Eleventh Grade Curriculum Reading List
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Benefits of Nonlinear Storytelling in Film and Television
BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment of the Requirements for the University Honors Program Certificate Joshua Seemann Spring 2017 I, THE UNDERSIGNED MEMBER OF THE COMMITTEE, HAVE APPROVED THIS THESIS BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION BY Joshua Seemann ______________________________________________________________ Adam Moore, MFA Film and Electronic Arts California State University, Long Beach Spring 2017 Running Head: BENEFITS OF NONLINEAR STORYTELLING Abstract Screenwriters strive to create narratives that are emotionally compelling and engaging to audiences. This research explores the technique of nonlinear storytelling, focusing on what makes a film nonlinear, as well as discussing what benefits nonlinear storytelling provides to the screenwriting process. Through the analysis of three films and one television show that utilize aspects of nonlinear story structure, this study argues that linearity should be thought of as a spectrum rather than something that is categorical. In addition, this work argues that nonlinear story structure makes it easier for films to cover larger spans of time, allows screenwriters to achieve effects that would be impossible in fully linear stories, and helps writers enhance the audience’s emotional connection to scenes through implicit storytelling. This research suggests that by taking advantage of these benefits, screenwriters can create films that lend audiences an emotionally powerful viewing experience. 1 BENEFITS OF NONLINEAR STORYTELLING Benefits of Nonlinear Storytelling In Film and Television Nonlinear storytelling is a narrative technique in which the events of a story are told out of chronological order. Better understanding nonlinear story structure will help screenwriters create scripts that are more emotionally compelling than traditional linear films. -
Tenth Lecture Flashback: Significance of Flashback in Literature the Flashback in the Old Man and the Sea
Tenth Lecture Flashback: A flashback is defined as an interruption in the present of a vivid memory set in the past. There are a variety of things that can cause a flashback to occur, which include songs, food, people, places, or similar events to those in the past. Through flashbacks, we are able to reflect upon experiences we have had in life, both positive and negative, and apply them to the present. Flashback is one of the most popular literary devices used in writing . A flashback typically is implemented by: The narrator tells another character about past events The narrator has a dream about past events The narrator thinks back to past events, revealing the information only to the reader The narrator reads a letter that prompts back to an earlier time Significance of Flashback in Literature Authors use flashbacks in their works for many different reasons. One key reason is to fill in elements of one or more characters’ backstories. Flashbacks can help the reader understand certain motivations that were otherwise unclear, or provide characterization in other ways. Flashbacks can also create suspense or add structure to a story. Some authors have chosen to tell their stories entirely in flashback, such as in Homer’s Odyssey, in which Odysseus tells his story to a listener, or Joseph Conrad’s Heart of Darkness, in which the character Marlow tells his fellow sailors about a journey he once took up the Congo River. Other authors, like Kurt Vonnegut in Slaughterhouse Five and Julio Cortázar in Rayuela, choose to tell their stories completely out of chronological order. -
RESEARCH BRIEF Research Services
RESEARCH BRIEF Research Services Vol. 0901 Christie Blazer, Supervisor November 2009 Dr. Terry Froman, Supervisor Dale Romanik, Director Enrollment Projections for Presentation & Discussion: 2010-11 Pupil Population Estimating Conference At A Glance The 2010-11 projected enrollment offered by Research Services represents a small increase in student enrollment. The District’s student enrollment is projected to be 341,324 in 2010-11, an increase of 0.3 percent (1,077 students) from 2009-10. A slight increase in the District’s 2009-10 student enrollment reversed a seven year decline. Research Services calculates enrollment projections on an annual basis. These projections are presented each year at the district’s Pupil Population Estimating Conference. For this year’s projections, two years of trend data (2008-09 and 2009-10) were used to project student enrollment for 2010-11. Projections are provided by individual grade level and for the district’s total Pre-K through grade 12 enrollment. METHOD The projections provided include student enrollment in grades pre-K to 12 covered by the Florida Education Finance Program (FEFP). Projections include programs such as alternative education and Exceptional Student Education (ESE). Charter schools are also included in the projections. However, non-FEFP funded enrollment such as specially funded pre-K programs (e.g., State Intervention, Title I, and Head Start), adult vocational enrollment, and students receiving McKay Scholarships are not considered in these projections. The methodology used for projecting enrollments for 2010-11 is a cohort survival technique. The cohort survival method uses the proportion of increase or decrease in enrollment between any two grades (or between years for predicting kindergarten and pre-kindergarten enrollments). -
