SUMMER OPPORTUNITIES FOR JUNIORS
Future Business Leaders and Entrepreneurs Program at RIT
·
This program runs from July 5th-
August 10th on Tuesdays and Thursdays from 9:00 am- 3:00 pm at RIT.
It develops business, problem solving, and leadership
skills. Student teams (along with RIT students and professionals in the
community) are given a real business challenge from a company. They work
together to come up with effective and efficient solutions. Qualified students
should have a “B” average and good school attendance. $1000 stipend awarded.
Deadline to apply- May 23rd.
ESL Federal Credit Union Internship
·
This is a PAID internship for the summer (32
hours/week for 6 weeks) as a bank teller. You must have good grades and
attendance to be eligible. Interns will learn about processing transactions,
customer service, how to work in a professional environment. Student interns
must wear business attire, be able to work any days of the week
(Monday-Saturday), and can’t be attending summer school. All positions are
located on the bus line. Deadline to apply- May 31st.
********************************************************************************
Coming up: terms quiz on literary elements and figurative language devices. Tuesday, May 16
(class handout on Wednesday, May 10) another copy below
In class: collecting figurative language / literary elements practice from yesterday, as well as any late material. Some folks did not turn in their "The Story of an Hour" graphic organizer or denotation / connotation practice from Tuesday.
Tomorrow you will write on "The Story of an Hour". After reading the organizers, I think we need to clarify the story today.
NAME:
|
“The Story of an Hour” by Kate Chopin
Please complete the following. I have bolded particular words within each paragraph that are of significance.
|
P 1
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
|
How might heart trouble be more than a physical ailment? Note that this is the first thing we are told about her and how other people respond to her. Evidently this is--at least for those around her--an important part of who she is.
|
P2
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
|
1. Why is she tantalizing her with hints?
2. What does this suggest about how the family views Mrs. M.?
3. What does this paragraph suggest about Richards' feelings for Mrs. M?
4. Why is he in such a hurry? Is the code of the "southern gentleman" at work here, or could there be more to his concern than that?
|
P3
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her
|
1. Why are we first told how she does NOT hear the news? What does this reaction suggest about her? about how "ladies" were expected to react?
2. What does this passionate response tell us about her? This is our first real clue as to what sort of person she is--aside from her reported state of health.
|
P4
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
|
1. How are the window and chair descriptions suggestive of longing or desire? What do they imply about her ordinary life?
2. What does this very dramatic (even melodramatic) statement suggest about her psychological state?
|
P5
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
|
1. Note the contrast of motion and stillness. Why is the time of year so important?
2. Delicious ordinarily refers to taste. Who is "tasting" here?
3. She too has been "crying." What does this detail, as well as the other sensory images, tell you about what she is experiencing?
|
P6
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
|
1. How does this picture represent symbolically what she sees about her situation?
|
P7
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
|
1. Why is she compared to a dreaming child?
|
P8
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.
|
1. What does her face tell you about her life?
2. What sort of emotional state is she in?
|
P9
Here was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.
|
3. In your first reading, what do you guess that "something" might be?
|
P10
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will –as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.
|
1. What does this description of her hands suggest?
2. What is happening to her? Why does she repeat "free?
3. Note how the sensuality of what she sees has been transferred to her body. Why might she react this way?
|
P11
She did not stop to ask if it were or were not amonstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.
|
1. Who would consider this joy "monstrous"?
2. There seems to be no question whether her husband loved her, is there? What clues are there of HOW he loved her?
|
P12
There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.
|
1. What cherished domestic and 19th century myth does Chopin challenge here?
2. Here Chopin--or is it Mrs. Mallard?-- is making a very general statement about relationships, particularly between men and women. How does it apply to this case?
|
P13
And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!
"Free! Body and soul free!" she kept whispering.
Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. "Louise, open the door! I beg; open the door-- you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."
|
1. Again, body and soul are connected. How does this anticipate the end?
2. What does Josephine's plea say about the expectations of those around Louise (now given a name)?
|
P14
"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window.
Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.
She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.
|
1. elixir (from Middle English, a substance of transmutative properties) 1. a sweetened aromatic solution of alcohol and water, used as a vehicle for medicine. 2. a medicine regarded as a cure for all ills. 3. the philosophers' stone. 4. the quintessence or underlying principle. How do these different definitions shed light on her revelation?
2. Just what is coming through an "open window"?
3. What has she conquered that would make her seem victorious?
|
P15
Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.
But Richards was too late.
When the doctors came they said she had died of heart disease --of the joy that kills.
|
1. Why is he stained by travel if he was not on the train?
2. It is a "grip-sack," not a "briefcase" or "suitcase"; what does this word suggest ?
|
Also in class today: misused words (class handout / copy below)
Directions: Please circle the correct word. If you are unsure, check!
1.
Carl appears to be
smarter (then, than) his brother.
2.
Randolph (accepted,
excepted) my invitation to dinner.
3.
She usually bought
(to, too, two) loaves of bread at a time.
4.
The books (were ,
we’re, where) all lying face down on your desk earlier this morning.
5.
(It’s, Its) been three
days since I have heard from Joe.
6.
I will try not to let
his words (affect, effect) me.
