1. I began session #4 by asking if any of you had questions about the Invisible Man web assignment. Then I framed our discussion of Wide Sargasso Sea with the following questions: how does the way the book is written -- with two different very subjective, sometimes contradictory, often ambiguous narrators -- affect the reader's experience of the book and the meaning the reader makes while reading? & speaking of meaning, what does the book suggest about the relationship between identity formation and one's family and cultural experiences? We spent most of the rest of the session exploring these questions through the lens of quotations you pulled out of the book. Along the way we also explored possible comparisons with identity formation and environment in Invisible Man and other books and films. In the end we developed an assignment to show our understanding of the meaningful similarities and differences between Invisible Man and Wide Sargasso Sea.
2. Post-session assignment: Write a sentence or two expressing five meaningful, insightful, supportable ways that IM and WSS are similar and/or different.
Examples that do not meet expectations for the college level:
In both books the narrators move from one place to another.
In both books the narrators are secluded.
In both books the authors refer to dreams.
Examples that do meet expectations for the college-level:
Although the narrators in both novels move from home (the American South for the Invisible Man and the Caribbean for Antoinette) to a strange new place (New York for the Invisible Man and England for Antoinette), the Invisible Man is ultimately able to understand himself in relationship to his environment whereas Antoinette is never able to construct a new identity that can function successfully in her new environment.
Or,
The Invisible Man chooses seclusion in his apartment whereas Antoinette is forced into seclusion. The Invisible Man is therefore free to use his chosen seclusion to better understand himself in relation to society, and then free to choose when to re-enter society, whereas Antoinette is imprisoned in a dream-like, distorted reality from which she can only break free with self-destructive violence.
Or,
Jean Rhys and Ralph Ellison both construct real scenes that are experienced by the protagonist as dreams in order to expose the absurdity of the world's in which the protagonist's must live. In both novels the absurdity raises the question: is it the protagonists who are insane or is it the environments that are insane?
Your five statements will be due by Thursday, September 2. That next week we will, in class, begin constructing giant Venn diagrams out of your statements.
3. Reminders: as part of the school-wide summer reading program, you need to complete a quotation response journal on something else -- anything else -- that you have read this summer. Have fun with this. I am not grading this assignment; I will simply make sure you have met the basic requirements. If you turn write down ten quotations with ten responses of several sentences each you will get full credit.
Check the side bar of this blog for all the assignments.
You will receive a zero for any summer work that is not turned in by the end of the school day on Thursday, September 2. (For very practical purposes I need to have it all before the Labor Day weekend so I have a chance to look at it all and organize it all before the real onslaught of the school year begins after Labor Day.)
Monday, August 23, 2010
Saturday, August 7, 2010
Session #3: Invisible Man (chapter 12 through Epilogue)
1. In Monday's session (August 2) we used the time to explore how scenes, events, motifs, characters, etc. from the first half of the novel related to those in the second half of the novel.
We began this process by discussing what we considered to be thematically important episodes from the prologue through chapter 11. I wrote these episodes on the board, including the events, characters, setting, images, and sometimes allusions associated with the episode; though we discussed a lot more than I was able to write down.
We then discussed what we considered to be thematically important episode from chapter 12 through the prologue. As with the first part of the session, I wrote these episodes on the board, including the events, characters, setting, images, and sometimes allusions associated with the episode; once again we discussed a lot more than I was able to write down.
Along the way I began drawing lines connecting the various episodes. We connected similar characters. We connected episodes that repeated certain images -- eyes, for example -- and other motifs -- boxing, for example.
Finally and most importantly we kept asking, what does it all mean? How does Ellison use the individual episodes and the connections between them to suggest something about the relationship between identity and environment?
2. A Part-to-Whole Web (a.k.a. mind map) (instead of an essay) THIS IS VERY IMPORTANT!
The Process and the Question
In the last part of class we devised an assignment that addressed my question: what could each of you do to show that you understand how the parts contribute to a whole? How can you show that Ellison's choices as a writer (the parts) -- his choice of individual events, of the order of events, of the (sometimes strange) descriptions and details, of the repeated images, of the characters and characterization, etc. -- fit together to suggest something about how a person might grow and change in response to experiences within social environments (the whole)?
