English 10

Credit 1~ Cultural Conversations

The Works:

Use the attached websites and media to assist you in learning about the following stories.

Please analyze each work and take notes. Student can use a plot summary or general note taking using Cornell notes format.

• “Contents of the Dead Man’s Pocket” (Jack Finney)

• ” Double Daddy” (Penny Parker)

• “The Child’s View of Working Parents” (Cora Daniels)

• “The Leap” (Louise Erdrich)

• “Diary of a Mad Blender” (Sue Shellenbarger)

Literary Terms:

Write Literary Terms with examples from the text:

• Figure of speech

• Imagery

• Allusion

• Dramatic monologue

• Sensory imagery

• Objective correlative

• Expatriates

Terms can be found at: https://literarydevices.net/

Important Questions:

From Contents of a Dead Man's Pocket:

1. What does Tom's use of a typewriter suggests about the setting?

2. What type of conflict is Tom facing?

3. What caused the sheet of paper to fly out the window?

4. Why is tom upset about the loss of the paper?

5. What is Tom's internal conflict regarding the paper?

6. What does the apartment represent to Tom? What effect does the disappearance of the apartment have on Tom?

7. What has Tom tried to avoid,but ultimately does?

8. What is Clare doing during Toms "adventure" on the ledge?

9. In "the Leap" the following can be answered: What does the narrator's mother tell her about the act of falling?

In Double Daddy/Diary of a Mad Blender:

10. How did the narrator's mother and father meet?

11. The author of all three articles would probably agree that...

12. In order to balance work and family life, Sue Shellenbarger...

13. According to Pneey Parker, "daddy stress" is...

14. What did Shellenbarger learn about the effects of being a blender?

Assessment:

Embedded Assessment #1:

Your assignment is to write a reflective essay explaining your cultural identity.

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Embedded Assessment #2:

Your assignment is to write an essay that responds to the following synthesis prompt:

To what extent does one’s culture inform the way one views others and the world?

Be sure to support your claim with evidence from at least three different texts you have read, viewed, or listened to in this unit, as well as with personal experience and insights.

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Take final on https://testmoz.com/class/16400

*hand in ALL work to teacher with test results on the front. Work should be 5-10 pages when completed for full credit.

Credit 2~ Cultural Perspectives

The Works:

Use the attached websites and media to assist you in learning about the following stories.

Please analyze each work and take notes. Student can use a plot summary or general note taking using Cornell notes format.

• “Everyday Use” (Alice Walker)

• “Two Kinds” (Amy Tan)

• “By Any Other Name” (Santha Rama Rau)

Literary Terms:

Write Literary Terms with examples from the text:

• • Character

  • Autobiography

  • Indirect characterization

  • conflict

  • motivation

  • character traits

  • dialogue

Terms can be found at: https://literarydevices.net/

Important Questions:

1. Use the work, "Everyday Use" to answer the following question: Dee probably changes her name because-

2. Use the work, "Everyday Use" to answer the following question: What happens at the end of the story?

3. In "Interview with Nikki Giovanni":Nikki Giovanni uses quilts as a-

4. The question below refers to the selection "Two Kinds":At college, Jing-mei-

5. The question below refers to the selection "Two Kinds": When first considering the idea of becoming famous, Jing-mei-

Assessment:

Embedded Assessment #1: Biographical Narrative Assignment: Write a biographical narrative (a nonfiction account of someone who is important to you). Share concrete details and commentary about why this person is important to you. Must be at least 2 pages and have 4 details about that person.

*Hand in Biographical Narrative Assignment and ALL homework to teacher. No Exam if you do the essay.

Biographical Narrative:

• 2 pages

• Thesis and conclusion

• 4 sensory details

• 5 paragraphs

• 6 sentences each paragraph

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Embedded Assessment #2: Your assignment is to write a narrative about an incident, either real or imagined, that conveys a cultural perspective. Throughout this unit, you have studied narratives in multiple genres, and you have explored a variety of cultural perspectives. You will now select the genre you feel is most appropriate to convey a real or fictional experience that includes one or more elements of culture.

