To better assist students on their upcoming Text-Dependent Analysis deadline, here are ways to better navigate this website.
Information regarding Introduction & Conclusion Paragraphs: Head to the "Content Materials & PA Standards" page, then run your mouse cursor over the "Writing" tab. Once the secondary list of options are accessible, click on the "Informational" tab. To better understand how writers will be assessed: Head to the "Content Materials & PA Standards" pages, then click on the "PA Standards: Grade 8 Writing" tab. For other information regarding the TDA: Head to the "Content Materials & PA Standards" pages, then run your mouse cursor over the "Writing" tab. Once the secondary list of options are accessible, click on the "Text-Dependent Analysis" tab. Please feel free to email me (click on the envelope icon in the upper right-hand corner of the screen), if you have any questions that the website was not able to answer. Happy Thanksgiving!
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After scouring the Internet to locate exercises in grammar, I've located a site I'm pleased to share with all of the students.
Check out http://www.ixl.com/ela/grade-8 and scan the various categories of skills. Should a students find these exercises either too simple or difficult, refer to the various colored tabs to the left of the screen. They will allow students to practice exercises from a second grade to eight grade level. I hope this website assists students as they work to master grammar. Never fear when completing the Text Dependent Analysis (TDA). Much like any analysis paper, your work with a story requires that you (the reader) not only understand the WHO, WHAT, WHEN, and WHERE of a plot, but that you also look into WHY and HOW the story _________________________. And, you guessed it, you have to fill in this blank.
In Edgar Allan Poe's "The Tell-Tale Heart," we know the WHO/WHAT/WHEN/WHERE are about the murderous narrator who informs the audience that his "boss/master" (for lack of a better word) drove him to madness and, thus, murder within the master's own home due to the hideous shape of the master's eye. However, Poe didn't have to craft his story through the 1st Person POV. Nor, did he have to take the reader through the erratic, jarred stream of conscious of this madman. BUT HE DID. To fill in the blank, for an example analysis of Poe's short story, you would ask WHY and HOW (not necessarily in that order) Poe uses POV to enhance the terror in "The Tell-Tale Heart." REMEMBER, just like you make certain choices as a writer, these authors also make conscious decisions when writing. Mostly it's for fun; sometimes it's to say something MUCH BIGGER. Your job, again, is to figure out WHY and HOW, along with filling in that "blank." Here is a quick analysis of Poe's "The Tell-Tale Heart," in response/continuation to my note above regarding POV: In Edgar Allan Poe's "The Tell-Tale Heart," the author weaves a terrifying tale about murder and madness. However, the contents of the plot aren't solely responsible for the horror within the piece. The point of view, a limited first person perspective, greatly enhances the terror thanks to stream of consciousness. Because the reader is trapped within the mind of the narrator and eventual murderer, the reader sees the protagonist descent into madness. The complex sentences without punctuation (or any ending punctuation in sight) leaves the reader gasping after completing a long-winded sentence and leery for the next sentence to begin. This lack of punctuation, at times, shows an obvious failed attempt at sentence structure. Without structure, there is no order. Therefore, the narrator who is responsible for creating these sentences lacks the ability to create order. In the case of "The Tell-Tale Heart," chaos is created in both the construction of the plot and the story its self. Had the reader been narrated by a sane character, the sentence structure would have followed tradition grammar rules. By ignoring structure, however, this piece showcases erratic thought processes. This unpredictability unsettles readers in a subtle way, thus adding to the existing terror unfolding thanks to the various conflicts. As a result, Poe's story is more terrifying because the reader cannot trust a narrator whose perspective is incoherent. Instead, we are left at his mercy to dictate the plot and our reading of it. If you noted, analysis responses are a lot of "circle talking." You're rehashing information that other readers may not agree upon; nevertheless, it's YOUR INTERPRETATION of the WHY and HOW the story _______________________. Provided you can convince the reader of your position, with supporting details and interpretations of those details from the story, your analysis will be sound. The TDA is a merely a matter of diving beneath the surface of a text to uncover new ideas and interpretations of a literary work. If you have not done so yet, please review my archived blogs entitled "Dynamic Characters" and "Aristotle's Incline." The former posts will assist you in better understanding O'Henry's "A Retrieved Reformation" for our class discussion and lecture within the coming days.
The above set of board notes review the plot chart of Ray Bradbury's "The Drummer Boy of Shiloh." Specifically, the students worked to better understand the climax within the story. Although many assume that the climax represents the most intense scene within the plot, this is not always the case. Bradbury's story, for instance, focuses solely on the psychological conflicts of fear and panic; all the potential "action" is a catastrophe imagined within the mind as the reader never see the upcoming battle at Shiloh.