The Web, part one: the center
We decided that each student would make a web. At the center of the web will be a robust paragraph (100 words to 300 words or so), explaining in your own words, you understanding of what Ellison's novel is all about. What exactly do you think he is suggesting in the novel?
(Hint: think about the dynamic (i.e. changing, developing) relationship between identity and environment in the novel. Think about influence. Think about choice. Think about innocence (naivete, ignorance, blindness) and experience (knowledge, understanding, insight). Think about responsibility and irresponsibility.)
This "introductory" paragraph will explain your "big idea," your "bold, insightful assertion" about the novel's meaning. Spend some time with this. The GHS schoolwide rubric says that in order for such paragraphs to be considered proficient they must be clear, supportable, debatable, and insightful; the ones that are advanced will also be sophisticated and/or original . (Warning: Do not turn to the internet looking for an answer. Those of you who have attend sessions know that I read these and even know a few that most of you do not know. Rely on your own interpretive skills, your own heart and mind. However for those of you who missed the class sessions. You might go to this well-made video introduction to help you start thinking about some of the big questions raised by the book.)
The Web, part two: the threads
Then you will connect the central paragraph to interpretations of how at least four passages in the novel support your "big idea," your "bold assertion," your "central insight". The passages you choose must adequately represent the whole of the protagonist's journey from the pre-college fight & speech to college to his early days in New York to the Brotherhood to his underground existence in an apartment on the outskirts of Harlem. (Let me make it clear that four is a minimum and to create a thoroughly convincing web you might need to refer to more passages.)
These "interpretations" need to show two things: an understanding of the passage itself and an understanding of the connection between the passage and the "big idea". How you show your understanding of the passage and your understanding of its connection with the "big idea" is up to you.
To show your understanding of a passage what will you do? Will you write a paragraph (in the manner of a standard essay) explaining how the passage supports the central paragraph? Will you quote the passage in one font and offer an explication (an unfolding of meaning) in relation to your big idea by using another font? Will you create a picture that shows an understanding of the passage (and its relationship with the central paragraph)? Will this picture show symbolic understanding as well as literal understanding of the passage?
To show the connections what will you do? Will you draw lines? Will each connecting line include a sentence linking the passage with the big idea? Will you use a "footnote" or "endnote" system in which you put numbers in your central paragraph that will lead to numbers which offer explanations of how passages support the central paragraph? Will you create Powerpoint slides to show connections?
And, finally, will you go beyond? Will you show not only how the big idea is connected with passages but also how the passages are connected with each other? What else might you do to show the relationship between the parts of the novel and your understanding of the whole?
Note:
I know some of you are thinking, just tell me what to do! This is too vague.
My response is this: part of AP English Lit & Comp is learning how to be a critical and creative independent reader and writer. I want you to show me that you don't need to be led by the hand but can come up with appropriate, innovative solutions to challenges. In this case I've given you a few parameters (write a central assertion of a, connect that central assertion to an understanding of at least four passages). I've given you some examples of how you might complete the assignment. I've left the rest up to you.
The Web, part three: teaching your peers
You will be creating a physical object -- a web -- and you will be called upon to explain the web at some point during the first several days of the school year.
Due Dates
The physical "web" in whatever form you create is due the first day of class (8/30).
The "teaching your peers" part of the assignment will take place during the first several days of class in the fall.
Grading
Advanced webs will offer an insightful, sophisticated, perhaps original understanding of the novel as a whole. This overall understanding will be linked to persuasive, nuanced understanding and interpretation of how at least four passages drawn from key moments throughout the novel support the understanding of the whole. These webs may go "beyond" the parameters of the assignment in some significant, meaningful way.
Proficient webs will offer a clear, thoughtful, plausible, understanding of the novel as a whole. This overall understanding will be linked to an adequate understanding and interpretation of how at least four passages from the beginning, middle, and end of the novel contribute to the whole. The webs are generally considered to have succeeded in fulfilling the assignment but not to have exceeded expectations for a student entering an introductory college-level course at a competitive college or university.
Webs that need improvement may not offer a clear or plausible understanding of the novel as a whole. The central paragraph may point out themes but may not offer interpretation or insight as to the meaning of the themes in the novel. These webs refer to at least four passages but may not adequately show an understanding of the passage or of how the passage contributes to the work as a whole. The understanding and connection of some passages may be effective The passages may not be drawn from the beginning, middle, and end of the novel. In general these webs do not meet the expectations for a student entering an introductory college-level course at a competitive college or university.
