of Victor Frankenstein after he succeeds in his experiment. How does the creature’s physical exterior cloud Victor’s judgment of him? · The second excerpts are from the point of view of the creature as he survives in the woods. How does the creature’s knowledge of his own deformities affect his sense of self-worth? · The juxtaposition of the creature versus Victor makes you question what does make a person monstrous, his exterior or his actions? After reading both of these, which character do you sympathize with and why?

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21 How to Read Literature Like a Professor by Thomas C. Foster Chapter 21 Textual Excerpt

Analyzing Physical Deformities in Literature Frankenstein by Mary Shelley

Excerpt #1 – Victor Frankenstein is telling a companion about his endeavor to reanimate a dead body. After working like a madman for two years, he finally succeeds, then immediately regrets it.

It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room and continued a long time traversing my bed-chamber, unable to compose my mind to sleep. At length lassitude succeeded to the tumult I had before endured, and I threw myself on the bed in my clothes, endeavouring to seek a few moments of forgetfulness. But it was in vain; I slept, indeed, but I was disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her, but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave-worms crawling in the folds of the flannel. I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch—the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21

inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs. I took refuge in the courtyard belonging to the house which I inhabited, where I remained during the rest of the night, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound as if it were to announce the approach of the demoniacal corpse to which I had so miserably given life.

Oh! No mortal could support the horror of that countenance. A mummy again endued with animation could not be so hideous as that wretch. I had gazed on him while unfinished; he was ugly then, but when those muscles and joints were rendered capable of motion, it became a thing such as even Dante could not have conceived. (From Frankenstein, chapter 5) Excerpt #2 – After Victor sees the creature he abandons him and retreats to his childhood home. The creature wanders into the woods and attempts to find companionship, but everyone runs away from him. Eventually he finds a hovel next to a small cottage. He spends his days watching the family in that cottage and learning about them and how to communicate. “I had admired the perfect forms of my cottagers—their grace, beauty, and delicate complexions; but how was I terrified when I viewed myself in a transparent pool! At first I started back, unable to believe that it was indeed I who was reflected in the mirror; and when I became fully convinced that I was in reality the monster that I am, I was filled with the bitterest sensations of despondence and mortification. Alas! I did not yet entirely know the fatal effects of this miserable deformity. (From Frankenstein, chapter 12) Excerpt #3 – The cottagers are visited by a foreign friend, and they teach her about their society. This teaches the creature about humankind in general, and how he differs from everyone else.

“Every conversation of the cottagers now opened new wonders to me. While I listened to the instructions which Felix bestowed upon the Arabian, the strange system of human society was explained to me. I heard of the division of property, of immense wealth and squalid poverty, of rank, descent, and noble blood.

“The words induced me to turn towards myself. I learned that the possessions most esteemed by your fellow creatures were high and unsullied descent united with riches. A man might be respected with only one of these advantages, but without either he was considered, except in very rare instances, as a vagabond and a slave, doomed to waste his powers for the profits of the chosen few! And what was I? Of my creation and creator I was absolutely ignorant, but I knew that I possessed no money, no friends, no kind of property. I was, besides, endued with a figure hideously deformed and loathsome; I was not even of the same nature as man. I was more agile than they and could subsist upon coarser diet; I bore the extremes of heat and cold with less injury to my frame; my stature far exceeded theirs. When I looked around I saw and heard of none like me. Was

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21

I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned?

“I cannot describe to you the agony that these reflections inflicted upon me; I tried to dispel them, but sorrow only increased with knowledge. Oh, that I had for ever remained in my native wood, nor known nor felt beyond the sensations of hunger, thirst, and heat!

“Of what a strange nature is knowledge! It clings to the mind when it has once seized on it like a lichen on the rock. I wished sometimes to shake off all thought and feeling, but I learned that there was but one means to overcome the sensation of pain, and that was death—a state which I feared yet did not understand. I admired virtue and good feelings and loved the gentle manners and amiable qualities of my cottagers, but I was shut out from intercourse with them, except through means which I obtained by stealth, when I was unseen and unknown, and which rather increased than satisfied the desire I had of becoming one among my fellows. The gentle words of Agatha and the animated smiles of the charming Arabian were not for me. The mild exhortations of the old man and the lively conversation of the loved Felix were not for me. Miserable, unhappy wretch!

“Other lessons were impressed upon me even more deeply. I heard of the difference of sexes, and the birth and growth of children, how the father doted on the smiles of the infant, and the lively sallies of the older child, how all the life and cares of the mother were wrapped up in the precious charge, how the mind of youth expanded and gained knowledge, of brother, sister, and all the various relationships which bind one human being to another in mutual bonds.

“But where were my friends and relations? No father had watched my infant days, no mother had blessed me with smiles and caresses; or if they had, all my past life was now a blot, a blind vacancy in which I distinguished nothing. From my earliest remembrance I had been as I then was in height and proportion. I had never yet seen a being resembling me or who claimed any intercourse with me. What was I? The question again recurred, to be answered only with groans. (From Frankenstein, chapter 13)

Reader’s Notes 2 Chapters 12, 13, 14, 19, 21 Final Reflection and Connection What connections can you make between the content of these chapters and the literary texts presented in this unit? Use specific examples and be sure to explain your thinking. Express yourself in complete sentences and paragraphs.

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

CHAPTER 5: When in Doubt, It’s From Shakespeare…

Summarize the many ways William Shakespeare has influenced other writers and why he is referenced by

them in 3-5 sentences. (Rewatch the summary video if you need to refresh your memory).

● This Ted Talk from Christopher Gaze explains Shakespeare’s lasting influence even 400 years after his

death. ● Notes from the Ted Talk:

Can you name the Shakespearean work that connects to these modern titles?

● The Lion King

● West Side Story

● House of Cards

● Rise of the Planet of the Apes

● She’s the Man

● 10 Things I Hate About You

● Kiss Me Kate

● Forbidden Planet

● “Sigh No More” by Mumford & Sons

● House

https://www.youtube.com/watch?v=eGWO1ldEhtQ

https://www.youtube.com/watch?v=LsESSyMnwmU

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

CHAPTER 16: It’s All About Sex… ● Foster’s chapter explains that since ______________ Interpretation of Dreams taught everyone about

sexual meaning in every day images and in the ____________________, many writers use nonsexual images to ________________ discuss sex.

● “Critics and readers are learning that sexuality may be ________________ in their reading, while writers are learning that they can encode sexuality into their ________________” (144).

● Because of _________________ laws, many writers couldn’t depict sex openly in their writing, so they had to _______________ it as something else (145).

● “Another reason is that scenes in which sex is coded rather than ______________ can work at multiple levels and sometimes be more intense than literal depictions. Those multiple levels have __________________ been to protect innocents” (149).

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

CHAPTER 18: If She Comes Up, It’s Baptism

· Foster lays out several ________________ for finding instances of symbolic baptism in texts: · The character has to go through some kind of _____________, where their lives alter drastically · The character’s ____________________ or even drowning should include some element of ______________—characters do not get baptized on ____________________ · Along the same lines, the character must be __________________ to undergo a change. · While instances of baptism all serve the same __________________ (to evoke character change), instances of ____________________ are equally significant but mean many different things. Foster says, “The rebirths/baptisms have a lot of ________________ threads, but every ________________ is serving its own purpose: character revelation, thematic development of violence or failure or guilt, plot complication or denouement.” (169) The Shawshank Redemption (1994)

● One of the best symbolic baptism scenes in film is Andy’s _______________ at the end of The Shawshank Redemption.

● This clip details how Andy escaped, but if you haven’t seen the movie, the context is important too. ● Andy was being ___________________ to launder dirty money into the prison to pay the warden, and

any reward of parole or release was _____________________ to him. ● Furthermore, Andy’s escape happened after serving ____ years in prison. He worked on his tunnel for

almost _____ years. ● After his _______________, Andy collects the warden’s stolen money and drives to Mexico. It is also

worth noting that Andy never committed the _______________ that he was serving time for, so to collect the stolen money seems almost like a deserved ________________ for 20 years of false imprisonment.

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

CHAPTER 23: It’s Never Just Heart Disease…And Rarely Just Illness

· The first part of the chapter emphasizes that _____________________ is often used in literature because of its metaphorical potential. · “In literature there is no better, no more lyrical, no more perfectly ___________________ illness than heart disease” (216). · Foster explains that because of the _____________ associated meanings, it can be used in many ways. These include, “bad love, ___________________, cruelty, pederasty, _________________, cowardice, lack of ___________________. Socially, it may stand for these matters on a larger scale, or for something seriously _____________ at the heart of things” (217). Tuberculosis · Foster’s examples about heart disease are extremely thorough, but there may be even more examples of ___________________ appearing in literature. · Sometimes referred to as the white plague or the “___________________________,” tuberculosis had a ________________, romantic quality because of its eerily beautiful physical symptoms as the victim _____________. · To learn more about authors affected by tuberculosis, I recommend reading about __________________________ (who lost his mother and wife to the disease) and poor ____________________. Keats was an incredibly talented __________________ poet, who seemed genuinely in love with his fiancé, Fanny Brawne. Unfortunately, he died at the young age of _____, before he was able to marry. Many of his best poems were written in the _________ years of his life, as he faced his own impending ______________. Close Reading – Les Miserablés (Feel free to annotate!) · Remember Foster’s principles on incorporating disease in literature as you read the excerpt from Les Misérables. This excerpt meets all of the standards (pages 222-224): o 1.

o 2.

o 3.

o 4.

· Foster says, “when a writer employs TB directly or indirectly, he’s making a ____________________ about the victim of the disease” (225). · Read this excerpt and examine the suffering of Fantine in relation to her personal struggles at the end of her life. Consider what metaphorical purpose her tuberculosis serves.

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24 How to Read Literature Like a Professor by Thomas C. Foster Chapter 23 Textual Excerpt

Analyzing the Symbolism of Disease in Literature Les Misérables by Victor Hugo

Fantine is a young woman who sends every penny she makes to an innkeeper and his wife, who raise her illegitimate daughter, Cosette. Monsieur le Maire, aka Jean Valjean, feels responsible for Fantine, as he allowed her to be fired from the factory he owned. Valjean did not step in to help her at first, because he has been hiding his true identity from an obsessive cop, Javert, hunting him down for breaking parole years ago. Because Fantine could not find work and the innkeeper, Thénardier, demands more and more money to raise Cosette, Fantine was forced into prostitution. Valjean finally rescues Fantine as she was being beaten in the freezing cold. Despite Valjean’s attempts to revive her, Fantine appears to be suffering from consumption. In her final days, she obsesses over Cosette, worrying about who will care for her if she dies. Valjean seeks the girl out, and in this excerpt he is returning from his journey to report back to Fantine.

