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U NIT P LAN: T EACHING T HE B ROTHERS K ARAMAZOV
Chapter / Pages Teaching strategy / Learning activity AP AUDIT ELEMENT(S):
KNOWLEDGE What students should know actively:
What students should be able to recognize:
SKILLS What students should be able to do:
HABITS What students should do habitually:
98 Works Appearing on Suggestion Lists for “Question 3” Advanced Placement English Literature & Composition Examination: 1971-2011
26 7 The Little Foxes Invisible Man All the King’s Men Middlemarch 22 All the Pretty Horses Pygmalion Wuthering Heights Candide A Tale of Two Cities The Crucible To the Lighthouse 18 Cry Beloved Country Twelfth Night Crime and Punishment Equus Typical American Jane Eyre Lord Jim The Women of Brewster Place 17 Madame Bovary 3 The Adventures of Huckleberry Finn The Mayor of Casterbridge Alias Grace Great Expectations The Portrait of a Lady An American Tragedy Heart of Darkness The Sound and the Fury The American The Tempest 16 The Bluest Eye King Lear Waiting for Godot The Bonesetter's Daughter Moby-Dick Who's Afraid of Virginia Woolf? The Catcher in the Rye Daisy Miller 15 6 David Copperfield The Great Gatsby Bless Me, Ultima Emma A Portrait of the Artist as a Young Man The Cherry Orchard A Farewell to Arms The Scarlet Letter Ethan Frome Gulliver’s Travels Going After Cacciato 14 Hamlet The Handmaid’s Tale The Awakening Hedda Gabler Hard Times 13 Macbeth Henry IV, Part I Their Eyes Were Watching God Major Barbara House Made of Dawn Medea The House of Mirth 12 The Merchant of Venice To Kill a Mockingbird Beloved Moll Flanders The Kite Runner Catch-22 Mrs Dalloway Long Day’s Journey into Night Light in August Murder in the Cathedral Lord of the Flies 11 The Piano Lesson Mansfield Park As I Lay Dying Pride and Prejudice Master Harold” . . . and the Boys Billy Budd The Turn of the Screw The Mill on the Floss Jude the Obscure Mother Courage 5 My Ántonia 10 The Age of Innocence The Odyssey Ceremony Bleak House Our Town The Grapes of Wrath Doctor Faustus Paradise Lost Native Son Don Quixote Persuasion A Raisin in the Sun An Enemy of the People The Poisonwood Bible Fences 9 The Remains of the Day Frankenstein Antigone Reservation Blues Julius Caesar Anna Karenina The Trial Mrs Warren’s Profession The Color Purple The Winter's Tale Death of a Salesman Native Speaker 2 A Doll House Nineteen Eighty-four All My Sons The Glass Menagerie Romeo and Juliet Another Country Othello Sister Carrie Antony and Cleopatra Song of Solomon The Stranger The Sun Also Rises Atonement 8 Tess of the D'Urbervilles The Autobiography of an Ex-Colored Obasan Tom Jones Man Oedipus Rex Wide Sargasso Sea The Bear A Passage to India Wise Blood The Birthday Party Rosencrantz and Guildenstern Are Dead Black Boy A Streetcar Named Desire 4 The Blind Assassin Sula Absalom, Absalom! The Brothers Karamazov Things Fall Apart As You Like It Cat on a Hot Tin Roof Brave New World Cat’s Eye Ghosts Cold Mountain Go Tell It on the Mountain 99 Dutchman Candida One Flew Over the Cuckoo's Nest Faust The Canterbury Tales The Optimist's Daughter Fifth Business The Caretaker The Orestia For Whom the Bell Tolls The Centaur Orlando The Chosen The Other A Gathering of Old Men Civil Disobedience Our Mutual Friend A Gesture Life Copenhagen Out of Africa The God of Small Things The Country of the Pointed Firs Pale Fire The Good Soldier The Crisis Pamela The Hairy Ape The Crossing Passing The Homecoming The Dead Peer Gynt The House on Mango Street Death of Ivan Ilyich Père Goriot The Importance of Being Earnest Delta Wedding The Picture of Dorian Gray J.B. Desire Under the Elms The Playboy of the Western World Jasmine Dinner at the Homesick Restaurant Pnin Joe Turner's Come and Gone The Divine Comedy The Power and the Glory The Joy Luck Club The Diviners Praisesong for the Widow Doctor Zhivago A Prayer for Owen Meany The Jungle The Dollmaker Push A Lesson Before Dying Dreaming in Cuban The Rape of the Lock M. Butterfly East of Eden The Red Badge of Courage Main Street The Eumenides Redburn The Member of the Wedding The Fall The Return of the Native The Metamorphosis A Farewell to Arms Rhinoceros Middle Passage The Father Richard III A Midsummer Night's Dream Fathers and Sons A River Runs Through It The Misanthrope The Federalist Robinson Crusoe Monkey Bridge A Fine Balance Room of One's Own The Namesake The