Webs that receive warning status may include the weaknesses cited above but also fail to adhere to the basic parameters of the assignment. They may show little to no understanding of the novel or of the passages.
Any web that includes language or material taken directly from another source will receive a zero.
3. Complete a quotation response journal (10+ quotations and responses) for Wide Sargasso Sea by Jean Rhys before the next session (August 16). (Note: I decided not to assign supplementary readings until after the final session.)
Here's a list of the work already due:
1. Invisible Cities quotation response journal (due July 6)
2. Invisible Cities "quotation" essay (due July 19)
3. Response to choice of AP Summer Anthology readings for Invisible Cities (due in the 7/6 comment box by July 12)
4. Invisible Man (Prologue through chapter 11) quotation response journal (due July 19)
5. Invisible Man (Prologue through chapter 11) part to the whole essay (due in the 7/19 comment box by August 2 if you did not attend session 2 or 3)
6. Invisible Man (chapter 12 through Epilogue) quotation response journal (due August 2)
Here's a list of currently assigned work:
7. Invisible Man Parts to Whole Web (due first day of class August 31)
8. Wide Sargasso Sea quotation response journal (due at or by session #4 August 16)
Summer work to come:
9. Wide Sargasso Sea: post-session work
10. Response to AP Summer Anthology Readings for Invisible Man/Wide Sargasso Sea (bildungsromans)
We began this process by discussing what we considered to be thematically important episodes from the prologue through chapter 11. I wrote these episodes on the board, including the events, characters, setting, images, and sometimes allusions associated with the episode; though we discussed a lot more than I was able to write down.
We then discussed what we considered to be thematically important episode from chapter 12 through the prologue. As with the first part of the session, I wrote these episodes on the board, including the events, characters, setting, images, and sometimes allusions associated with the episode; once again we discussed a lot more than I was able to write down.
Along the way I began drawing lines connecting the various episodes. We connected similar characters. We connected episodes that repeated certain images -- eyes, for example -- and other motifs -- boxing, for example.
Finally and most importantly we kept asking, what does it all mean? How does Ellison use the individual episodes and the connections between them to suggest something about the relationship between identity and environment?
2. A Part-to-Whole Web (a.k.a. mind map) (instead of an essay) THIS IS VERY IMPORTANT!
The Process and the Question
In the last part of class we devised an assignment that addressed my question: what could each of you do to show that you understand how the parts contribute to a whole? How can you show that Ellison's choices as a writer (the parts) -- his choice of individual events, of the order of events, of the (sometimes strange) descriptions and details, of the repeated images, of the characters and characterization, etc. -- fit together to suggest something about how a person might grow and change in response to experiences within social environments (the whole)?
The Web, part one: the center
We decided that each student would make a web. At the center of the web will be a robust paragraph (100 words to 300 words or so), explaining in your own words, you understanding of what Ellison's novel is all about. What exactly do you think he is suggesting in the novel?
(Hint: think about the dynamic (i.e. changing, developing) relationship between identity and environment in the novel. Think about influence. Think about choice. Think about innocence (naivete, ignorance, blindness) and experience (knowledge, understanding, insight). Think about responsibility and irresponsibility.)
This "introductory" paragraph will explain your "big idea," your "bold, insightful assertion" about the novel's meaning. Spend some time with this. The GHS schoolwide rubric says that in order for such paragraphs to be considered proficient they must be clear, supportable, debatable, and insightful; the ones that are advanced will also be sophisticated and/or original . (Warning: Do not turn to the internet looking for an answer. Those of you who have attend sessions know that I read these and even know a few that most of you do not know. Rely on your own interpretive skills, your own heart and mind. However for those of you who missed the class sessions. You might go to this well-made video introduction to help you start thinking about some of the big questions raised by the book.)
The Web, part two: the threads
Then you will connect the central paragraph to interpretations of how at least four passages in the novel support your "big idea," your "bold assertion," your "central insight". The passages you choose must adequately represent the whole of the protagonist's journey from the pre-college fight & speech to college to his early days in New York to the Brotherhood to his underground existence in an apartment on the outskirts of Harlem. (Let me make it clear that four is a minimum and to create a thoroughly convincing web you might need to refer to more passages.)