She made no movement of either surprise or of joy; she was joy itself. That simple question, “And Cosette?” was put with so profound a faith, with so much certainty, with such a complete absence of disquiet and of doubt, that he found not a word of reply. She continued:—

“I knew that you were there. I was asleep, but I saw you. I have seen you for a long, long time. I have been following you with my eyes all night long. You were in a glory, and you had around you all sorts of celestial forms.”

He raised his glance to the crucifix. “But,” she resumed, “tell me where Cosette is. Why did not you place her on my bed

against the moment of my waking?” He made some mechanical reply which he was never afterwards able to recall. Fortunately, the doctor had been warned, and he now made his appearance. He came

to the aid of M. Madeleine. “Calm yourself, my child,” said the doctor; “your child is here.” Fantine’s eyes beamed and filled her whole face with light. She clasped her hands

with an expression which contained all that is possible to prayer in the way of violence and tenderness.

“Oh!” she exclaimed, “bring her to me!” Touching illusion of a mother! Cosette was, for her, still the little child who is carried. “Not yet,” said the doctor, “not just now. You still have some fever. The sight of your

child would agitate you and do you harm. You must be cured first.” She interrupted him impetuously:— “But I am cured! Oh, I tell you that I am cured! What an ass that doctor is! The idea! I

want to see my child!”

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

“You see,” said the doctor, “how excited you become. So long as you are in this state I shall oppose your having your child. It is not enough to see her; it is necessary that you should live for her. When you are reasonable, I will bring her to you myself.”

The poor mother bowed her head. “I beg your pardon, doctor, I really beg your pardon. Formerly I should never have

spoken as I have just done; so many misfortunes have happened to me, that I sometimes do not know what I am saying. I understand you; you fear the emotion. I will wait as long as you like, but I swear to you that it would not have harmed me to see my daughter. I have been seeing her; I have not taken my eyes from her since yesterday evening. Do you know? If she were brought to me now, I should talk to her very gently. That is all. Is it not quite natural that I should desire to see my daughter, who has been brought to me expressly from Montfermeil? I am not angry. I know well that I am about to be happy. All night long I have seen white things, and persons who smiled at me. When Monsieur le Docteur pleases, he shall bring me Cosette. I have no longer any fever; I am well. I am perfectly conscious that there is nothing the matter with me any more; but I am going to behave as though I were ill, and not stir, to please these ladies here. When it is seen that I am very calm, they will say, ‘She must have her child.’”

M. Madeleine was sitting on a chair beside the bed. She turned towards him; she was making a visible effort to be calm and “very good,” as she expressed it in the feebleness of illness which resembles infancy, in order that, seeing her so peaceable, they might make no difficulty about bringing Cosette to her. But while she controlled herself she could not refrain from questioning M. Madeleine.

“Did you have a pleasant trip, Monsieur le Maire? Oh! how good you were to go and get her for me! Only tell me how she is. Did she stand the journey well? Alas! she will not recognize me. She must have forgotten me by this time, poor darling! Children have no memories. They are like birds. A child sees one thing to-day and another thing to-morrow, and thinks of nothing any longer. And did she have white linen? Did those Thénardiers keep her clean? How have they fed her? Oh! if you only knew how I have suffered, putting such questions as that to myself during all the time of my wretchedness. Now, it is all past. I am happy. Oh, how I should like to see her! Do you think her pretty, Monsieur le Maire? Is not my daughter beautiful? You must have been very cold in that diligence! Could she not be brought for just one little instant? She might be taken away directly afterwards. Tell me; you are the master; it could be so if you chose!”

He took her hand. “Cosette is beautiful,” he said, “Cosette is well. You shall see her soon; but calm yourself; you are talking with too much vivacity, and you are throwing your arms out from under the clothes, and that makes you cough.”

In fact, fits of coughing interrupted Fantine at nearly every word. Fantine did not murmur; she feared that she had injured by her too passionate

lamentations the confidence which she was desirous of inspiring, and she began to talk of indifferent things.

“Montfermeil is quite pretty, is it not? People go there on pleasure parties in summer. Are the Thénardiers prosperous? There are not many travellers in their parts. That inn of theirs is a sort of a cook-shop.”

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

M. Madeleine was still holding her hand, and gazing at her with anxiety; it was evident that he had come to tell her things before which his mind now hesitated. The doctor, having finished his visit, retired. Sister Simplice remained alone with them.

But in the midst of this pause Fantine exclaimed:— “I hear her! mon Dieu, I hear her!” She stretched out her arm to enjoin silence about her, held her breath, and began to

listen with rapture. There was a child playing in the yard—the child of the portress or of some

work-woman. It was one of those accidents which are always occurring, and which seem to form a part of the mysterious stage-setting of mournful scenes. The child—a little girl—was going and coming, running to warm herself, laughing, singing at the top of her voice. Alas! in what are the plays of children not intermingled. It was this little girl whom Fantine heard singing.

“Oh!” she resumed, “it is my Cosette! I recognize her voice.” The child retreated as it had come; the voice died away. Fantine listened for a while

longer, then her face clouded over, and M. Madeleine heard her say, in a low voice: “How wicked that doctor is not to allow me to see my daughter! That man has an evil countenance, that he has.”

But the smiling background of her thoughts came to the front again. She continued to talk to herself, with her head resting on the pillow: “How happy we are going to be! We shall have a little garden the very first thing; M. Madeleine has promised it to me. My daughter will play in the garden. She must know her letters by this time. I will make her spell. She will run over the grass after butterflies. I will watch her. Then she will take her first communion. Ah! when will she take her first communion?”

She began to reckon on her fingers. “One, two, three, four—she is seven years old. In five years she will have a white veil,

and openwork stockings; she will look like a little woman. O my good sister, you do not know how foolish I become when I think of my daughter’s first communion!”

She began to laugh. He had released Fantine’s hand. He listened to her words as one listens to the sighing

of the breeze, with his eyes on the ground, his mind absorbed in reflection which had no bottom. All at once she ceased speaking, and this caused him to raise his head mechanically. Fantine had become terrible.

She no longer spoke, she no longer breathed; she had raised herself to a sitting posture, her thin shoulder emerged from her chemise; her face, which had been radiant but a moment before, was ghastly, and she seemed to have fixed her eyes, rendered large with terror, on something alarming at the other extremity of the room.

“Good God!” he exclaimed; “what ails you, Fantine?” She made no reply; she did not remove her eyes from the object which she seemed to

see. She removed one hand from his arm, and with the other made him a sign to look behind him.

He turned, and beheld Javert. (Les Misérables - Volume I, Book Eighth, Chapter II)

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

Fantine had not seen Javert since the day on which the mayor had torn her from the

man. Her ailing brain comprehended nothing, but the only thing which she did not doubt was that he had come to get her. She could not endure that terrible face; she felt her life quitting her; she hid her face in both hands, and shrieked in her anguish:—

“Monsieur Madeleine, save me!”… Fantine was seized with a fit of trembling. “My child!” she cried, “to go and fetch my child! She is not here, then! Answer me,

sister; where is Cosette? I want my child! Monsieur Madeleine! Monsieur le Maire!” Javert stamped his foot. “And now there’s the other one! Will you hold your tongue, you hussy? It’s a pretty sort

of a place where convicts are magistrates, and where women of the town are cared for like countesses! Ah! But we are going to change all that; it is high time!”

He stared intently at Fantine, and added, once more taking into his grasp Jean Valjean’s cravat, shirt and collar:—

“I tell you that there is no Monsieur Madeleine and that there is no Monsieur le Maire. There is a thief, a brigand, a convict named Jean Valjean! And I have him in my grasp! That’s what there is!”

Fantine raised herself in bed with a bound, supporting herself on her stiffened arms and on both hands: she gazed at Jean Valjean, she gazed at Javert, she gazed at the nun, she opened her mouth as though to speak; a rattle proceeded from the depths of her throat, her teeth chattered; she stretched out her arms in her agony, opening her hands convulsively, and fumbling about her like a drowning person; then suddenly fell back on her pillow.

Her head struck the head-board of the bed and fell forwards on her breast, with gaping mouth and staring, sightless eyes.

She was dead. (Les Misérables - Volume I, Book Eighth, Chapter IV)

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

CHAPTER 24: Don’t Read With Your Eyes

1. What is the purpose of this chapter? What is Foster’s main idea and how does he support his argument?

2. What does Foster say is the PROBLEM with “not reading with your eyes” starting on page 237?

Close Reading – The Taming of the Shrew · In the case of stories that haven’t necessarily “________________,” Shakespeare's The Taming of the Shrew often comes to mind. · In this story, a wealthy man is looking for an opportunity to marry off his __________, unpleasant daughter so he can collect a large _____________ on his younger, sought-after daughter. Katerina is married off to Petruchio, a drunken _______________ who has recently inherited money from a relative and seeking a wife ____________ for the sake of getting a dowry. · Katerina struggles with Petruchio, _________________ at him and refusing to change her stubborn ways. So Petruchio sets out to “__________” her. He withholds food, claiming it is not _________ enough for her. He buys her fine clothes, then rips them up and calling them _________. He refuses to take her to her sister’s _______________ until she admits that he is right about everything, even when he is obviously wrong · At the end of the play, the story’s three main ______________ spend time at a wedding banquet. Petruchio is still being ____________ for having a shrewish wife, but Katerina remains well-behaved. · The women retire to the next room, and the men make a _____________ among themselves. Whoever’s wife returns the ______________ when bidden will win the wager. · When summoned to their husbands, the first two wives send the ________________ back, refusing to come when called. But Katerina returns to Petruchio immediately, and drags the other two ___________ along with her. · Examine her speech, given at the end of the play, and discuss if you think it contains any ___________________ for today’s audience. Many readers, especially women, bristle at this play, and particular dislike Katerina’s speech where she ________________ her misogynistic husband. · What happens if you try to read like a citizen in Shakespeare’s age? Does the text improve at all?

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

How to Read Literature Like a Professor by Thomas C. Foster Chapter 24 Textual Excerpt

Analyzing How Literature Changes Meaning Over Years

The Taming of the Shrew by William Shakespeare

Fie, fie! unknit that threatening unkind brow,

And dart not scornful glances from those eyes,

To wound thy lord, thy king, thy governor:

It blots thy beauty as frosts do bite the meads,

Confounds thy fame as whirlwinds shake fair buds,

And in no sense is meet or amiable.