Fixer A Room with a View A Free Life: A Novel Saint Joan Never Let Me Go Germinal The Sandbox One Day in the Life of Ivan Denisovich The Golden Bowl Sent for You Yesterday One Hundred Years of Solitude The Heart of the Matter Set This House on Fire Phèdre Henry IV, Part II The Shipping News The Plague Henry V Silas Marner Pocho A High Wind in Jamaica Sister of My Heart Prime of Miss Jean Brodie Home to Harlem Snow Ragtime House for Mr Biswas A Soldier’s Play The Road The House of the Seven Gables Sophie’s Choice The Iliad The Story of Edgar Sawtelle A Separate Peace In the Lake of the Woods The Street Slaughterhouse-Five In the Time of the Butterflies Tartuffe Snow Falling on Cedars The Inheritance of Loss A Thousand Splendid Suns Sons and Lovers Joseph Andrews Tracks The Stone Angel Kafka on the Shore Trifles Surfacing Lady Windermere’s Fan Tristram Shandy The Things They Carried Letters from an American Farmer USA A Thousand Acres Little Women The Vicar of Wakefield Uncle Tom’s Cabin Look Homeward, Angel Victory Woman Warrior Love Medicine Volpone The Zoo Story The Love Song of J Alfred Prufrock The Warden The Loved One Washington Square 1 Lysistrata The Waste Land Adam Bede Man and Superman Watch on the Rhine The Aeneid The Memory Keeper’s Daughter The Watch that Ends the Night Agnes of God Miss Lonelyhearts The Way of the World America is in the Heart The Moor's Last Sigh The Way We Live Now American Pastoral Much Ado About Nothing We Were the Mulvaneys An Enemy of the People My Last Duchess Who Has Seen the Wind Angels in America My Name is Asher Lev The Wild Duck Angle of Repose No Country for Old Men Winter in the Blood The Apprenticeship of Duddy Kravitz No Exit Zoot Suit Armies of the Night No-No Boy A Bend in the River Notes from the Underground Benito Cereno The Octopus Bone Of Mice and Men Brighton Rock Old School Broken for You Oliver Twist 100
T he Novel: Some Elements
Elements in nearly all novels:
CHARACTER direct description or commentary by the narrator, including ironic comment language: in speech and thought, in both content and form of expression action: especially as it confirms or contradicts what characters say change: growth or deterioration † Coincidence Coincidence, which surprises us in real life with symmetries we don’t expect to find there, is all too obviously a structural device in fiction, and an excessive reliance on it can jeopardize the verisimilitude of a narrative. † Ending last-minute twist is generally more typical of the short story than of the novel † Intertextuality some ways a text can refer to another: parody, pastiche, echo, allusion, direct quotation, structural parallelism † IRONY consists of saying the opposite of what you mean, or inviting an interpretation different from the surface meaning of your words. † Narrative you can’t see it, but it determines the edifice’s shape and character † Structure the arrangement of the parts of the material PLOT Plot has been defined as “a completed process of change.” † A story is “a narrative of events in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality.” --Forster POINT OF the vantage point from which an author tells a story. The two broad VIEW categories are (1) the third-person narrator who tells the story and does not participate in the action and (2) the first-person narrator who is a major or minor participant. Repetition can be lexical or grammatical; incantatory rhythms and repetitions † SETTING the background of a story in [1] PLACE, including city/country/region, indoors or out, weather and [2] TIME, including century, year, historical and social conditions, season, day/night, and the like Showing and Fictional discourse constantly alternates between showing us what Telling happened and telling us what happened. [Scene and Narration] † STYLE the individual way a writer works, especially to achieve a specific effect. The elements of style include diction, syntax, imagery, figurative language, and larger questions of structure, modes of discourse, and the like. SYMBOL anything that “stand for” something else is a symbol, but the process operates in many different ways. † THEME a central idea. Like thesis, it implies a subject and a predicate of some kind, as opposed to a topic, which can be simply a label TONE the author’s attitude toward the material in a work or toward the reader. Tone is revealed by style.