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Embedded Assessment #3: Your assignment is to develop an argument about an issue that resonates across cultures. You will choose a position, target audience, and effective genre to convey your argument to a wide audience.

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Take final on https://testmoz.com/class/16400

*hand in ALL work to teacher with test results on the front. Work should be 5-10 pages when completed for full credit.

Credit 3~ Cultures in Conflict

The Works:

Use the attached websites and media to assist you in learning about the following stories.

Please analyze each work and take notes. Student can use a plot summary or general note taking using Cornell notes format.

• “By the Waters of Babylon” (Stephen Vincent Benet)

• “The Cold Equations” (Tom Godwin)

• “Typhoid Fever” from Angela’s Ashes (Frank McCourt)

• “The Storyteller” (Saki)

• Things Fall Apart

• Prayer to the Masks by Léopold Sédar Senghor

• The Second Coming by William Butler Yeats

Literary Terms:

Write Literary Terms with examples from the text:

• • Third person limited POV

  • First person POV

Terms can be found at: https://literarydevices.net/

Important Questions:

1. Who was Achebe’s intended audience? Who did he write Things Fall Apart for? What was he trying to communicate his audience?

2. What does the opening epigraph by Yeats tell us about the novel? What themes does it introduce?

3. Is Okonkwo destined for tragedy or did his choices (made of his own free will) lead him to his tragic end?

4. Why does Okonkwo hang himself? Is it a cowardly act or brave? Weak or noble?

5. What do the constant references to gender (male/female) say about Okonkwo? About Igbo culture?

6. Why do you think Achebe often used untranslated Igbo words? What kind of tone was he trying to evoke?

7. Why do you think the people of Umuofia maintain the belief that the egwugwu are gods when they are clearly masked humans?

8. In the Second Coming...Why do you think Yeats put so many confusing symbols in the poem? Many poets, when they use symbolism, try to make everything relate to each other. But what does falconing have to do with a sphinx or a "blood-dimmed tide," and what does either of them have to do with a sphinx and the "indignant desert birds"? Most people who read this poem want to make these things correspond to something real in the world. But we have to consider that Yeats did not want his poem to be interpreted in this way.

9. In the Second Coming...Why does Yeats think of history as this swirling vortex, the gyre? Because the gyre moves further and further from its center, does it mean that things are always getting worse? It should be mentioned that Yeats’s idea was highly original and not shared by everyone. There are still plenty of people, even today, who think that history is linear (except for a few blips like wars), and that society is constantly improving itself.

10. In the Second Coming...Do you think the poem could apply to the entire world, or is it only intended for Christian Europe? People in other civilizations, for example the Middle East, have found this to be a very compelling poem, and they have made it fit into their own views of history. Maybe it speaks most directly to people with an "apocalyptic" outlook, who think that big, sweeping changes are on the horizon.

11. How different of a memoir would Angela's Ashes be if McCourt wrote it as a younger man instead of in his 60s?

12. The Catholic Church comes in for some pretty bad press in Angela's Ashes. How might Frank's life have been different if the church was less authoritarian and judgmental in his view?

Assessment:

Embedded Assessment #1: Your assignment is to examine one aspect of tribal culture presented in Things Fall Apart, its significance to the Ibo community, and to compare and contrast how that cultural aspect changed from precolonial to postcolonial Nigeria. You will create a presentation that reflects your research.

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Embedded Assessment #2: Your assignment is to write an analytical essay about Things Fall Apart in which you examine a character’s response to the cultural collision caused by the introduction of Western ideas into Ibo culture. In your essay, analyze how the collision challenges the character’s sense of identity, and explain how his or her response shapes the meaning of the work as a whole.

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**Take exam at https://testmoz.com/class/16400

*hand in ALL work to teacher with test results on the front. Work should be 5-10 pages when completed for full credit.

Credit 4~ Dramatic Justice

The Works:

Use the attached websites and media to assist you in learning about the following stories.