A woman moved is like a fountain troubled,

Muddy, ill-seeming, thick, bereft of beauty;

And while it is so, none so dry or thirsty

Will deign to sip or touch one drop of it.

Thy husband is thy lord, thy life, thy keeper,

Thy head, thy sovereign; one that cares for thee,

And for thy maintenance commits his body

To painful labour both by sea and land,

To watch the night in storms, the day in cold,

Whilst thou liest warm at home, secure and safe;

And craves no other tribute at thy hands

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

But love, fair looks and true obedience;

Too little payment for so great a debt.

Such duty as the subject owes the prince

Even such a woman oweth to her husband;

And when she is froward, peevish, sullen, sour,

And not obedient to his honest will,

What is she but a foul contending rebel

And graceless traitor to her loving lord?

I am ashamed that women are so simple

To offer war where they should kneel for peace;

Or seek for rule, supremacy and sway,

When they are bound to serve, love and obey.

Why are our bodies soft and weak and smooth,

Unapt to toil and trouble in the world,

But that our soft conditions and our hearts

Should well agree with our external parts?

Come, come, you froward and unable worms!

My mind hath been as big as one of yours,

My heart as great, my reason haply more,

To bandy word for word and frown for frown;

But now I see our lances are but straws,

Our strength as weak, our weakness past compare,

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

That seeming to be most which we indeed least are.

Then vail your stomachs, for it is no boot,

And place your hands below your husband's foot:

In token of which duty, if he please,

My hand is ready; may it do him ease.

Reader’s Notes 3 Chapters 5, 16, 18, 23, 24

UNIT 1: critical approaches to literature

Overview :

Learning Goals In this unit you will focus on the elements of fiction and the critical analysis of fiction and media.

Ultimately, you will:

Define and explore the elements of fiction and poetry. Research and apply critical approaches to literature, using critical thinking skills. Analyze a poem in terms of its literary elements. Write an informal critical response to a film. Complete Reader's Notes and apply what you have learned to the texts from this unit.

Unit Overview This unit is divided into four activities. We will begin by discussing the purpose of literature and continue by delving into the tools authors use to create meaning, as well as reviewing the elements of fiction and identifying key elements. Then, we will consider 4 (of the many) ways critics view text, using 4 literary lenses. Also, you will read a poem and, using a formalist lens, outline a poetry explication for evaluation. You will then view a movie and create a written response. Once again, you are encouraged to use any and all resources available to you---but be sure to document your sources. What makes literature literary? In this unit, you will delve into a quotation by Salmon Rushdie, defining literature. You will post your understanding of his idea in the discussion, as well as respond to two others in class.

Introduction to Literary Criticism In this unit, you will deepen your understanding of how literature creates meaning by reviewing common critical lenses. Your primary task is to become familiar with each.

Poetry Explication Before you begin this activity, ensure that you have received feedback from your teacher on the previous activities. You will use those skills you practised to complete a poetry explication.

Questions and Film Critique In this activity, you will use your understanding of the four literary lenses and apply it to a film of your choosing. Your mission is to write a 1 to 2 page response. Again, you may use any and all resources available to you--but you must document the information you read as well as the information you cite.

Reader's Notes Finally, you will submit your Reader's Notes for your ISU.

=============

1.1 : The power is of questions :

Learning Goals In this activity, you will...

practise critical thinking skills use reading strategies to deconstruct the ideas presented in a quotation.

Salman Rushdie: What makes literature great? In English class you will often find discussions about the literary works--but what makes such works literary? Why is Shakespeare, for example, considered one of the greatest writers of all time? What makes his work so literary? What is literature? Why study literature?

Salman Rushdie, in his text Imaginary Homelands states the following about literature:

"And it tells us there are no answers; or rather, it tells us that answers are easier to come by, and less reliable, than questions. If religion is an answer, if political ideology is an answer, then literature is an inquiry; great literature, by asking extraordinary questions, opens new doors in our minds"

Essentially, Rushdie is connecting the importance of questions to literature. You are going to consider this definition and reflect on it.

Assessment

Success Criteria Consider the following as you prepare your reflection for the dropbox:

1. There are three sections of meaning in the quotation, what are they?

2. Can you sum up what Rushdie is saying about literature?

3. Can you rephrase the quotation using your own words?

Your mission is to develop an understanding of the quotation, and be able to put it into your own words in approximately one paragraph. You will submit your understanding to the dropbox. Strive to critically reflect on the quotation and form your own idea and understanding, but also consider implications of the idea to literary works.

Dropbox: In the Rushdie Critical Reflection dropbox demonstrate your understanding by providing a brief summary paragraph reflecting on the ideas presented in the quotation

1.2 : Critical approaches to literature:

Learning Goals In this activity, you will:

Read about and discuss four literary lenses. Create and respond to questions for each literary lens.

Critical Approaches to Literature Everyon's a critic graphiti According to Karl Beckson and Arthur Ganz's in Literary Terms: A Dictionary, criticism is "the evaluation of literary works, including classification by genre, analysis of structure, and judgement of value." Essentially, literary criticism is the method we use to interpret meaning in a piece of literature (or film). Just as there are many different genres of literature, there are several different approaches we can take when analysing and interpreting a text.

The process of criticism involves the following steps:

Learning the basics In the criticism of literature, the "basics" include knowledge of the elements of literature such as character, conflict, plot, symbol, language, image, setting, and theme. Without a vocabulary for discussing literature, any kind of justifiable response (other than a purely emotional reaction) is all but impossible. The first step in literary criticism is familiarization with basic concepts.

Analyzing literary elements The process of analysis is identifying, clarifying, defining, and isolating the distinctive parts of a subject. You will identify the different elements as well as their relative importance. Also, you need to be alert to recurring patterns, images and symbols that appear in .

Interpreting the literature To interpret a literary work is to explain "what it means" in a greater context, or the theme of the work. Meaning in literature may be a point an author either states or implies. Sometimes the meaning may be a concept demonstrated directly through the action. Sometimes it evolves gradually as more details are revealed. Sometimes statements from characters will seem to sum up a point an author is making about what's going on inside or outside the literature.

Judging the literature Often we want to say right away whether we like or dislike something but it is easy to give an opinion or judgment without it meaning very much. Making a meaningful evaluation assumes that:

we have learned the basics we have conducted a thorough analysis of the elements we have interpreted the work for meaning from different perspectives Only if we have met these three conditions can we really make a significant judgment.

Adapted from the Online Learning Center. McGraw Hill Education.

http://highered.mheducation.com. Resource compiled 2003. Accessed June, 2015.

In our course, we are going to learn about five of the literary criticisms or critical approaches a reader can take when interpreting the meaning of a text. Each critical approach focuses on a different element that they believe is MOST important. For example, some critics focus on the structure of a text (formalism), while others focus on the social, economic or historical contexts in which the text was written and read (new historicism). By being familiar with several different approaches, you are able to apply multiples lenses from which to approach a text, which is helpeful when reading increasingly complex texts.

Preparing for the Discussion To prepare for the discussion in this unit, you will need to review and understand the following four literary lenses. Following the ideas of Rushdie, it is important for you to know the different questions for each lens that serve to create the perspective and identification of meaning.

New Historicism Feminism Archetypal Reader Reponse Key Questions Because you may not be familiar with these approaches, you can read a quick summary of each by clicking the links above. As well, you are encouraged to do research on your own: check out YouTube, or other websites of authority.

Critical Approaches Question Chart

Consider an orange. What questions would proponents of each lens pose about the orange?

You are to compose a question for each lens (four in total) and record them in the chart provided. You are also required to answer YOUR four questions (four answers). There can be multiple responses for each question, however, just choose one and record it. Access the chart here

CHART BELOW ASK ME TO SHARE IT TO U IF U WANT IT THNAT WAY

file:///C:/Users/shyan/Downloads/Copy%20of%20Critical%20Aproaches%20Questions.pdf

Submit your chart to the dropbox.

1.2- Critical Approaches: Literary Lens Questions Compose ONE question for each lens.

New Historicism Feminism Archetypal Reader Response

Question: Answer:

1.3: Critical approach formalism Learning Goals In this activity, you will:

Assess and analyse a poem using the critical approach of formalism. Apply the reading strategy of text annotation to improve your understanding of a poem.

Formalism

We will examine Formalism as a critical approach.

You have actually been taking a formalist approach to literature for most of your high school English career, as formalism focuses on the structure of a text. When you do a novel study and talk about character, setting and point of view, you are looking at structural elements of a novel.

A formalist critic approaches a text as a complete, isolated unit. They pay no attention to the author, historical context or the reader. They find meaning in a text by studying one of more of its key elements, such as character, point of view, plot, style, etc.

Strengths: When doing a formalist reading, you do not need to know any additional information or knowledge, other than what is provided in the text.

Weaknesses: There are a number of concerns that other critics have with this approach. First, it completely ignores the historical, social and economic context that the text was written in. It also ignores the author's intent and experiences. Secondly, it assumes that "good" literature is "coherent" and that a text that is not coherent by its standards, is not "good" literature. Lastly, it assumers that readers can refrain from having emotional reactions or investing in what they read, and can respond totally objectively to a text (Imprints 12 Teacher's Guide 442).

Inquiry Questions Inquiry questions are questions you can use to respond to a text when taking a specific approach. They allow you to focus on elements of the text that are important to each critical approach.

Here are some examples of formalist inquiry questions:

For Fiction: Who is the protagonist and what are their main characteristics? What is the setting and how is it relevant to the story? What is the story's theme? For Poems:

Who is the speaker in the poem? What is the tone and how does it impact the meaning of the poem? What symbols are present and why are they significant?

Annotating a Text When we read any text, there are a number of reading strategies we can use to help us highlight important quotes, literary devices and ideas. One strategy we can use is annotating a text.

When we are annotating a short text, such as a short story or poem, it is beneficial to read the text through once to gain an overall understanding of it before annotation. Aftewards you can do a second close reading of the text, where you highlight and make notes as you read. It is not simply about idenifying the element of the piece, but also what those elements may mean and what ideas or images are conjured up as you read.