These "interpretations" need to show two things: an understanding of the passage itself and an understanding of the connection between the passage and the "big idea". How you show your understanding of the passage and your understanding of its connection with the "big idea" is up to you.
To show your understanding of a passage what will you do? Will you write a paragraph (in the manner of a standard essay) explaining how the passage supports the central paragraph? Will you quote the passage in one font and offer an explication (an unfolding of meaning) in relation to your big idea by using another font? Will you create a picture that shows an understanding of the passage (and its relationship with the central paragraph)? Will this picture show symbolic understanding as well as literal understanding of the passage?
To show the connections what will you do? Will you draw lines? Will each connecting line include a sentence linking the passage with the big idea? Will you use a "footnote" or "endnote" system in which you put numbers in your central paragraph that will lead to numbers which offer explanations of how passages support the central paragraph? Will you create Powerpoint slides to show connections?
And, finally, will you go beyond? Will you show not only how the big idea is connected with passages but also how the passages are connected with each other? What else might you do to show the relationship between the parts of the novel and your understanding of the whole?
Note:
I know some of you are thinking, just tell me what to do! This is too vague.
My response is this: part of AP English Lit & Comp is learning how to be a critical and creative independent reader and writer. I want you to show me that you don't need to be led by the hand but can come up with appropriate, innovative solutions to challenges. In this case I've given you a few parameters (write a central assertion of a, connect that central assertion to an understanding of at least four passages). I've given you some examples of how you might complete the assignment. I've left the rest up to you.
The Web, part three: teaching your peers
You will be creating a physical object -- a web -- and you will be called upon to explain the web at some point during the first several days of the school year.
Due Dates
The physical "web" in whatever form you create is due the first day of class (8/30).
The "teaching your peers" part of the assignment will take place during the first several days of class in the fall.
Grading
Advanced webs will offer an insightful, sophisticated, perhaps original understanding of the novel as a whole. This overall understanding will be linked to persuasive, nuanced understanding and interpretation of how at least four passages drawn from key moments throughout the novel support the understanding of the whole. These webs may go "beyond" the parameters of the assignment in some significant, meaningful way.
Proficient webs will offer a clear, thoughtful, plausible, understanding of the novel as a whole. This overall understanding will be linked to an adequate understanding and interpretation of how at least four passages from the beginning, middle, and end of the novel contribute to the whole. The webs are generally considered to have succeeded in fulfilling the assignment but not to have exceeded expectations for a student entering an introductory college-level course at a competitive college or university.
Webs that need improvement may not offer a clear or plausible understanding of the novel as a whole. The central paragraph may point out themes but may not offer interpretation or insight as to the meaning of the themes in the novel. These webs refer to at least four passages but may not adequately show an understanding of the passage or of how the passage contributes to the work as a whole. The understanding and connection of some passages may be effective The passages may not be drawn from the beginning, middle, and end of the novel. In general these webs do not meet the expectations for a student entering an introductory college-level course at a competitive college or university.
Webs that receive warning status may include the weaknesses cited above but also fail to adhere to the basic parameters of the assignment. They may show little to no understanding of the novel or of the passages.
Any web that includes language or material taken directly from another source will receive a zero.
3. Complete a quotation response journal (10+ quotations and responses) for Wide Sargasso Sea by Jean Rhys before the next session (August 16). (Note: I decided not to assign supplementary readings until after the final session.)
Here's a list of the work already due:
1. Invisible Cities quotation response journal (due July 6)
2. Invisible Cities "quotation" essay (due July 19)
3. Response to choice of AP Summer Anthology readings for Invisible Cities (due in the 7/6 comment box by July 12)
4. Invisible Man (Prologue through chapter 11) quotation response journal (due July 19)
5. Invisible Man (Prologue through chapter 11) part to the whole essay (due in the 7/19 comment box by August 2 if you did not attend session 2 or 3)
6. Invisible Man (chapter 12 through Epilogue) quotation response journal (due August 2)
Here's a list of currently assigned work:
7. Invisible Man Parts to Whole Web (due first day of class August 31)
8. Wide Sargasso Sea quotation response journal (due at or by session #4 August 16)
Summer work to come:
9. Wide Sargasso Sea: post-session work
10. Response to AP Summer Anthology Readings for Invisible Man/Wide Sargasso Sea (bildungsromans)
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