Please analyze each work and take notes. Student can use a plot summary or general note taking using Cornell notes format.

• “The Bass, the River, and Sheila Mant” (W.D. Wetherell)

• “And of Clay Are We Created” (Isabel Allende)

• “The Man in the Water” (Roger Rosenblatt)

• “The Parable of Good Samaritan” (Bible)

• “Good Samaritans USA Are Afraid to Act” (Ann Sjoerdsma)

• “A State Championship vs. Runner vs. Runner’s Conscience” (John Hoyle)

• Antigone (see excerpt below)

Literary Terms:

Write Literary Terms with examples from the text:

• • • internal conflict

    • external conflict

    • situational irony

    • verbal irony

    • tone

    • theme

Terms can be found at: https://literarydevices.net/

Important Questions:

1. How are women portrayed in Antigone?

2. Discuss the conflict between fate and destiny on one hand and free will on the other. Which dominates? How does each character grapple with their limited free will?

3. How do the play’s main characters (Creon, Antigone, Ismene) see themselves? How is this similar or different from how they are perceived by others?

4. What function does off-stage action have in Antigone? Why, for example, does Sophocles sometimes have messengers describe actions that have occurred rather than portraying events directly?

5. Compare and contrast Oedipus and Antigone. How are they similar? Different?

6. Antigone assumed her fate was to die in jail and therefore killed herself, fulfilling her fate only because she was aware of it. The question is, if characters were not aware of their own supposed fate, would it be fulfilled?

Assessment:

Embedded Assessment #1: Your assignment is to research, analyze, and present an oral interpretation of a monologue. Your monologue should represent a point of view or cultural experience reflected in a work of literature from outside the United States. You will need to use vocal and visual delivery to convey a complex character’s voice. You will write a character sketch of the character you are portraying. You will also evaluate your own and other students’ performances and write a reflection on your oral interpretation.

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Embedded Assessment #2: Your assignment is to write an analytical essay about the effect of character interaction in the play Antigone. Choose a character whose words, actions, or ideas contrast with Creon’s character. Explain how these conflicting motivations contribute to Creon’s development as a tragic hero and how the character interactions advance the plot or develop themes of the play.

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**Take exam at https://testmoz.com/class/16400

*hand in ALL work to teacher with test results on the front. Work should be 5-10 pages when completed for full credit.

Antigone

710CHORUS LEADER Here comes Haemon,

your only living son. Is he grieving

the fate of Antigone, his bride,

bitter that his marriage hopes are gone?

CREON We’ll soon find out—more accurately

than any prophet here could indicate.

[Enter Haemon from the palace]

My son, have you heard the sentence that’s been passed

upon your bride? And have you now come here

angry at your father? Or are you loyal to me,

on my side no matter what I do?

720HAEMON Father, I’m yours. For me your judgments

and the ways you act on them are good—

I shall follow them. I’ll not consider

any marriage a greater benefit

than your fine leadership.

CREON Indeed, my son,

that’s how your heart should always be resolved,

to stand behind your father’s judgmen on every

issue. That’s what men pray for—

obedient children growing up at home

who will pay back their father’s enemies,

730evil to them for evil done to him,

while honouring his friends as much as he does.

A man who fathers useless children—

what can one say of him except he’s bred

troubles for himself, and much to laugh at

for those who fight against him? So, my son,

don’t ever throw good sense aside for pleasure,

for some woman’s sake. You understand

how such embraces can turn freezing cold

when an evil woman shares your life at home.

740What greater wound is there than a false friend?

So spit this girl out—she’s your enemy.

Let her marry someone else in Hades.

Since I caught her clearly disobeying,

culprit: person who has committed a crime

perjure: make a liar of

the only culprit in the entire city,

I won’t perjure myself before the state.

No—I’ll kill her. And so let her appeal

to Zeus, the god of blood relationships.

If I foster any lack of full respect

in my own family, I surely do the same

750with those who are not linked to me by blood.

The man who acts well with his household

will be found a just man in the city.

I’d trust such a man to govern wisely

or to be content with someone ruling him.