Crete Public Schools
The Crete Public Schools Foundations for Learning Trust Fund has been in Staff in the Crete Public Schools actively pursue and are existence for the past 16 successful in receiving grants for innovative projects or instruc- years. During this time, tional improvement from outside sources. This summer the alumni, parents and friends of the Crete Public Schools was awarded the Foundations for Learn- Crete Public Schools have donated ing grant. The $248,000 grant money provides family services generously to this fund. Over the past to preschool and kindergarten children. Currently the school is several years the Trust Fund has received some very generous serving 144 preschool children and 119 kindergarten students. donations from individual estates totaling over $325,823.00. The This grant will help provide many needed services for families money that is collected is used for scholarships, special school with young children. projects and general support of the Crete Public Schools. This past year the Trust Fund distributed $38,550 in 53 scholarships to gradating seniors. These scholarships help graduates at colleges, universities, technical schools and other advanced educational venues. The Trust Board consists of 12 volunteer members of the Crete community and Crete High School alumni. This board TeamMates, a youth mentoring program created by meets three times annually to manage Trust dollars. The Trust former Representative Tom Osborne and his wife, Board could not exist without the generous donations of Crete Nancy, has successfully completed its eighth year in Schools’ friends. If citizens are interested in donating to this Crete Middle and High School. We finished the year fund, contributions can be sent to: The Crete Trust Fund, 920 with 72 mentor/mentee matches. -
Amanda Schmitt in Conversation with Loretta Fahreholz, Madeline Hollander, and Monica Mirabile”, Texte Zur Kunst, December, 2019
Schmitt, Amanda. “Supernature: Amanda Schmitt in Conversation with Loretta Fahreholz, Madeline Hollander, and Monica Mirabile”, Texte Zur Kunst, December, 2019. [online] [ill.] Supernature: Amanda Schmitt in Conversation with Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile Jordan Peele, Us, 2019, film still Evil forms the background of much in the world of horror films, which have become ever more elaborate in recent years, involving complex choreography as a means to animate the undead or possessed. One unavoidable fact is that this genre has always relied on a certain chauvinism for its spectacles – from slasher flicks to supernatural horror – where the female body is frequently put under extreme physical duress, including torture and mutilation. Recently, several new horror features have been released that showcase forms of bodily dysmorphia, also featuring women. Amanda Schmitt sat down with two choreographers, and an experimental filmmaker who works with dance, to discuss these new horror films and their significance for the history of female corporeal torture in film. The discussion provides a unique behind-the-scenes look at how gesture and movement become translated into intricate arrangements for the screen. This roundtable brings together three artists – Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile – to discuss two films that both debuted in the last year: Luca Guadagnino’s remake of the cult classicSuspiria (originally inspired by the 1845 Thomas de Quincey essay and rewritten for release as a feature film directed by Dario Argento in 1977) and Jordan Peele’s original Hollywood blockbuster Us (2019). The two films have something in common: their use of choreography as both a theme and technique to depict the (often female) body in states of despicable horror. -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Course Selection Guide
COURSE SELECTION GUIDE Grades Nine Through Twelve Bethel Park School District Bethel Park High School 309 Church Road Bethel Park, Pennsylvania 15102-1695 Telephone: (412) 833-5000 2011-2012 Edition Foreword This guide has been formulated to aid you in making the best possible course selections. Review the course offerings carefully to be sure that you are electing the courses you need to fulfill graduation requirements and prepare yourself for your chosen area of work or study. If you or your parents have any questions about future plans and/or course selections, please consult with your counselor or a staff member. They want to help with these decisions. NONDISCRIMINATION POLICY The Bethel Park School District will not discriminate in its educational programs, activities or employment practices, based on race, color, national origin, sex, sexual preference, disability, age, religion, ancestry, union membership, or any other legally protected classification. Announcement of this policy is in accordance with state and federal laws, including Title IX of the Education Amendments of 1972, and Sections 503 and 504 of the Rehabilitation Act of 1973. Employees and participants who have an inquiry or complaint of harassment or discrimination, or who need information about accommodations for persons with disabilities, should contact: Human Resources Department 301 Church Road Bethel Park, PA 15102 (412) 854-8404 TABLE OF CONTENTS Page General Procedures and Policies .....................................................................................................1 -
PARENTS ATTEND PRESCHOOL ORIENTATION Child’S Teacher and Were Able and Skill Development