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Elements in many novels
Comedy Two primary sources: situation and style. Both depend crucially upon timing † Duration as measured by comparing the time events would have taken up in reality with the time taken to read about them. This factor affects narrative tempo † Epiphany literally, a showing. Any descriptive passage in which external reality is charged with a kind of transcendental significance for the perceiver † Epistolary advantages: can have more than one correspondent and thus show the same Novel event from different points of view † Exotic foreign, but not necessarily glamorous or alluring † Implication especially sexual in Victorian lit † Interior very difficult technique to use… apt to impose a painfully slow pace on the Monologue narrative † Intrusive around the turn of the century fell into disfavour † Author Magic Realism marvellous and impossible events occur in what otherwise purports to be a realistic narrative † Metaficiton fiction about fiction novels and stories that call attention to their own compositional procedures. † Names In a novel names are never neutral. † Sense of Past “historical novels (19th century) dealt with historical personages and events; but also evoked the past in terms of culture, ideology, manners and morals † Stream of 1] one technique is interior monologue Consciousness 2] second technique is free indirect style. It renders thought as reported speech but keeps the kind of vocabulary that is appropriate to the character, and deletes some of the tags † Allegory does not merely suggest, but insists on being decoded in terms of another meaning; at every point a one-to-one correspondence to the implied meaning † Time-Shift narrative avoids presenting life [in order] and allows us to make connections of causality and irony between widely separated events † Title The title is part of the text--the first part of it, in fact † Unreliable invariably invented characters who are part of the stories they tell † Narrator
† adapted from David Lodge, The Art of Fiction, London: Penguin, 1992. An invaluable source with the strongest recommendation.
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Teaching the Novel BEFORE, During After
A. Select the novels and place them appropriately in the school calendar. 1. Select the novels a. Two summer novels, both accessible b. Four in-class novels: two pre-WW I, two post-WW I c. Most of the novels should be “of literary merit” [rich language / reward rereading / multiplicity of interpretation] 2. Place the novels in the syllabus a. Consider putting the novels in order of accessibility. b. Consider the ‘traps’ in your school’s calendar. c. Know what your students will be doing in other classes and activities. 3. Use a planning page or the like to set the learning outcomes for each novel. 4. Search the novel on line. a. Find what resources offer ideas for teaching the novel. b. Find what resources can help your students; know what sites are available for them.
B. Model a “way into the novel,” a pre-reading strategy. 1. Look carefully at the title—one word at a time. 2. Look at the organization. a. Is the novel divided into chapters? b. How many are there? Are they about equal length? c. Are they numbered? grouped into sections? d. Do they have epigraphs? titles? e. Watch to see what design the writer is using, what logical reasons underlie the structural organization: patterns of repetition that establish a narrative rhythm 3. Devise a reasonable strategy for reading the novel, including a schedule. Leave some “elbow room.”
C. Model a close reading of the opening passage of the novel—the writer uses this piece to separate the real world we live in from the world of the novel. Include the title. 1. Read at least the first page or two aloud, signaling students what kinds of notes they can be making as they read. Be sure they can pronounce the proper nouns. 2. Help students identify the setting and the point of view.