The first poem were are going to look at is "Ode on a Grecian Urn" by John Keats . Please read (or listen) through it once before viewing the video below. The first video will model how to annotate a poem, and the second video will model how to use a formalist approach to analyzing literature.

https://youtu.be/oSVaFBFEU-M?si=1hwdb5e-lLzzl90S

https://youtu.be/ayyX2rybDWM?si=fWqJyfaOPS7gziJ3

Submission Your task is to choose ONE of the following poems from this document:

/content/enforced/16111514-EL_1920__OTH_ENG4UV-997049_701095ACECOR_ELO/Poetry Annotation Options .pdf

Once you have selected your poem, read through it once. Then complete a close reading of the poem from a formalist approach. As you read, annotate the text with as much detail as you feel is necessary. At the bottom of the poem, write what you think the overall meaning of the poem is and one inquiry question you could use to analyse this poem from a formalist approach.

https://youtu.be/oSVaFBFEU-M?si=1hwdb5e-lLzzl90S

https://youtu.be/ayyX2rybDWM?si=fWqJyfaOPS7gziJ3

Mother to Son BY LANGSTON HUGHES Well, son, I’ll tell you: Life for me ain’t been no crystal stair. It’s had tacks in it, And splinters, And boards torn up, And places with no carpet on the floor— Bare. But all the time I’se been a-climbin’ on, And reachin’ landin’s, And turnin’ corners, And sometimes goin’ in the dark Where there ain’t been no light. So boy, don’t you turn back. Don’t you set down on the steps ’Cause you finds it’s kinder hard. Don’t you fall now— For I’se still goin’, honey, I’se still climbin’, And life for me ain’t been no crystal stair. Langston Hughes, "Mother to Son" from The Collected Works of Langston Hughes. Copyright © 2002 by Langston Hughes. Reprinted by permission of Harold Ober Associates, Inc. Source: The Collected Works of Langston Hughes (University of Missouri Press (BkMk Press), 2002) ESSAY

https://www.poetryfoundation.org/poems/47559/mother-to-son

Still I Rise BY MAYA ANGELOU

You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I'll rise. Does my sassiness upset you? Why are you beset with gloom? ’Cause I walk like I've got oil wells Pumping in my living room. Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I'll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries? Does my haughtiness offend you? Don't you take it awful hard ’Cause I laugh like I've got gold mines Diggin’ in my own backyard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness,

https://www.poetryfoundation.org/poets/maya-angelou

But still, like air, I’ll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I've got diamonds At the meeting of my thighs? Out of the huts of history’s shame I rise Up from a past that’s rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that’s wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise. Maya Angelou, "Still I Rise" from And Still I Rise: A Book of Poems. Copyright © 1978 by Maya Angelou. Used by permission of Random House, an imprint and division of Penguin Random House LLC. All rights reserved.

Source: The Complete Collected Poems of Maya Angelou (1994)

https://www.poetryfoundation.org/poems/46446/still-i-rise Video of the Author Reading the Poem: https://www.youtube.com/watch?v=qviM_GnJbOM

https://www.poetryfoundation.org/poems/46446/still-i-rise

https://www.youtube.com/watch?v=qviM_GnJbOM

If We Must Die BY CLAUDE MCKAY If we must die, let it not be like hogs Hunted and penned in an inglorious spot, While round us bark the mad and hungry dogs, Making their mock at our accursèd lot. If we must die, O let us nobly die, So that our precious blood may not be shed In vain; then even the monsters we defy Shall be constrained to honor us though dead! O kinsmen! we must meet the common foe! Though far outnumbered let us show us brave, And for their thousand blows deal one death-blow! What though before us lies the open grave? Like men we’ll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting back! https://www.poetryfoundation.org/poems/44694/if-we-must-die

https://www.poetryfoundation.org/poems/44694/if-we-must-die

War

By: LEE MARACLE

In my body flows the blood of Gallic Bastille stormers and the soft, gentle ways of Salish/Cree womanhood. Deep throated base tones dissipate, swallowed by the earth; uproarious laughter sears, mutilates my voice. Child of the earth-tear of west coast rain; dew drop sparkling in the crisp, clear sun of my home. Warm woman of the Mediterranean sunscape, bleaching rough cotton-sweatshop anniversary. Thunderous, rude earthquakes that split my spirit within. Tiny grapes of wine console me. Can I deny a heritage blackened by the toil of billions, conceived in rape, plunder and butchery? In the veins, that fight to root themselves in the wondrous breadth of my

homeland, races the blood of base humanity. European thief; liar, bloodsucker. I deny you not. I fear you not. Your reality and mine no longer rankles me. I am moved by my love for human life; by the firm conviction that all the world must stop the butchery, stop the slaughter. I am moved by my scars, by my own filth to re-write history with my body to shed the blood of those who betray themselves To life, world humanity I ascribe To my people… my history… I address my vision.

https://www.poetryinvoice.com/poems/war

Who is the speaker in the poem? What is the tone and how does it impact the meaning of the poem? What symbols are present and why are they significant?

https://youtu.be/oSVaFBFEU-M?si=1hwdb5e-lLzzl90S

https://youtu.be/ayyX2rybDWM?si=fWqJyfaOPS7gziJ3

Submission Your task is to choose ONE of the following poems from this document:

/content/enforced/16111514-EL_1920__OTH_ENG4UV-997049_701095ACECOR_ELO/Poetry Annotation Options .pdf

https://youtu.be/oSVaFBFEU-M?si=1hwdb5e-lLzzl90S

https://youtu.be/ayyX2rybDWM?si=fWqJyfaOPS7gziJ3

1.4 : Summative task 1 - movie critique

Learning Goals To demonstrate what you have learned throughout this unit, you will be conducting a critique of a film using a critical approach that you have considered in the unit.

In this activity, you will:

Apply a critical approach to a film. Compose a critique of the film through a critical approach. Structure and present an insightful informal essay, 750 words in length.

Film Selection While all cinema can be analysed, some films are more difficult than others to critique at the level expected for this course. For this task, you can choose a film of your choice. Please have your film choice approved by the teacher and write an insightful response, connecting it to the ideas from this unit.

The Informal Essay The main objective of an informal essay is pleasure – both for the writer and the reader. This does not give the writer a license to rant unintelligibly or ramble pointlessly. The goal is to test your ability to freely express and defend an opinion in an organized and thoughtful manner. Although there is no rigid structure, there are still some important considerations to take:

Informal essay writing is much more personal than any other kind of academic writing. This allows for the writer to deal sensitive issues such as religious beliefs, beliefs surrounding controversial issues, or personal experiences. Informal essays should read like a conversation – like a dialogue between friends with different views on a particular issue. The writer's personality should be embedded in the text as distinctly as possible. In most academic essays the writer tries to separate their personality to some degree - here you write in order to express it. The best analogue of the style of informal essay is journalistic style, aimed at more sophisticated audience: short text, witty and catching phrases, more colloquial wording. To give an exemplary plan of such an essay would be to cancel its informality; we shall give you a couple of tips instead:

Don’t overdo the informality. Using slang and informal language is most effective if used sparingly. Organization needs to be present, but format is should not be as rigid and repetitive as an academic essay. View your essay as interesting fiction - use similar techniques such as defeated expectancy, foreshadowing and withholding of the most vital information up to the end. Often informal essays are said to follow only a single rule: “Do not follow any rules”. Write it for yourself first and foremost, and inject your personality - effective informal essays can be personal, witty, quirky, edgy or sorrowful.

Adapted from Essay Writing Tips. Essay-Writing-Tips.com http://www.essay-writing-tips.com/types-of-essays/informal-essay.html. Resource accessed June 2015.

The Film Critique

UNIT 2 Staging Revenge in Shakespeare's

Hamlet

Learning Goals In this unit you will focus on analysing Shakespeare's Hamlet, paying special attention to the way production choices made by stage and screen directors shapes the play's meaning.

Ultimately, you will:

Apply reading and viewing strategies to decode and analyze the play. Critically reflect on multiple variations of Hamlet (text, film, stage). Consider the significance of Hamlet's soliloquy and analyze quotations from act III. Create a TED Talk about the relevance of Shakespeare today.

Unit Overview This unit will focus on the reading and analysis of Shakespeare’s Hamlet. We will be analyzing the complexities of multiple themes and how they are demonstrated through the actions in the play.

Hamlet TEXT

Pre-Reading Activity: In the first activity, you will watch an overview of the play and make predictions about what is to come. You will also reflect on some of the major themes.

Act I You will begin by watching the first scene from the Royal Shakespeare Company's 2009 production of Hamlet. You will read and/or watch the rest of Act I and pay close attention to Hamlet's relationship to the other characters.

Act II In this section you will reflect on reading strategies to decode Shakespeare's language.You will begin by reading a short essay about revenge and then move on to read Act II of Hamlet, paying close attention to tone.

Act III Here you will closely read Hamlet's famous "To be or not to be..." soliloquy and perform quotation analyses from act III.

Act IV As you watch or read Act IV, you will critically reflect on emerging themes. You then reflect on Hamlet's attitude towards revenge.

Act V We will return to the Royal Shakespeare Company's 2009 production to view the final act and reflect on the extent to which Hamlet fits the "tragic hero" archetype.

Summative Task 3 - Hamlet Ted Talk Your final task is to recreate a Ted Talk. A more detailed description can be found on the lesson page.

2.1 - just imagine an introduction to hamlet

Learning Goals In this activity, you will:

Watch an overview of Hamlet. Reflect on some of the major events and themes that will emerge as we read and view the play. Reflect and record your predictions and reactions.

Hamlet: An Introduction Please view the following clip. It will give you a very brief overview of what to expect throughout the play.

https://youtu.be/h09Bsyir7qU?si=yB7jbGylfCfg1QMp

As well, a full-length version of Hamlet as a movie is available below.

https://youtu.be/BmjFgYdvcGI?si=_UeVXWpaWgXRG6_E

Now that you have viewed the circumstances that emerge throughout the play, imagine you are Hamlet. Read the following questions, and consider the route you would take if you were faced with the same unfortunate scenarios.

Your mother marries your uncle, whom you despise. Your uncle seizes control of the family businesses and assets, which you should have inherited. When you attempt to return to school to get away from this mess your mother and uncle forbid you to go. You find a letter among your father's papers telling you that if he should die suddenly, it would be at the hands of your uncle. The letter urges you to seek revenge for him. Your significant other, to whom you have turned to for support, tell you that he/she no longer wants to have anything to do with you. He/she asks that you return all the gifts and letters that she/he has given you. You learn that two of your friends have been enlisted by your uncle and your mother to "keep an eye on you".

Scenarios Chart Answer the following questions:

What is your immediate reaction to each of these scenarios listed above? What steps would you take in order to deal with these situations? (your choices must be realistic!) Record the steps you will take to deal with this situation in the Hamlet Scenarios Chart.

https://youtu.be/h09Bsyir7qU?si=yB7jbGylfCfg1QMp

https://youtu.be/BmjFgYdvcGI?si=_UeVXWpaWgXRG6_E

To edit this file you must “MAKE A COPY”. I suggest you rename the file to include your name, just to stay organized.