EYE ON EDUCATION A Publication of the Paramount Unified School District 15110 CALIFORNIA AVE., PARAMOUNT, CA 90723 • TEL: 562-602-6000 • FAX: 562-634-6029 SEPTEMBER 2008 Paramount High School Welcomes the Class of 2011 The event was assisted Ms. Talamantes mentions with the incorporation of that “the event allowed for various student leaders from students to not only connect various campus clubs and with other students, it allowed organizations. Eleventh-grade for them to feel a sense of be- student-leader Lizbet Ordaz longing to our school culture.” mentions that “the Pirate She further explained that Orientation showed the stu- it gave students an opportu- dents that we are here to sup- nity to team build within their Paramount High School students to the senior campus counselors. Students submit- port them through their high own grade level. When asked held it’s first annual Sophomore in a way that showcased our ted all necessary school forms school journey. The students how she felt about the Pirate Pirate Orientation on August Pirate Pride!” during the registration process, will know where to go when Orientation, incoming tenth 13th and 14th. Paramount High A total of 826 incoming committed to personal goals they need help or assistance.” grade student Adriana Herrera School Counselors Patty Ja- tenth-grade students actively during the Path to Graduation Lizbet further explains that mentioned that “it was fun; it cobo and Maria Talamantes participated in the event and session, and interacted in nu- the Sophomore Pirate Orien- was a good way for us to get coordinated the event as a kick- were involved in three main merous team-building exercises tation experience will help the to know one another and com- off in implementing systematic sessions. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
Towards New Ways of Looking at Texts
Towards new ways of looking at texts Andreea Macovei1 1Faculty of Computer Science “Al.I.Cuza” University Iasi, Romania [email protected] Abstract. This paper provides an overview of my PhD thesis which in a first phase, focuses on developing an ontology which exposes the various text types, both literary and non-literary in Romanian language and in a second phase (the most complex one), on formalizing a temporal annotation scheme that can be used in order to reorder the events or more precisely, the sequences of events in novels and also, the switches that may occur in literary texts such as flashbacks, flashforwards, embedded fabulae, temporal ruptures, and transitions. The classi- fication of texts in species and genres proposed by this ontology can be used in to create suggestions for readers, to identify a certain type of text, to extract rel- evant information, to analyse the format differences between two different types of texts (as those between the normative texts and the news) as a first step in au- tomatic text writing techniques, etc., while the temporal model considers a natu- ral order of events that the reader seems to perceive once she or he continues to read or, at the end of the book despite timelines (the representation of all the events chronologically exposed in a story) and storylines (the main story or plot of a literary text) in order to capture the actions of a character and his or her chronological evolution (time track) throughout a book. Keywords: Classification of Texts, Ontology, Temporality, Temporal Annota- tion 1 Introduction The issue of genre identification can be considered as a task of resolving the problem of text classification: as for each type of text, the genre is determined together with the other species and several specific features, the texts will be classified according to a predefined list of genres. -
Eleventh Grade at a Glance
ELEVENTH GRADE AT A GLANCE REQUIREMENTS Core • English —Any one of three English III courses (U2522-0, U2523-0, or U2525-0) • History and Social Studies—United States History (U6420-0) or AP United States History (U6430-0) • Mathematics—Placement is determined by the department • Science—At least one full-year laboratory science course in either eleventh or twelfth grade • Other—Students must take a minimum of five academic courses each semester Arts Note: Students interested in applying to a University of California school need to take at least one full-year Arts course during grades 9–12. • Arts—One year (one full-year course or two semester courses) of either a performing or studio-based visual art taken in tenth, eleventh, or twelfth grade Physical Education • Physical Education—Six trimesters of Physical Education credit earned while in grades 9–12; students in eleventh grade can earn credit by taking a Physical Education class and/or a Dance class and/or by participating on an interscholastic sports team (see the Athletics section for a complete description of the program options) Service • Community Service—Twelve outreach hours ELECTIVES • Performing Arts—Performing Arts electives are available in choral music, instrumental music, dance, theater arts, directed study, and music theory, composition, and history • Visual Arts—Visual Arts electives are available in two‑dimensional art, three‑dimensional art, and media arts • Other—The Communications, English, History and Social Studies, Interdisciplinary Studies and Independent Research, Mathematics, Science, and World Languages departments and the Athletics division also offer eleventh‑grade elective courses 12 ELEVENTH GRADE AT A GLANCE. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.