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Teaching the Novel Before, DURING, After
A. Model a close reading of a narrative passage early in the novel [to signal what elements students should be attending to] 1. the setting 5. the characters 2. in time [year, season, and the like] 6. who they are and how the relate to 3. in place [country, city or country, and the others the like] 7. techniques the writer uses to reveal 4. social and historical environment them
B. Annotating 1. Work out a system to offer students for marking the text. At the least, they should indicate: • the entrance of new characters • plot elements (complications, • shifts in setting (place or time) or mood crises, climaxes, reversals) • changes in characters (softening, hardening, • predictions epiphanies) or changes in relationships • questions between or among characters • memorable lines or passages • patterns, including repetition or echoing 2. Stop to review the annotations frequently, using the questions students bring in to start discussion, constructing a class-wide set of “memorable lines,” and the like
C. Some Activities Make a list of a character’s actions in one Trace graphically the conflicts in the novel. column and the consequences of those Which pit characters against their actions in the other. environment, natural or social? Which set Stop in the middle, or at the end of each characters against each other? Which create third, to identify and discuss the “big issues” a clash within a character? Which characters not to that point. How can they be identified? want what they wish they did want? How will the author have the characters work For one chapter/section of the novel, write a them out? review of the analysis given at one of the Find a poem (or a song) that echoes or can be popular “literature help” web sites: Enotes, said to comment on a part or passage of the SparkNotes, BookRags, or the like. Explain novel. Explain how the two are related. what is included, what is left out, any special insights the site offers, any questionable Decide to what extent the names of the readings, and anything else that helps characters seem to suggest meanings. evaluate the site. In a complex novel, keep a family tree.
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Teaching the Novel Before, During, AFTER
1. Add a chapter Write a short new chapter to follow the novel’s last chapter or come before the first one or to fit at a specific place in the midst of the novel. The new chapter needs to appear to be part of the original novel, so it must match in style, tone, and theme. [adapted from Frazier L. O'Leary, Jr.; Cardozo High School; Washington, D.C.]
2. Design a Game The students’ first job is to make notes as they read (mind map form is great for this) under the headings of character, setting, landmarks of the journey/events, goal/treasure to be attained, as appropriate to the novel. The game must stay consistent with the themes and tone of the novel. From there they design a proposal for their game - this must include at least six pieces: (1) Name of the game, (2) Playing pieces—including any cards or devices accompanying it (3) Written rules, (4) Board design, and (5) Written instructions for how the game is to be played. Once the students have written these notes out fairly fully, they draft a layout for the front of box for the game. This will then be labeled with at least three visual and verbal features they intend to include and the effect they want these features to have. i.e. use of trendy lettering to attract teenage buyers. Once students have discussed their proposal with the teacher, and both are happy with any needed changes, additions or compromises, students being the final production. [adapted from Sharon Stewart; Whitianga, New Zealand. ([email protected])]
3. Rewrite a passage Students rewrite a passage, either imitating the style of a different writer (a piece of Hemingway as Faulkner might have done it) OR changing the point of view.
4. Prepare a movie treatment Students prepare a movie proposal for a film of the novel. They are to include, with specific written explanation for each: a) a complete cast (actual actors—living or not), b) a director c) a detailed description and rendering of two set designs d) a description of the music, specifying the composer(s) e) a poster or full-page newspaper ad f) a story summary, specifying what will be included and what will be omitted