Just Imagine: Hamlet Scenarios Chart

Scenario Reaction How would you deal with it?

1. Your mother marries your uncle, whom you despise.

2. Your uncle seizes control of the family businesses and assets, which you should have inherited.

3. When you attempt to return to school to get away from this mess your mother and uncle forbid you to go.

4. You find a letter among your father's papers telling you that if he should die suddenly, it would be at the hands of your uncle. The letter urges you to seek revenge for him.

5. Your significant other, to whom you have turned to for support, tell you that he/she no longer wants to have

anything to do with you. He/she asks that you return all the gifts and letters that she/he has given you.

6. You learn that two of your friends have been enlisted by your uncle and your mother to "keep an eye on you".

2.2- act 1 : ghostly encounters Learning Goals In this activity, you will:

Watch and read Act I of Shakespeare's Hamlet. Reflect on Hamlet's relationship with each of the major players introduced in Act I. Analyze the staging of Hamlet's father's ghost and its implications for our interpretation of the play.

Did You Know? At the time this play was written, ghosts and hauntings often appeared in literature and in theater productions. Ghosts returned to seek vengeance, reclaim property, or give warning of impending trouble. Shakespeare used ghosts in several of his works. Aside from Hamlet’s father, Shakespeare’s most famous ghosts include that of Julius Caesar in the tragedy Julius Caesar and Banquo in Macbeth. Both of these ghosts return from the dead to haunt the people responsible for their murders.

Hamlet and his father's ghost

Curtain Up: Act I, Scene i https://youtu.be/rPC57q8nsQg?si=ejxMI87AtLELPKZP Act 1, Scene i Watch the opening scene from of Hamlet. As you watch, follow along with the text. Consider the mood that is established in this first scene. Pay careful attention to the words, actions and production choices that help establish this mood.

Active Reading & Viewing All the major characters of Hamlet emerge in the first act. As you watch scene ii, iii, iv, and v and the rest of act 1, focus on Hamlet’s developing relationships with the characters listed below. Consider the relationship between Prince Hamlet and the character named as well as the feelings that the prince has toward that character:

1.King Hamlet

2.Claudius

3.Gertrude

4.Ophelia

5.Horatio

Submission

https://youtu.be/rPC57q8nsQg?si=ejxMI87AtLELPKZP

Create a diagram (e.g. web, table, etc.) that identifies Hamlet's relationships with each of the characters listed above and illustrates his feelings towards each character. Include at least one line from Act I that you think captures Hamlet's feelings about that person.

When complete, submit your diagram to the Act I - Relationship Diagram submission folder. Use this Rubric Hamlet Relationship Diagram.pdf to guide you.

Note: You can complete the diagram on the computer OR complete it by hand and scan/upload a picture.

Act Reflection Each act will be followed by a reflection prompt that you will consider. Some require a formal write up and submission, others require you to simply think and consider it and take your own notes.

Act I Reflection Do the events of Act I suggest to you that the ghost of Hamlet’s father is real or just a product of Hamlet’s imagination? Explain making specific references to the text and/or stage production.

Please record your response in your notes as it will help further your understanding of the play and help you moving forward.

Rubric: Hamlet Relationship Diagram

Criteria Level 4 Level 3 Level 2 Level 1

Knowledge

insightfully conveys a meaningful and relevant central idea

insightfully represents complexity of relationships

significantly conveys a meaningful and relevant central idea

significantly represents complexity of relationships

moderately conveys a meaningful and relevant central idea

moderately represents complexity of relationships

minimally conveys a meaningful and relevant central idea

minimally represents complexity of relationships

Thinking

demonstrates an insightful level of originality and creativity

demonstrates an significant level of originality and creativity

demonstrates an moderate level of originality and creativity

demonstrates an minimal level of originality and creativity

Communication

insightful choice of images, words, and visual codes to emphasize ideas

significant choice of images, words, and visual codes to emphasize ideas

some choice of images, words, and visual codes to emphasize elements

insightful choice of images, words, and visual codes to emphasize elements

Application

tools and techniques used insightfully--student is able to explain tools and techniques

tools and techniques used significantly--studen t is able to explain tools and techniques

tools and techniques used to some extent--student is able to explain tools and techniques

tools and techniques used minimally--student is able to explain tools and techniques

2.3-act ll : plotting hamlets revenage Learning Goals In this activity, you will:

Read Francis Bacon's "Of Revenge" and identify the main idea. Reflect on strategies for reading and making sense of Shakespeare's language. Read and reflect on Act II of Shakespeare's Hamlet.

"Of Revenge" by Francis Bacon (1561–1626)

REVENGE is a kind of wild justice; which the more man’s nature runs to, the more ought law to weed it out. For as for the first wrong, it doth but offend the law; but the revenge of that wrong putteth the law out of office. Certainly, in taking revenge, a man is but even with his enemy; but in passing it over, he is superior; for it is a prince’s part to pardon. And Solomon, I am sure, saith, It is the glory of a man to pass by an offence. That which is past is gone, and irrevocable; and wise men have enough to do with things present and to come; therefore they do but trifle with themselves, that labor in past matters. There is no man doth a wrong for the wrong’s sake; but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me? And if any man should do wrong merely out of ill-nature, why, yet it is but like the thorn or briar, which prick and scratch, because they can do no other. The most tolerable sort of revenge is for those wrongs which there is no law to remedy; but then let a man take heed the revenge be such as there is no law to punish; else a man’s enemy is still before hand, and it is two for one. Some, when they take revenge, are desirous the party should know whence it cometh. This is the more generous. For the delight seemeth to be not so much in doing the hurt as in making the party repent. But base and crafty cowards are like the arrow that flieth in the dark. Cosmus, duke of Florence, had a desperate saying against perfidious or neglecting friends, as if those wrongs were unpardonable; You shall read (saith he) that we are commanded to forgive our enemies; but you never read that we are commanded to forgive our friends. But yet the spirit of Job was in a better tune: Shall we (saith he) take good at God’s hands, and not be content to take evil also? And so of friends in a proportion. This is certain, that a man that studieth revenge keeps his own wounds green, which otherwise would heal and do well. Public revenges are for the most part fortunate; as that for the death of Cæsar; for the death of Pertinax; for the death of Henry the Third of France; and many more. But in private revenges it is not so. Nay rather, vindictive persons live the life of witches; who, as they are mischievous, so end they infortunate.

Bacon, Francis. Essays, Civil and Moral. Vol. III, Part 1. The Harvard Classics. New York: P.F. Collier & Son, 1909–14; Bartleby.com, 2001.

Identifying the Thesis According to Bacon, is it more honorable to seek or avoid revenge? What line in his essay confirms your answer?

Post your response to the submission folder 2.3- Act II "Of Revenge"

Shakespeare's Language Not many of us can sit down, crack open a copy of one of Shakespeare's play, and read it cover to cover without so much as a head scratch. Most paper copies come with annotations and modern-day translations for a reason. The truth is, many patrons of the Globe Theatre during Shakespeare's time had little or no idea what the characters were saying on stage because nobody talked the way Shakespeare writes.

Like all good writers, Shakespeare crafted his plays to create specific dramatic and poetic effects. His verse (poetry), for example, often needed to adhere to particular metric rhythms, which meant words would need to be rearranged or even reconstructed altogether. He also ascribed distinguishable speech patterns to reveal important things about his characters (e.g. mood, social status).

What makes it so confusing? Randal Robinson, an expert in Shakespearean verse, tells us that three things make Shakespeare's language seem more complicated than it really is:

Unusual Arrangements of Words

We say: "I ate a sandwich."

Shakespeare says: "The sandwich I ate," or "Ate I the sandwich," or "I the sandwich ate," or "Ate the sandwich I," and so forth.

These sentences all mean the same thing; their component parts (i.e. subject, verb, object) have just been rearranged. Troublesome Omissions

Shakespeare often left out letters, syllables, and even whole words for the sake of poetic rhythm. Whateves. We still do it all the time. Unusual Words

Words change all the time, which is pretty awesome. (Does anyone use "awesome" anymore? Is "sick" more accurate?) Luckily there are glossaries out there to help us make sense of Shakespeare's 30,000+ word vocabulary.

Act II: Active Reading In Act II many of Shakespeare’s characters are hatching secret plots to expose the motives and true feelings of other characters. As you read this act, pay attention to the plotting and scheming and what each character hopes to achieve.

Act II Reflection How does the tone of this act compare to the tone of Act I? Refer to specific features in the text to support your response.

Please record your response in your notes as it will help further your understanding of the play and help you moving forward.

2.4: act lll : the soliloquy Learning Goals In this activity, you will:

Read Act III of Shakespeare's Hamlet, paying close attention to Hamlet's soliloquy. Watch different performances of Hamlet's soliloquy and reflect on their differences. Analyse quotations from act III (speaker, context, significance)

"To Be, or Not To Be" Unless you have been living under a rock, you have likely encountered a portion of Hamlet's Act III Scene I soliloquy in some way, shape or form. It has been acted, re-enacted, used in headlines, advertisements and has been the source of many really awful teacher puns (sorry guys). As we examine this soliloquy, you should be thinking about why this is...what makes this speech so prevalent?

After reading or watching Act III (begins at minute 53), take a closer look at Hamlet's "To Be, or Not To Be" soliloquy here:

HAMLET SOLILOQUY.pdf

Next, view the following version of the famous soliloquy. After, google/youtube another version of the soliloquy. As you view, you should pause and take notes on what you are noticing, especially as you see prompting questions. You will use these notes in your discussion posting.

https://youtu.be/Vf2TpWsPvgI?si=uGIzYyz5aS7tiDs3

Act III Reflection Which of the productions do you think best conveys the tone of the contemplation "to be, or not to be"? Provide specific examples from the video clips. Why do you think this soliloquy has stood the test of time? Why is this question still relevant? Please record your response in your notes as it will help further your understanding of the play and help you moving forward.

Submission Read these instructions: Analyzing Quotations Examine the three (3) quotations provided from Act III. Submit your answers to the Quotation Analysis Dropbox.

https://youtu.be/Vf2TpWsPvgI?si=uGIzYyz5aS7tiDs3

2.4: act lll : the soliloquy Learning Goals In this activity, you will:

After reading or watching Act III (begins at minute 53), take a closer look at Hamlet's "To Be, or Not To Be" soliloquy here:

HAMLET SOLILOQUY.pdf

https://youtu.be/Vf2TpWsPvgI?si=uGIzYyz5aS7tiDs3

Submission Read these instructions: Analyzing Quotations Examine the three (3) quotations provided from Act III. Submit your answers to the Quotation Analysis Dropbox.

https://youtu.be/Vf2TpWsPvgI?si=uGIzYyz5aS7tiDs3

Analyzing Quotations

When asked to analyze a quotation, you will be asked to comment on three elements; Context, Speaker and Significance. Using the following quote, I will go through the process with you, giving you examples of how to analyze a quotation.