And in the thick of battle at his post

he’ll stand firm beside his fellow soldier,

a loyal, brave man. But anyone who’s proud

and violates our laws or thinks he’ll tell

our leaders what to do, a man like that

760wins no praise from me. No. We must obey

whatever man the city puts in charge,

no matter what the issue—great or small,

just or unjust. For there’s no greater evil

than a lack of leadership. That destroys

whole cities, turns households into ruins,

and in war makes soldiers break and run away.

When men succeed, what keeps their lives secure

in almost every case is their obedience.

That’s why they must support those in control,

770and never let some woman beat us down.

If we must fall from power, let that come

at some man’s hand—at least, we won’t be called

inferior to any woman.

CHORUS LEADER Unless we’re being deceived by our old age,

what you’ve just said seems reasonable to us.

HAEMON Father, the gods instill good sense in men—

the greatest of all the things which we possess.

I could not find your words somehow not right—

I hope that’s something I never learn to do.

780But other words might be good, as well.

Because of who you are, you can’t perceive

all the things men say or do—or their complaints.

Your gaze makes citizens afraid—they can’t

say anything you would not like to hear

But in the darkness I can hear them talk—.

the city is upset about the girl.

They say of all women here she least deserves

the worst of deaths for her most glorious act.

When in the slaughter her own brother died,

790she did not just leave him there unburied,

to be ripped apart by carrion dogs or birds.

Surely she deserves some golden honour?

That’s the dark secret rumour people speak.

For me, father, nothing is more valuable

than your well being. For any children,

what could be a greater honour to them

than their father’s thriving reputation?

A father feels the same about his sons.

So don’t let your mind dwell on just one thought,

800that what you say is right and nothing else.

A man who thinks that only he is wise,

that he can speak and think like no one else,

when such men are exposed, then all can see

their emptiness inside. For any man,

even if he’s wise, there’s nothing shameful

in learning many things, staying flexible.

You notice how in winter floods the trees

which bend before the storm preserve their twigs.

The ones who stand against it are destroyed,

810root and branch. In the same way, those sailors

who keep their sails stretched tight, never easing off,

make their ship capsize—and from that point on

sail with their rowing benches all submerged.

So end your anger. Permit yourself to change.

For if I, as a younger man, may state

my views, I’d say it would be for the best

if men by nature understood all things—

if not, and that is usually the case,

when men speak well, it good to learn from them.

820CHORUS LEADER My lord, if what he’s said is relevant,

it seems appropriate to learn from him,

and you too, Haemon, listen to the king.

The things which you both said were excellent.

CREON And men my age—are we then going to school

to learn what’s wise from men as young as him?

HAEMON There’s nothing wrong in that. And if I’m young,

don’t think about my age—look at what I do.

CREON And what you do—does that include this,

honouring those who act against our laws?

830HAEMON I would not encourage anyone

to show respect to evil men.

CREON And her—

is she not suffering from the same disease?

HAEMON The people here in Thebes all say the same—

they deny she is.

CREON So the city now

will instruct me how I am to govern?

HAEMON Now you’re talking like someone far too young.

Don’t you see that?

CREON Am I to rule this land

at someone else’s whim or by myself?

HAEMON A city which belongs to just one man

is no true city.

840CREON According to our laws,

does not the ruler own the city?

HAEMON By yourself you’d make an excellent king

but in a desert.

CREON It seems as if this boy

is fighting on the woman’s side.

HAEMON That’s true—

if you’re the woman. I’m concerned for you.

CREON You’re the worst there is—you set your judgment up

against your father.

HAEMON No, not when I see

you making a mistake and being unjust.

CREON Is it a mistake to honour my own rule?

850HAEMON You’re not honouring that by trampling on

prerogatives: exclusive rights or privileges

the gods’ prerogatives.

CREON You foul creature—

you’re worse than any woman.

HAEMON You’ll not catch me

giving way to some disgrace.

CREON But your words

all speak on her behalf.

HAEMON And yours and mine—

and for the gods below.