Without such "intense action," students misplace the climatic moment within the story. Therefore, readers must view the climax as a "turning point," a moment when the character transforms and becomes a character who represents the exact opposite characteristics they exhibited at the beginning of the text. The character, as I informed students, performs a "180," hence the reason to call the climax the "turning point." For Joby, our story's protagonist, Bradbury introduced a boy who awoke in utter terror when a mere peach stone feel and hit the character's drum head. Therefore, the goal of the character should be his transformation into a courageous and focused character. The moment which defines this change arrives much later than many readers suspected; the climatic scene occurred whenever Jody, after having been inspired by the General's words on the importance of drummer boys, turns the drum head right-side up. This action shows that Joby is willing to risk another peach blossom to hit the drum head; however, this time our protagonist opens himself up to that risk (which earlier stirred much panic and fear within the character) and braves the repercussions. As the story comes to its close, readers have a character who demonstrates growth per his experiences (although imagine) in the story. Such should be the goal of all writers for their characters so they may better inspire and impart meaningfulness unto their readers. From the time I began teaching, up until this point and beyond, I don't believe I'll ever stop asking students to give me more details. When writing, it's crucial to build worlds and characters that feel as real or, in some cases, even more real than the place and people we can interact with in our daily lives. The following link provides writers will more options when describing colors. May it inspire you to describe with greater detail and dream of ideas yet discovered.
For the duration of the last two weeks, our classes have delved deeper into literary terminology--specifically, the cliffhanger ending, point of view, and conflict. However, rather than exploring three types of perspectives and two kinds of conflicts, the students have discovered double the original number:
POV: 1st Person Limited, 2nd Person Limited, 3rd Person Limited, 1st Person Omniscient, 2nd Person Omniscient, and 3rd Person Omniscient Conflict: Physical Conflict (Man vs. Man, Man vs. Nature, and Man vs. Machine), Psychological Conflict (Man vs. Himself), Social Conflict (Man vs. Society, Man vs. Social Ideas), and Metaphysical Conflict (Man vs. Supernatural Forces, Gods/Goddesses, and Fate) In introducing these various perspectives and conflicts, students have been able to better understand some choices each writer made when crafting the short stories. For our work with Shirley Jackson's "Charles," students analyzed how the point of view aids in twisting the plot to create a cliffhanger ending. For our work with Ray Bradbury's "The Pedestrian," students assessed how setting develops and affects the conflicts within a plot. By dissecting a story and evaluating why a story evolves in the manner it does, a student engages in explication. Throughout this year, our classes will work to uncover more hidden elements in upcoming texts. As we begin the 2014-2015 school year, the classes must take a look back to review the literary terminology (our common language when discussing literature) and the writing process. Mainly, our class this week has delved into the latter. Through a journal entry (Pre-Journal: "Me- from an outside/out-of-body point of view (POV)") and personal narrative (Memorable summer event), students work to re-explore the seven stages of the writing process while better understanding the significance of each stage.
Prewriting: Broken into two sections, brainstorming and organizing, these initial stages lay the foundation work for students to flesh out their ideas and focus their content through note-taking. However, prewriting allows the writer to perform an even more crucial task by enabling students the opportunity to reevaluate choices made for their impending writing. Should a writer notice that a section of their work lacks details or structure, contains unnecessary information, or demonstrates any other issue, they may rework their notes (or what I like to call a blueprint) to craft a stronger, focused response later on. Drafting: this third stage entails the transposing of a writer's prewriting notes into complete, dynamic sentences. With the bulk of the work accomplished in the prewriting section, students should be able to transcend to anther writing level where the writer can experiment with style and voice. Revising: this fourth stage allows the writer to perfect their content. Whether making additions or subtractions, revision promotes new ideas and the reevaluation of current ideas. Large or small changes can be done within this stage; however, writers may begin to finalize a well-constructed response in preparation for the publication stage. Peer Reviewing: this fifth stage connects writers so they may grow based on their collaborations. Students share work with one or more peers, whom then provide feedback regarding the strengths and weaknesses of the writer's work. After returning said-critique, the writer may make improvements on their paper. Keep in mind: a student does not have to make every change recommended by their peer reviewer. Some advice can be subjective. It is up to the writer to determine what works best for their writing. Editing: this sixth stage works to correct any grammatical/mechanical errors. Although the understanding of grammar/mechanics takes time, our classes will work to gain greater knowledge on the subjects to emulate proper English and produce a clean, final product. Note: These last three stages of the writing process are cyclical (the "merry-go-round" effect, as discussed in class). The writer must decide whenever these stages will come to an end. In the meantime, a piece of writing can transform in numerous ways thanks to revision, peer consultation, and editing. Publishing: the final stage of the writing process is simple. Students present a polished copy of their work to their teacher and (in some circumstances) fellow classmates. Throughout the year, students will want to remain vigilant regarding these steps to writing. As a result, it is my hope that they reap many benefits from the careful planning and implementation of these stages so they may see transformations in their writing and beyond. |
Ms. HutiraThe following blog allows students and parents to recap the class's unit lessons. Archives
January 2020
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