Example Quotation:

Seems, madam? Nay it is. I know not ‘seems’ Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forc’d breath, No, nor the fruitful river in the eye, Nor the dejected haviour of the visage, Together with all forms, moods, shapes of grief, That can denote me truly

Context:

Context refers simply to the context of the play.

• Where does the quotation fit into the context?

• What is occurring in terms of plot?

• Discuss the context by stating what has occurred, or what is occurring.

Context Example:

This passage occurs after the King’s speech to the court announcing the death of Hamlet Sr. and the new marriage to Gertrude. It is the first time we see Hamlet on stage.

Speaker:

When it comes to who's speaking, you are NOT expected to have the entire play memorized; however, if you are applying your knowledge of the characters accurately to various quotations, you will be able to know who the speaker is of any given passage. Think about the qualifying characteristics of the various characters, as well as what these characters have been known to say previously. Think also about the relationship characters have with other characters.

Speaker Example:

The speaker in the quotation is Hamlet (we know this is accurate because currently we have not encountered any other character who has a mother in this play. Hamlet and Gertrude represent the only mother/son pair. We also know that Hamlet is melancholy and this passage reflects the same tone.)

Significance:

This section of the analysis is worth the most mark points. When discussing significance, look at how many marks it is worth and find the same number of literary elements to discuss. For example, if the section is worth 3 marks then you should discuss 3 different literary elements. The purpose is to identify and discuss the importance of the literary elements. Do not simply state that there is a metaphor in the passage. You are expected to identify the metaphor and explain how the metaphor is significant. Below is a list of the various elements that could be discussed in terms of the literary significance of a quotation:

Metaphor, simile, personification, foreshadowing, imagery, allusion, repetition, alliteration, dramatic irony, plot development, character development, irony, development of character relationships, building of suspense, use of humour, tone, mood, connotation, denotation, cacophony, euphony, juxtaposition, paradox, character contrast

Be careful! If you summarize or paraphrase the quotation, you will not receive any marks!

Significance Example:

The quotation is significant with the characterization of Hamlet. He indicates that he “knows not ‘seems’”, which suggests that he does not know how to act other than what he truly feels. There is the repetition of the word nor which is used to emphasize how all elements of his being work together to display his grief. The angry tone of the passage indicates a stressed relationship with his mother as well.

Submission: Hamlet Quotation Analysis Be concise in your explanations. You may use point form for a Part A. Try to restrict yourself to 3 direct statements for Part C. Do not give plot summary in your answer, focus on what is being emphasized in the quotation. Be sure to number your answers. For each of the following quotations:

A) identify the speaker (1 mark) B) use one sentence to state the context (1 mark) C) explain the significance – focus on character or theme (3 marks)

• “Get thee to a nunnery. Why woulds’t thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me. I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape,

or time to act them in. What should such fellows as I do crawling between earth and heaven?”

• “O my offense is rank, it smells to heaven; It hath the primal eldest curse upon’t…

My words fly up, my thoughts remain below Words without thoughts never to heaven go.”

• “Speak no more Thou turn’st my eyes into my very soul

And there I see such black and grained spots As will not leave their tinct”

2.5: act IV : themes in hamlet Learning Goals In this activity, you will:

Interpret the themes and topics shown throughout the play thus far. Analyse Hamlet's tragic flaw.

Act IV: Active Reading & Viewing For Act IV, you are to choose to watch or read the entire act HAMLET , while keeping in mind the emerging themes.

Topics and Themes in Hamlet Shakespeare is considered one of the world’s most influential writers because of his understanding of the world and human nature and his ability to address universal issues which remain relevant for modern audiences.

Topics in Hamlet include:

Power and Control Chaos and Disorder Family Relationships Obsession Revenge and Justice Appearance vs. Reality To develop these topics into themes, one must answer the question: what is the author saying about these topics? For example: Topic: Power and control Theme: The search for power and control will ultimately lead to one’s downfall.

Topic: Chaos and Disorder Theme: Chaos and disorder in society will lead to the collapse of a nation.

Topic: Revenge and Justice Theme: The desire for revenge and justice leads to obsession.

Topic: Appearance vs. Reality Theme: Appearances can be deceiving

Act IV Reflection Do you believe that Hamlet’s attitude toward his task of revenge has changed in act 4? Why or why not?

Please submit your response to the Act 4 Reflection dropbox Also note any other themes you see emerging.

2.6- grave diggers , duels , and death Learning Goals In this activity, you will:

Watch and discuss Act V of Shakespeare's Hamlet. Evaluate Shakespeare's archetypal tragic hero qualities. Analyse whether or not Hamlet can be considered a tragic hero.

Did you know? The central character of a tragedy is a tragic hero, or a noble character who meets his or her death typically because of a character defect or an error in judgment. The problem that causes a character’s downfall is called a fatal flaw. This concept was first introduced by the Greek philosopher Aristotle in the Poetics. Aristotle referred to the flaw or error in judgment that causes a hero’s suffering as hamartia, a Greek word meaning error or fault. Hamlet is one of Shakespeare’s tragic heroes. As the play draws to a close, try to identify Hamlet’s tragic flaw.

Act V: Active Viewing https://youtu.be/kDxD4nNWO7M?si=dVwTUUPsqP6ZDphC

Ensure you listen to all scenes from this act.

Characteristics of the Shakespearean Tragic Hero The following is a list of characteristics typical to Shakespeare's tragic hero role:

He must be a person of some stature or high position such as a king, general, or nobleman He must basically be a good person. He must matter to us and we must see him as a worthwhile person. Due to his position, his actions usually have far-reaching effects. He must possess a character trait or quality which under normal circumstances would be a virtue, but which under the special circumstances of the play proves to be fatal flaw. Although a great man, he often shows promise of further greatness. Frequently, he makes serious errors in judgement which lead him to committing the deed which begins his downfall He must be ultimately responsible for the deed which begins his downfall He usually makes further errors in judgement following his misdeed Often he has a distorted perception of, or is blind to, reality He frequently commits further crimes which precipitate his downfall He suffers both outwardly (isolation, alienation, attacks) and inwardly (tortured conscience) He must elicit pity and fear from the audience (catharsis) Usually he recognizes his mistakes He must die

Act V Reflection Using the above criteria, to what extent do you believe Hamlet is a "tragic hero"? Provide detailed reasons for your opinion. Please submit your response to the Act 5 Reflection dropbox.

https://youtu.be/kDxD4nNWO7M?si=dVwTUUPsqP6ZDphC

2.7- summative task 3: what do you think Learning Goals I will...

refine presentation skills using a specific structure prepare an opinion and express it eloquently with insightful language and use of rhetoric review the opinions of others and give responsive and effective feedback

Summative Task 3: The Ted Talk In this task, you will connect what you learned about Shakespeare's Hamlet to our world today. Your purpose is to justify (or condemn) the use of the play in our modern context. Do you agree we should continue to teach and read the play? Justify this opinion with direct reference to the text. Conversely, if you think Hamlet should be retired, justify your opinon using evidence from the play.

Here are two such opinion, from popular blogs.

9 Things You Can Learn from "Hamlet"

https://www.huffpost.com/entry/9-things-you-can-learn-fr_b_3529453

Why Do We Force Students to Read Shakespeare? https://www.huffpost.com/entry/why-do-our-schools-force_b_6443672

Decide your opinion, and find direct evidence from both today's world (new events, current theories) and the text of the play that support your idea. You will present your opinion in a TedTalk.

Review this IllustratedTEDxSpeakerGuide to outline the process. As well, it might be helpful to view some Ted Talks to gain some insight into the format. Check out the resources available at this website.

Here is a student exemplar of a student constructed

As well, here are some website resources for you to use to construct a Ted Talk. These are options. Please note that you can also create a Power Point

Assessment

Success Criteria I can...

express my ideas in a clear manner using appropriate visuals and language

https://www.huffpost.com/entry/9-things-you-can-learn-fr_b_3529453

https://www.huffpost.com/entry/why-do-our-schools-force_b_6443672

use evidence from the primary source in an insightful way to support my opinion employ graphics and visual elements to emphasize my ideas document my sources using MLA format

Submission Use tools of technology to record your TedTalk. You may wish to create a slide deck, or another presentation format. You must record yourself speaking as the visual presentation continues. Be sure to check with your teacher if you are struggling to choose an appropriate format for your Talk. As well, you must include a slide of a Works Cited List at the end of your presentation that lists the sources you used to construct your Ted Talk. If you conducted research and did additional reading that you did not cite or paraphrase, but you did use it to formulate your opinion, include that in a Bibliography page, that follows the Works Cited.

In addition, please submit a transcript of your Talk to the submission box: Summative Task 3: Hamlet Ted Talk.

Reader notes unit 2:

Readers' Notes 2

Reader's Notes for the following chapters from How to Read Literature Like a Professor:

Chapter 2: Nice to Eat with You: Acts of Communion

Chapter 12: Is That a Symbol?

Chapter 13: It's All Political

Chapter 19: Geography Matters

Chapter 21: Marked for Greatness

Click on the link "Readers Notes 2" at the top of this description to download a copy. Then, fill in the notes as you read the chapters. Upload a copy of your notes to the dropbox for assessment.

READER NOTES BELOW

2.7- summative task 3: what do you think Learning Goals I will...

Here are two such opinion, from popular blogs.

9 Things You Can Learn from "Hamlet"

https://www.huffpost.com/entry/9-things-you-can-learn-fr_b_3529453

Why Do We Force Students to Read Shakespeare? https://www.huffpost.com/entry/why-do-our-schools-force_b_6443672

Decide your opinion, and find direct evidence from both today's world (new events, current theories) and the text of the play that support your idea. You will present your opinion in a TedTalk.

Here is a student exemplar of a student constructed

As well, here are some website resources for you to use to construct a Ted Talk. These are options. Please note that you can also create a Power Point

Assessment

Success Criteria I can...

express my ideas in a clear manner using appropriate visuals and language

https://www.huffpost.com/entry/9-things-you-can-learn-fr_b_3529453

https://www.huffpost.com/entry/why-do-our-schools-force_b_6443672

use evidence from the primary source in an insightful way to support my opinion employ graphics and visual elements to emphasize my ideas document my sources using MLA format

In addition, please submit a transcript of your Talk to the submission box: Summative Task 3: Hamlet Ted Talk.