CREON You woman’s slave—

don’t try to win me over.

HAEMON What do you want—

to speak and never hear someone reply?

CREON You’ll never marry her while she’s alive.

HAEMON Then she’ll die—and in her death kill someone else.

860CREON Are you so insolent you threaten me?

HAEMON Where’s the threat in challenging a bad decree?

CREON You’ll regret parading what you think like this—

you—a person with an empty brain!

HAEMON If you were not my father, I might say

you were not thinking straight.

CREON Would you, indeed?

Well, then, by Olympus, I’ll have you know

you’ll be sorry for demeaning me

with all these insults.

[Creon turns to his attendants]

Go bring her out—

that hateful creature, so she can die right here,

870with him present, before her bridegroom’s eyes.

HAEMON No. Don’t ever hope for that. She’ll not die

with me just standing there. And as for you—

your eyes will never see my face again.

So let your rage charge on among your friends

who want to stand by you in this.

[Exit Haemon, running back into the palace]

CHORUS LEADER My lord, Haemon left in such a hurry.

He’s angry—in a young man at his age

the mind turns bitter when he’s feeling hurt.

CREON Let him dream up or carry out great deeds

880beyond the power of man, he’ll not save these girls—

their fate is sealed.

CHORUS LEADER Are you going to kill them both?

CREON No—not the one whose hands are clean. You’re right.

CHORUS LEADER How do you plan to kill Antigone?

CREON I’ll take her on a path no people use,

and hide her in a cavern in the rocks,

while still alive. I’ll set out provisions,

piety: devotion to religion; fulfillment of religious obligations

as much as piety requires, to make sure

the city is not totally corrupted.

Then she can speak her prayers to Hades,

890the only god she worships, for success

avoiding death—or else, at least, she’ll learn,

although too late, how it’s a waste of time

to work to honour those whom Hades holds.

Credit 5~ Building Cultural Bridges

Use the attached websites and media to assist you in learning about the following stories.

Please analyze each work and take notes. Student can use a plot summary or general note taking using Cornell notes format.

The Works:

• “Lamb to the Slaughter” (Dahl)

• “RMS Titanic” (Hanson W. Baldwin)

• “A Fireman’s Story” (Harry Senior)

• “Explorers Say There’s Still Lots to Look For” (Helen O’Neill)

• “From a Lifeboat” (Mrs. D.H. Bishop)

• I Need to Wake Up

• DICAPRIO Sheds Light on 11th Hour by Scott Roxborough

• from Global Warming Alarmism Reaches a “Tipping Point” by Senator James Inhofe

• Global Warming: No Urgent Danger; No Quick Fix by Patrick J. Michaels Atlanta Journal-Constitution August 21, 2007

• Jeremy Clarkson and Michael O’Leary Won’t Listen to Green Clichés and Complaints about Polar Bears

• A Roaring Battle Over Sea Lions

Literary Terms:

Write Literary Terms with examples from the text:

• • Irony

  • Situation irony

  • Dramatic irony

Terms can be found at: https://literarydevices.net/

Important Questions:

1. "Lamb to the Slaughter" (1953) is a short story by:

2. "Lamb to the Slaughter" is about...

3. "Lamb to the Slaughter" has a theme about...

4. Why does Mary in "Lamb to the Slaughter"overhearing, begins to giggle when the police say it is right under their nose?

5. "Into Thin Air" by Jon Krakauer is about:

6. Describe Dicaprio's 11th hour dilemma?

7. What is the Tipping Point by inhofe?

8. Is there no danger for global warming? Why or why not?

9. What is in "I need to wake up"?

10. What is the article about the Polar bears about really?

Assessment:

Embedded Assessment #1: Your assignment is to present a solution to the environmental conflict you have researched. You will turn in a presentation designed to contextualize the conflict for your classmates and justify your approach to resolving it.

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Embedded Assessment #2: Your assignment is to transform your presentation from the first Embedded Assessment into a documentary film advocating for a particular solution to the issue. Use research-based evidence, persuasive appeals, and documentary film techniques to engage an audience and convince them of your argument. See below for techniques.