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Author Toni Morrison Title Song of Solomon Character Analysis Chart Point: End
Relation to Milkman Character Type Main Actions Main Emotions Central Values At This Point
Milkman
Corinthians
Pilate
Hagar
Guitar
Circe
sees father killed; kills man; finds gold; believes owning houses unchanged by Milkman’s dominant-domineering; father finds Ruth w/ her dead gives him ownership of story of his journey & Macon becomes suspicious father; wants M. aborted people; discoveries
106 AdvancedPlacementEnglish R USSIAN N AMES Name Dimunitives Name Diminutives MEN Alexandr Sasha, Shyura, Sanya Ilya Ilyusha, Ilik Alexei Alyosha, Lyosha, Alyoshka, Lyókha Iosif / Ossip Osya Andrei Andryusha, Dryusha, Dryushka Konstantin Kostya, Lotik, Kostik Anatoli Tolya, Tolik Lev Lyova, Lyóvushka Anton Antosha, Tasha, Antoshka Leonid Lonya, Lyénka, Lyonchik Arkady Arkasha, Arik Maxim Maks, Maksyúsha, Maksimka Boris Borya, Bórenka Mikhail Misha, Mishka, Mishenka, Mishunya Valentin Valya, Valyusha, Valik Nikolai Kolya, Nika, Nikolka, Nikolasha, Mikhas Vassili Vasya, Vásenka, Vassilyók Oleg Olesha Viktor Vitya, Vitenka, Vityulia Pavel Pasha, Pavlik Vladimir Volodya, Vova, Volodka, Vlad Pyotr Petya, Petka, Petrusha, Petrushka, Pétenka Vsevolod Seva Porfiry Vyacheslav Vasha, Slava, Slavik, Vyachik Rodion Rodya, Rodenka Grigorii Grisha, Grishúnya Semyon Semya, Syoma, Syómka Denis Sergei Seryozha, Seryóga, Sérzhyk Dmitri Mitya, Dima, Mitri, Mitka, Dimka Stepan Styopa, Stepka, Styópka, Stepánushka Yevgeni Zhenya, Zhénechka Fyodor Fedya, Fedka, Fedyusha Yegor / Igor Yegorka, Yegorushka Yurii Yura, Yurka, Zhora, Zhorik, Zhorzh Ivan Vanya, Vanka, Vanusha, Vanushka Yakov Yasha / Yacob WOMEN Alexandra Sasha, Shura, Sanya, Sashenka Lidia Lida, Lidochka, Lidushka Anastasia Nastya, Nastásyushka, Stasya Lyubov Lyuba, Lyúbushka Anna Anya, Anyuta, Anusha, Annushka Lyudmilla Lyuda, Mila, Milochka, Lyúdochka Antonina Tonya Marya Masha, Mánya, Músya, Múra, Marúsya, Avdotia Dunya, Dunechka, Dúnyushka Máshenka, Mashúnya, Maríchka, Maríchka Valentina Valya, Valyusha, Valyushka, Valechka Marfa Marfusha Varvara Varya, Varka, Varéenka, Varyúsha Nadezhda Nadia, Nadyúsha Vera Verochka Natalia Natasha, Nata, Natáshenka Viktorya Vika Nina Nínochka, Ninúlya Darya Dasha, Dáshenka Olga / Olechka Olya, Olyúsha, Ólenka Yekaterina Katya, Katyúsha, Kátenka Polina Polechka, Pavla, Pavlinais, Polia Elyena Lena, Lenya, Lulya, Lyalya, Lyolya Praskovia Pasha, Pashenka Elizabeta Liza, Lizaveta Sophia Sonya, Sonyechka Irina Yra, Arina, Arinushka, Irisha Tamara Tamarka, Tamarochka, Toma Zinaida Zina, Yda, Zinka Tatiana Tanya, Tanyúsha, Tanechka
Diminutives: In addition to the diminutives above, many Russian given names can add the suffixes -sha and -shka (Nikolai : Nikolasha, Nikolashka), endings analogous to the English -y in Johnny or Danny. Patronymics: A Russian has three names: a given name; a patronymic—formed from the father’s given name—and a family name. The three most common ways of forming the patronymic are: Father’s name Son’s patronymic Daughter’s patronymic IVAN + ovich = Ivanovich + ovna = Ivanovna NIKOLAI + yevich = Nikolayevich + yevna = Nikolayevna ILYA + ich = Ilyich + inichna = Ilyinichna Formality: Eight of the possible ways of addressing a man, in descending order of formality: (1) Gospodin [Mr.] Turgenev (2) Ivan Sergeyevich Turgenev (3) Ivan Sergeyevich (4) Ivan (5) Vanya (6) Vanka (7) Vanusha (8) Vanushka. with thanks to Sergei Samborski and to the Ashot family for revisions and additions
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T HE C YRILLIC A LPHABET
Cyrillic Roman about as in: Cyrillic Roman about as in: upper lower italic upper lower italic А а а A father Р р р R ring Б б б B bet С с с S sun В в в V very Т т т T toy Г г г G get У у у U room Д д д D dog Ф ф ф F four Е е е YE yet Х х х CH* loch Ё ё ё YO yoke Ц ц ц TS bets Ж ж ж ZH measure Ч ч ч CH cheese З з з Z zoo Ш ш ш SH sugar И и и I (E) be Щ щ щ SHCH freshcheese Й й й EE bee Ъ ъ ъ — (hard) К к к K king Ы ы ы Y** very Л л л L call Ь ь ь — (soft) М м м M man Э э э E set Н н н N nine Ю ю ю YU use О о о O Tom Я я я YA yard П п п P party
* like the ch in the Scottish loch, the ch in some German dialects (as in dich) and the Greek letter chi. ** something like the French oei in oeil or eul in deuil
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