Reader notes unit 2:

Readers' Notes 2

Reader's Notes for the following chapters from How to Read Literature Like a Professor:

Chapter 2: Nice to Eat with You: Acts of Communion

Chapter 12: Is That a Symbol?

Chapter 13: It's All Political

Chapter 19: Geography Matters

Chapter 21: Marked for Greatness

Click on the link "Readers Notes 2" at the top of this description to download a copy. Then, fill in the notes as you read the chapters. Upload a copy of your notes to the dropbox for assessment.

READER NOTES BELOW

Unit 3: Moon of the Crusted Snow

As we read the novel, we will employ a number of reading strategies, analyse

the different elements of fiction and examine characterization with a critical

Approach.

3.0 - OVERVIEW Learning Goals In this unit you will focus on the use of imagery, symbolism and characterization in Moon of the Crusted Snow by Waubgeshig Rice. Download the Moon of the Crusted Snow PDF here.

https://www.mediafire.com/file/0ihv0q5cijk97bn/Moon+of+the+Crusted+Snow-Rice+Wau bgeshig1.pdf/file

Ultimately, you will:

1.Apply reading strategies to decode and analyse text. 2.Research and connect the context of the novel to its characters and the modern era. 3.Critique aspects of the text using different critical approaches. 4. Creatively analyse the novel through the creation of a literary thesis and essay.

Unit Overview This unit is divided into five activities. The summative assignment will be a literary essay, allowing you an opportunity to practice the writing process in preparation for the culminating novel study. The novel is available below for you to read. It is a short novel--less than 200 pages. Please begin reading it immediately.

The Webquest In this first activity you will examine the cultural elements of the novel and the life of the author to better understand the context as we read. You will share the information you find in a Submission Task.

Using Secondary Sources (New Historicism Critical Approach) In this section you will learn how to evaluate the quality of secondary sources. This skill will prove invaluable to your throughout the course as you search for credible sources to support your writing.

You will also reflect on the role of community in Indigenous Society and relate this to modern events. Surviving Over and Over Again You will analyze a key quote from the novel and relate it to real life cultural events. You will use a mix of research and your own knowledge.

The Role of Women in Indigenous Society (Feminist Critical Approach) You will explore the evolving and important role of Indigenous Women. You will answer questions that will demonstrate your understanding of the text; in so doing you will apply your knowledge of the Feminist Critical Approach.

Summative Task 2 - Critical Approach Essay Your final task is to develop your writing skills through a literary analysis of the novel. You will apply one of the critical approaches we have studied in a 750-1000 word essay.

https://www.mediafire.com/file/0ihv0q5cijk97bn/Moon+of+the+Crusted+Snow-Rice+Waubgeshig1.pdf/file

3.1 -WEBQUEST Learning Goals In this activity, you will: Understand and analyse the interaction between the author's life and the context of the novel. Research and analyse the important features of a group of people in preparation for a close reading.

Learning About The Author Author: Waubgeshig Rice (pronounced like: “wahb-ghee-shig”)

Author bio:

“Waubgeshig Rice is an author and journalist originally from Wasauksing First Nation. His first short story collection, Midnight Sweatlodge, was inspired by his experiences growing up in an Anishinaabe community, and won an Independent Publishers Book Award in 2012. His debut novel, Legacy, followed in 2014. A French translation was published in 2017. His latest novel, Moon of the Crusted Snow, was released in October 2018 and became a national bestseller.

Waub got his first taste of journalism in 1996 as an exchange student in Germany, writing articles about being an Anishinaabe teen in a foreign country for newspapers back in Canada. He graduated from Ryerson University’s journalism program in 2002. He’s worked in a variety of news media since, reporting for CBC News for the bulk of his career. In 2014, he received the Anishinabek Nation’s Debwewin Citation for excellence in First Nation Storytelling. His most recent role was host of Up ,North, CBC Radio’s afternoon show for northern Ontario. He left CBC in May 2020 to focus on his literary career.

His proudest roles are as dad to Jiikwis and Ayaabehns and husband to Sarah. The family splits its time between Sudbury and Wasauksing.” (https://www.waub.ca/about/)

Member of the Bear Clan, Anishnabek of Wasauksing First Nation (island on Georgian Bay) Currently lives in Sudbury, ON with his family

Please watch the following video with the author, titled "The Moment I Realized I Could Change the World." Please ensure you watch the whole video, as it will help you with some of the questions for your Web Quest. https://youtu.be/zz7X0-U6EtI?si=Q5C8d3vE0gMthnId

The Webquest Moon of the Crusted Snow was written by Waubgeshig Rice in 2018. It is set in a Northern Reserve in an unidentified, but assumed to be modern, time. In this activity, you will focus on researching and learning about various elements of the Anishinaabe people and the life of the author.

Below is a list of the questions you will be researching. Find out as much information as you can!

Question 1: What are the author's thoughts about "the power of spoken word?" How does this relate to his writing of this novel?

https://youtu.be/zz7X0-U6EtI?si=Q5C8d3vE0gMthnId

This novel deals with indigenous people living on Anishinaabe land and trying to follow traditional teachings in a modern era. You will research below some key questions about various cultural elements of the Anishnaabe People to help you understand these aspects of the novel.

Question 2: What region/area does the Anishinaabe territory cover in Ontario?

Question 3: What does the “spirit of community” (you'll see this referred to in the novel occasionally) mean to the Anishinaabe peoples?

Question 4: What is the traditional role of the female in an Anishinaabe community?

Question 5: What are some of the traditional rites observed by the Anishinaabe during hunting? Funerals? Why are these important?

SUBMISSION POST YOUR WEBQUEST ANSWERS Please answer the questions with detail. Answer in full sentences and use visual aids where possible.

Please remember to use MLA citations for your research. You will be assessed as follows:

A total mark out of 10 will be given, 2 Marks per answer. If you do not use MLA formatting, you will be docked 4 marks from your earned points. If you use MLA with mistakes, you will be docked 2 marks from your earned points.

3.2A -USING SECONDARY SOURCES

Learning Goals I will... -Successfully analyze, interpret, and evaluate secondary sources. -Apply New Historicism while distinguishing secondary sources. -Analyze the interpreted secondary source, as well as the novel

Secondary Sources Throughout this unit, you will learn how to search for and incorporate appropriate secondary sources.

What is a secondary source?

Secondary sources are documents written after an event has occurred, providing secondhand accounts of that event, person, or topic. Unlike primary sources, which provide first-hand accounts, secondary sources offer different perspectives, analysis, and conclusions of those accounts.

How can I tell if an article is a secondary source?

As with any research, examine the document or article carefully for accuracy and credibility. Use the following questions to help you determine whether or not you are using a credible secondary source:

1) Authors:

How does the author know what he/she knows? Does his/her knowledge stem from personal experience or having read about and analysed an event? Does the author cite several other (published) reports? 2) Content:

Why is the information being provided or the article written? Are there references to other writings on this topic? Is the author interpreting previous events? Does the information come from personal experience or others' accounts? 3) Timelines:

Is the date of publication evident? Is the date of publication close to the event described or was it written much later

Within this unit, you will be answering questions that focus on New Historicism, Feminism, and other critical approaches. You will have examples of each approach provided for you, and expected to provide an appropriate answer.

Submission

Please read the following article, Anishinaabe, and make note of how the article is a secondary source and how it relates to New Historicism. Please refer back to the Critical Approaches notes if you need a refresher. https://thecanadianencyclopedia.ca/en/article/anishinaabe

Once you have read the article, please respond to ONE of the questions from the box below. Submit your response to the dropbox

HISTORICAL ESSENTIAL QUESTION : WHAT IS THE IMPACT OF CULTURE ON THE TEXT ?

1. WHAT IS THE CONTEXT OF THE WORK: PERIOD , IMPLICATIONS FOR ITS PERIOD , AND AUTHORS REPUTATION IN THE PERIOD .

2. WHAT ARE THE TEXTS INTENTIONS BASED ON WORKS , IDEAS , EVENTS OF THE PERIOD , AND AUTHOR’S BACKGROUND .

3. WHAT ARE THE LITERARY CONVENTIONS OF TEXT: MODE , GENRE ,TRADITION

Reminder!

In your response:

1) describe what makes this a secondary source,

and

2) answer the chosen question

https://thecanadianencyclopedia.ca/en/article/anishinaabe

3.2B - THE ROLE AND IMPORTANCE OF COMMUNITY

Learning Goals I will learn about the importance of community in Indigenous Communities

I will describe how the role and importance of community has been impacted in the novel

The Role and Importance of Community Most people have learned over the last 18 months or so how importance community is. During the COVID-19 pandemic, community has been important in keeping healthy - mentally, physically, emotionally, and sometimes, financially. Think about it for a moment - how has community helped you survive the last year and half?

In the novel, Moon of the Crusted Snow, the characters are also undergoing an intense and sudden change in their lives. Although the situations are very different, there are parallels that can be made. Particularly surrounding this concept of community and the "we are all in it together" thought that may have occurred to many.

Think back to what you learned about the role of community and the "spirit of community" from the WebQuest you completed yesterday. Take some of this knowledge, as well as what you've seen arise in the novel so far, to answer the discussion questions below.

Reflection Currently, we’re seeing how our tribal communities are coming together in incredible ways to ensure our people, elders, cultures, and languages survive the pandemic without too much loss.

What is the role of community and the importance of community coming together throughout the power outages and harsh winter months in the small northern Ontario region in the novel? Is this enough to survive or do disagreements and division end up overcoming community?

Please record your response in your notes as it will help further your understanding and help you moving forward. If you haven't finished reading the book yet, comment on what you've seen happen in the community thus far.

3.3 SURVIVING OVER AND OVER AGAIN

Learning Goals I will...

-Successfully analyse, interpret, and apply secondary sources. -Analyse the interpreted secondary source, as well as the novel

For this reflection piece, you should have read All of Part One of the novel. If you've read further than that, that is fine. But this quote comes from the beginning of Part 2, so you need to have read at least up to this point to properly answer the questions below.

Key Moments in Indigenous History: To help navigate the discussion post today, you will need to apply your background knowledge of key events and developments in Indigenous history in what is now Canada. To help you recall your knowledge and learn more about Indigenous history, take your time to examine the infographic below. You can also view it on this website, to be able to view it more closely. The website also allows you to click on highlighted topics to be redirected to resources that can help you learn more.

http://education.historicacanada.ca/files/426/Key_Moments_in_Indigenous_History_Timeline.pdf

For a quick history lesson, watch Wab Kinew's two-minute walk through 500 years of Indigenous history. https://youtu.be/L7LY-fXzhZI?si=CBx3Z9bhAJOdC05d

What are Treaties? Treaties are agreements made between the Government of Canada, Indigenous groups and often provinces and territories that define ongoing rights and obligations on all sides.