---------------------------------OR-------------------------------------------

**Take exam at https://testmoz.com/class/16400

*hand in ALL work to teacher with test results on the front. Work should be 5-10 pages when completed for full credit.

Documentary Film Techniques

Framing and Angles

Shot: A single piece of film uninterrupted by cuts.

Establishing Shot: Often a long shot or a series of shots that sets the scene, it is used to establish setting and to show transitions between locations.

Long Shot (LS): A shot from some distance; if filming a person, the full body is shown (also called a full shot).

Medium Shot (MS): The most common shot; the camera seems to be a medium distance from the object being filmed.

Close Up (CU): The object or subject takes up most of the frame, and so the viewer is forced to look at what the director intends the viewer look at.

Two Shot: A scene between two people shot exclusively from an angle that includes both characters more or less equally.

Eye Level: A shot taken from a normal height; most shots seen are eye level because it is the most natural angle.

High Angle: The camera is above the subject, making the subject look small, weak, powerless, and trapped.

Low Angle: The camera films the subject from below, making the subject look larger, strong, powerful, and threatening.

Movement and Transitions

Pan: A stationary camera moves from side to side along a horizontal axis.

Tilt: A stationary camera moves up or down along a vertical axis.

Zoom: A stationary camera where the lens moves to make an object seem to move closer to or further away from the camera.

“Ken Burns” Effect: A technique in which the camera slowly zooms in on a still photograph and pans from one image to another.

Montage: Transitional sequences of rapidly edited images, used to suggest the lapse of time or the passing of events.

Dolly/Tracking: The camera is on a track that allows it to move with the action. The term also refers to any camera mounted on a vehicle.

Cut: The most common editing technique; two pieces of film are spliced together to “cut” to another image.

Fade: A scene that can begin in darkness and gradually assume full brightness (fade-in) or where the image may gradually get darker (fade-out).

Dissolve: A kind of fade in which one image is slowly replaced by another. It can create a connection between images.

Wipe: A new image wipes off the previous image. A wipe is more fluid than a cut and quicker than a dissolve.

Shot-Reverse-Shot: A shot of one subject, then another, then back to the first. It is often used for conversation or reaction shots.

Visual Elements

Color/Black and White/Sepia: A film can be shot partly or entirely in color, black and white, or sepia tones (a brownish pigment.)

Charts and Graphs: A pie chart, bar graph, or line graph to emphasize a statistic or help the audience visualize data.

Photographs: Still images used to emphasize a point or illustrate a time in history before video was available.

Interview: Expert or celebrity interviews can be used to enhance a film’s ethos or present opposing views.

Real People: “Man on the street” polls and reactions can illustrate a commonly held belief.

Reconstruction/Reenactment: Filming actors as they recreate a true event. This technique is controversial and should be clearly labeled.

Animation: Hand-drawn, computer-generated, or three-dimensional objects (such as clay figures) can be animated for part or all of a film.

Archival/Stock Footage: Many websites offer downloads of clips such as wildlife images and historical footage that you can use in your film.

Logos/Symbols: A graphic or emblem representing a company, organization, or idea.

Captions/Subtitles/Text: Text can identify a setting as a caption, clarify spoken words as a subtitle, or appear on screen to make a point.

Vocals and Sound

Diegetic: Sound that could logically be heard by the people in the film, such as dialogue.

Non-diegetic: Sound that is designed for audience reaction only, such as the score or sound effects.

Film Score: Background music that is composed specifically to accompany a film.

Soundtrack: Recorded music accompanying and synchronized to the images of a film; may include significant lyrics.

Narration (Voice-Over): Commentary provided by an off-camera speaker whose voice is placed over the video imagery.

Sound Effects: Artificially created or enhanced sounds used for emphasis or artistic effect.

Talking Heads: A medium or close up shot of a person talking, usually in response to an interview question.

Walk and Talk: A storytelling technique in which two people have a conversation on their way to or as they are exploring a setting.