7.
If (were, we’re,
where) not supposed to watch TV, then what are we supposed to do?
8.
It is understood
(then, than) that there will be no test on Friday.
9.
You take (to, too,
two) many chances when you dive from that cliff.
10.
Even though we
complained to the manager, (there, their, they’re) has been no change.
11.
With (it’s its) flat
tire, the car could not move at all.
12.
We asked the movers to
place the boxes (there, their, they’re).
13.
The horror movie did
not (affect, effect) him at all.
14.
I wonder whether
(there, their, they’re) going to the mall.
15.
Yes, I suppose that I
would like to see that movie (to, too, two).
16.
Everyone (accept,
except) Dr. Smithers agreed to take part in the procedure.
17.
Your experiences as a
child (affect, effect) your adult behavior greatly.
18.
When (it’s its) late,
many people go home.
19.
She is going (to, too,
two) begin her swimming course in one week.
20.
Crossing the wires
produced an explosive (affect, effect).
21.
Later, they walked
back to (there, their, they’re) hotel.
22.
The three friends went
(to, too, two) a lake in New Hampshire for their annual fishing trip.
23.
Unfortunately, the
only (affect, effect) of the protest was a tightening of security.
24.
George runs (to, too,
two) much; consequently, he is always exhausted.
25.
She will leave on
Saturday, and I will leave (then, than) too.
26.
Unfortunately, I don’t
know (were, we’re, where) I am going.
27.
The chefs left (there,
their, they’re) aprons hanging on the stove knobs.
28.
Marlene has always
gotten higher grades (then, than) her brother George.
29.
The dog caught
(it,it's) tail in the door.
30.
Your kindness will
leave a lasting (affect, effect) on me.
TERMS QUIZ / MATCHING on Tuesday, May 16
Literary elements are the universal constituents of literature and thus can be found in any written or oral story.
PLOT STRUCTURE
Exposition
Background information? About characters, setting, situation?
Complication? When does the first conflict/problem arise and develop ? What other problems start to arise and continue to develop?
Crisis What is the moment of decision (internal dilemma resolved) for the main character? When is the character faced with his/her internal conflict and realizes she/he must make a decision?
Climax When does the character MAKE his decision and ACT on it? What actions results from this decision? What is the highest point of interest (in terms of action) in the story? When is the suspense (regarding what the character will do to solve the problem) over?
Resolution (denouement) Tying up of loose ends
Other plot devices/terms include: flashback, flash forward, time lapse, suspense, foreshadowing, cliffhangers, surprise endings, closed endings, open endings.
Theme: The story's message or main point.
Conflict: What people/forces/ideas/interests/values/institutions oppose each other?
(man against man, many against nature, man against himself)
Characterization: What kinds of person/people are the character(s)? Their beliefs/hopes/dreams/ideals/ values/morals/fears/strengths/weaknesses/vices/virtues/talents? How do they conduct themselves? What do they say and do to reveal themselves? What do others say and do about the? What are your opinions or feelings about them? Classifications of types of characters include: protagonist, antagonist, foil, stereotype, flat, round, static, dynamic.
What do others say and do? What are your opinions or feelings about them? Classifications of types of characters include: protagonist, antagonist, foil, stereotype, flat, round, static, dynamic.
Setting: refers to TIME and PLACE:
Style: The way the writer chooses to arrange his sentence structure (syntax) as well as the words (diction) he chooses. What is the overall effect of the way he writes? Simple, involved, poetic, colloquial, humorous, pedantic, child-like? How does it contribute to the author’s message and the overall effect the author wishes to create?
mood is the atmosphere of the story
tone is the author's attitude towards the topic. Joyful? Melancholy? Fatalistic? Angry? Peaceful? Scary? Mysterious?
We can identify both mood and tone by looking at the setting, characters, details, and word choices
POINT OF VIEW Who is the narrator?
first person or third person? (limited or omniscient?) Why significant? Do you trust the narrator?
Figurative language is when you use a word or phrase that does not have its
normal everyday, literal meaning. Writers use figurative language to make
their work more interesting or more dramatic than literal language, which
simply states facts.
- simile - comparison using like or as
- metaphor- direct comparison, using a form of the verb to be
- personification- human qualities / attributes to non human
- onomatopoeia- sounds reflective of the sense of a word
- oxymoron- contradictory terms appear in conjunction (falsely true)
- hyperbole- exaggeration
- allusion- an expression designed to call something to mind to call something o mind without explicitly mentioning it.
- idiom- expressions that reflect some underlying ideas our principles of a culture. "hot potato"; "at the drop of a hat"; "hot mess"
- Imagery- sensory language (seeing, sound, taste, feeling, olfactory)
- symbolism- use of symbols
- alliteration-the occurrence of the same letter or sound at the beginning of adjacent or closely connected words.
- assonance- repetition of vowel sounds
- consonance- repetition of consonance sounds within words (pitter patter)
- synecdoche- a part represents the whole
- irony-words are used in such a way that their intended meaning is different from the actual meaning of the words.
- sarcasm (also a rhetorical device); words meant to hurt; different than irony
- litotes- understatement
- pun- form of word play that suggests two or more meanings
No comments:
Post a Comment