Cultural Connections - Indigenous poetry - Posts | Facebook

These agreements set out continuing treaty rights and benefits for each group. Treaty rights and Aboriginal rights (commonly referred to as Indigenous rights) are recognized and affirmed in Section 35 of the Constitution Act, 1982 and are also a key part of the United Nations Declaration on the Rights of Indigenous Peoples which the Government of Canada has committed to adopt.

Treaties with Indigenous peoples include both: historic treaties with First Nations and modern treaties (also called comprehensive land claim agreements) with Indigenous groups

Historic treaties Starting in 1701 in the British colonies of North America (these would later become parts of Canada), the British Crown entered into treaties with Indigenous groups to support peaceful economic and military relations. The Crown is the legal name for the British and later Canadian governments: federal, provincial and territorial.

Over the next two hundred years, the Crown signed treaties that defined the respective rights of Indigenous peoples and European newcomers to use the North American lands that Indigenous peoples traditionally

http://education.historicacanada.ca/files/426/Key_Moments_in_Indigenous_History_Timeline.pdf

https://youtu.be/L7LY-fXzhZI?si=CBx3Z9bhAJOdC05d

occupied. The historic treaties signed after 1763 provided large areas of land, occupied by First Nations, to the Crown (transferring their Aboriginal title to the Crown) in exchange for reserve lands and other benefits.

The treaty-making process was formally established by the Royal Proclamation of 1763.

What is the Indian Act? The Indian Act was one of the earliest colonial federal legislations enacted in 1876; it gives Canada the right to control and govern Indigenous Peoples and legally perpetuates the label “Indian”.

Various interpretations of the Act, at different times in its history, had clauses which were interpreted to permit:

Restricted ownership and access to lands (to this day); Created and upheld (to this day) the reserve system; Highly discouraged Indigenous Peoples from attending post-secondary education; Disallowed them from voting; Limited gatherings amongst Indigenous with more than 3 people; Made it illegal to practise their cultural and spiritual ceremonies; Deprived war veterans of their Indian status upon return from the wars; Prevented First Nations from playing pool or entering a pool hall; Local Indian federal agents had the authority to decide if Indigenous Peoples could travel to and from the reserve (for a visit to relatives or into town, for example); These same agents also had the power to restrict the sale of fish, eggs, or livestock, as well as prevent the development of Indigenous economies. https://vimeo.com/431271690?fl=pl&fe=sh

Reflection Now that you've reviewed some information about Indigenous History, you are going to apply this knowledge to a quote from the novel.

Please respond to the following questions and submit to the DROP BOX

In the beginning of section two, Evan has a conversation with elder Aileen Jones. Aileen shares,

“Yes, apocalypse. We've had that over and over. But we always survived. We're still here. And we'll still be here, even if the power and the radios don't come back on and we never see any white people again.”

What does Aileen mean when she says their community has experienced apocalypses “over and over”? What specific experiences throughout history inform this opinion? How and why might the opinions of younger band members differ, and what might Aileen’s observation foretell? You will need to use Secondary Sources, whether it's any of the resources above or those you find yourself, to assist you in answering some of these questions. Please ensure you cite and include any sources used at the bottom of your response.

https://vimeo.com/431271690?fl=pl&fe=sh

3.4 INDIGENOUS WOMEN

Learning Goals I will...

Successfully analyse, interpret, and apply secondary sources. Apply a Feminist Critical Approach while distinguishing secondary sources. Illustrate my ability to respond to Feminist approach questions in an appropriate discussion post. Analyse the interpreted secondary source, as well as the novel. Demonstrate, illustrate and relate to a Feminist Critical approach through my developed question.

You should be finished the reading of the novel prior to completing this Discussion Post.

Indigenous Women Think back to your learning from the Webquest about some of the roles of women in Anishnaabe societies. You'll may want to apply some of what you've learned to the novel and the questions below. There is no Content to read to go along with your reflection piece today, so you can scroll down and get started!

Reflection It is often said that Indigenous women are the backbone of our (Indigenous) communities. Similar to current events, aka the COVID-19 pandemic, Indigenous women have been the ones to step up in our communities.

Is this the case for the female characters in Moon of the Crusted Snow? What are the different perspectives they bring to helping the community through the crisis. Consider, in particular, Aileen Jones, the elder in the community, but be sure to consider the other female characters as well.

Answer the questions in full sentences and submit your response to thE DROP BOX

Be sure you are using a Feminist Critical Approach when you are answering the question.

3,5 SUMMATIVE TASK FORMAL LITERARY ESSAY Learning Goals To demonstrate your critical engagement with Moon of the Crusted Snow, you will write a 750-1000 word formal literary essay (3-5 typed pages) that explores one of the topics below.

In this activity, you will:

1.Analyse the novel using a critical approach. 2.Develop a clearly articulated thesis statement that responds to the topic prompt. 3.Incorporate evidence from the primary text and at least two scholarly secondary sources. 4.Apply the writing process by drafting and revising your essay. 5.Use MLA formatting correctly throughout your essay.

Suggested Topics Your suggested topics for this essay stem from the three different discussion topics that you've done for this novel. Basically, you want to choose the one that you find the most interesting, inspires you the most, you feel you could extend your thinking of the most, etc. Take this topic and run with it! You'll need to complete further research to support your chosen topic and will need to form a unique thesis, inspired from the chosen topic.

1. Community / Division: In the discussions, you answered the questions, "What is the role of community and the importance of community coming together throughout the power outages and harsh winter months in the small northern Ontario region? Is this enough to survive or do disagreements and division end up overcoming community?"

Take the ideas expressed in this discussion post and expand upon them to form a unique and interesting thesis about Community (or lack thereof) in the novel.

2. Survival / History: In the discussions, you answered the questions, "In the beginning of section two, Evan has a conversation with elder Aileen Jones. Aileen shares, “Yes, apocalypse. We've had that over and over. But we always survived. We're still here. And we'll still be here, even if the power and the radios don't come back on and we never see any white people again." What does Aileen mean when she says their community has experienced apocalypses “over and over”? What specific experiences throughout history inform this opinion? How and why might the opinions of younger band members differ, and what might Aileen’s observation foretell?

Take the ideas expressed in this discussion post and expand upon them to form a unique and interesting thesis about the "survival" of the community or characters in the novel, comparing the survival in this novel to its historical significance, or any other relevant ideas on survival/history you may have.

3. Indigenous Women: In the discussions, you answered the questions, "It is often said that Indigenous women are the backbone of our communities. Similar to current events, aka the COVID-19 pandemic, Indigenous women have been the ones to step up in our communities. Is this the case for the female characters in Moon of the Crusted Snow? What are the different

perspectives they bring to helping the community through the pandemic, especially Aileen Jones, the elder in the community?"

Take the ideas expressed in this discussion post and expand upon them to form a unique and interesting thesis about the female characters in the novel. Taking a Feminist lens, you may discuss the characters in whichever way you see fit.

4. Other: If you have your own idea that does not fit into any of the categories above that you would like to discuss, you may email me and give me your suggested topic and thesis. This MUST be approved by me before you start writing.

The Formal Literary Essay The topic is just a jumping off point. You will need to develop a well-crafted, original thesis that you can support using evidence from both the primary text and secondary sources. Remember, this is not in any way a plot summary, but rather a detailed, supported, critical analysis using evidence from the book and secondary sources

Please keep in mind:

Your must cite a minimum of two (2) credible secondary sources in your essay. It should be evident that you have researched your topic thoroughly and carefully considered your sources prior to choosing them. Google Scholar is a good place to start

You must complete a rough draft and have a peer edit it before you submit your final draft. Use the Literary Essay Editing Checklist to guide your self and peer editing

Your essay must be properly formatted according to MLA Guidelines and include in-text citations and a Works Cited. You will lose marks if MLA formatting is not done correctly!

Submit essay on drop box when done

Literary Essay Author: ____________________________ Editor: ____________________________ Topic: _________________________________

CRITERIA YOU EDITOR COMMENTS/FEEDBACK

First Impressions

Has the writer met the basic requirements of the assignment? (Topic, length, format, etc.)

Does the essay have an interesting title ? If it’s too general or bland—or if there isn’t one—suggest a good one.

Introduction

Does the first sentence “hook” you in? In other words, does it grab your attention and make you want to read more?

Does the introduction “narrow down” from general statements to a specific focus?

Does the author provide a brief synopsis of what the text is about and how it relates to the topic?

Circle the thesis statement . Does the thesis give a clear, focused idea of what the paper’s about? Does it pass the “how/why” and “so what” test?

Development (Body Paragraphs)

Underline the topic sentence for each paragraph. Does each topic sentence clearly state the main point of the paragraph? Does each topic sentence clearly relate to the thesis?

Is each main supporting point different from one another? That’s to say, does the writer avoid repeating the same point in different words?

Does each body paragraph include evidence by way of specific examples and quotations from each text?

Does each paragraph develop its topic sentence with well-chosen, persuasive examples?

Does each body paragraph elaborate and clarify how the supporting evidence relates to the thesis? Identify any areas where explanations could be clearer.

Does the writer make reference to at least two reliable secondary sources (correctly cited) to support and/or extend their own analysis?

Conclusion

Does the conclusion restate the main argument without repeating the thesis too closely?

By the end of the essay, has the author answered the question, "so what?"

Organization

Is each paragraph unified ? That is, does it focus on one main idea? Place an asterisk beside any paragraph that has more than one main idea.

Does the writer present their ideas in a logical sequence (i.e. they don’t jump around from one idea to another)?

Does the writer use transition words and phrases effectively to show how their ideas relate to each other and the thesis statement?

Has to writer formatted the essay according to MLA style guidelines ? (2.5 cm margins, double-spaced, proper titles and headers, etc.)

Style and Mechanics

Does the writer incorporate a varied sentence types and diction (word choice) to add interest?

Has the writer established a formal tone that is appropriate for the purpose and audience?

Are verbs consistently written in the present tense ?

Is the paper free of spelling and grammar errors? Make note of any misuses directly on the paper.

Final Reflections

1. What is the best part about the essay? Why?

2. Where does the writer need to make the most improvements? Why?

3. Which supporting points are most convincing in the paper? Which are least convincing? Why?

Final Comments:

READERS NOTES UNIT 3