DOCSLIB.ORG

Offline Learning Activity for English 10

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Offline Learning Activity for English 10 Offline Learning Activity for English 10 Day: Day 20 ​ Topic: Creative Nonfiction Standard: RI.10.10 ​ Time: 30 minutes Overview This learning activity is for students to use when they do not have access to the course. Objectives After completing this activity, students will be able to . ● Read and comprehend nonfiction texts Assignment Instructions Read the following lesson on Creative Nonfiction, taking notes as you go, then answer the questions that follow. Grading Info 5 questions worth 2 points per question with a total of 10 points. Offline Learning Activity for English 10 In the context of what you currently know about creative fiction and nonfiction the name of the genre, creative nonfiction, may seem like an oxymoron. However, creative nonfiction is one of the fastest growing genres in literary publishing. Creative nonfiction presents true stories in a way that uses literary storytelling and elements to make the story compelling and engaging. The goal of creative nonfiction is to craft a nonfiction reading experience that is compelling, dramatic, and reads like a fiction story. The nonfiction stories used in this genre can be private or public: they can be stories shared from the author’s own life, or they can be public stories that have been researched and shared by the author. Private stories are owned by the author – it is their own lives and his or hers to share as the author sees fit. Public stories consist of somebody else’s story, are researched and based in facts and present a larger concept for consideration. Creative nonfiction is also known as: ● Literary Nonfiction ● Literary Journalism ● Literary Memoir ● Imaginative Nonfiction ● Lyric Essay ● Narrative Nonfiction ● Personal Essay ● Personal Narrative ● 4th literary genre (poetry, drama, fiction are the other 3) Creative nonfiction draws together research, reflections, experience, memory, observation and opinion in different combinations to breathe life into actual stories. Check out the presentation below for more information about creative nonfiction. What is Creative Nonfiction? ​ Creative nonfiction represents the best of both worlds: it combines engaging literary elements found in fictional narratives as well as the observations and true story facts of nonfiction. This genre describes real-life stories in a vivid and compelling manner that is typically found in a narrative. This genre is growing in popularity. Essentially: Creative Nonfiction = Elements of fictional stories [plot, pacing, point of view, setting, character development] + Factual events Key Elements of the Genre: Offline Learning Activity for English 10 ○ Characterization- Characters have depth, may engage in dialogue and develop as they would in fictional stories. They can have complexity. The fact that they are based on actual people and actual struggles helps to create interest. ○ Narration- The creative aspect of the genre allows more freedom in the narrative structure of the work than you typically find in nonfiction. Because the information is presented more like a story, a writer can use flashbacks, flashforwards and pace the story as needed to highlight or emphasize key moments for dramatic effect. ○ Plot- As noted earlier, the plot can follow the standard structure of a fictional story. The details and facts are true, but the structure helps bring it together in a way that is cohesive and engaging. ○ Point of view- Just as with other forms of creative writing, different points of view can be used. First person allows for a personal experience, observations, opinions and reflections and is often used for these reasons. ○ Reflection- The subjects of creative nonfiction works are often personally meaningful to the writer, and - as a result- personal reflections are often a central part of the writing. The genre allows writers to comment on the impact of events, to reflect on the meaning of key experiences and how they relate to the larger context. Reflection is one of the hallmarks of the genre. ○ Research- One of the defining characteristics of the genre is that it is based on true stories and founded on facts. There is a trust in the writer that what they are presenting is as truthful as they claim. So, often writers will research a topic and the people involved heavily to accurately represent the information. Two types of Creative Nonfiction Private: ○ Includes things like journal reflections and memoirs wherein the author focuses on making meaning of their own past events and experiences. The stories are owned by the author that shares them. It happened to them. ○ Memoirs: Rely a lot on memory instead of straight facts. The author shapes and presents ​ the memory in a way that is meaningful and coherent for the reader, while exploring why the memory is relevant or important to explore. It is subjective Public: ○ The writing is still based on fact and true stories, but the author is writing about something that happened outside of their own lives. Technically, anyone could write on the topic. It is researched and presented as a narrative to engage the reader and to present the story as a part of a bigger picture. How Does this Compare to the Nonfiction Genre from the Previous Lesson? Offline Learning Activity for English 10 Similarities: ○ Both genres are based upon fact or real-life instead of fictional stories. ○ They are both written for the purpose of sharing. Differences: ○ While nonfiction writing most often serves the purpose of providing information, creative nonfiction serves to not only inform on certain topics, but to reflect, share opinions and share in events and situations that define us as human beings. It is a way of exploring and making meaning of our existence in a manner that is real, honest and communal. ○ They adhere to different text structures. ○ Nonfiction has defining patterns of organization Questions: 1. What is the goal of creative nonfiction? ______________________________________________________________________________ ______________________________________________________________________________ 2. Which of the following is NOT part of what draws together creative nonfiction? A. Memory B. Opinion C. Research D. Journalism E. Observation 3. (True or False) With one of the key elements of creative nonfiction being narration, this allows less freedom in the narrative structure of the work than you typically find in nonfiction. ​ 4. What is the main difference in PRIVATE and PUBLIC creative nonfiction? _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ 5. What is one similarity between nonfiction (as we have studied in previous lessons) and creative nonfiction? _____________________________________________________________________________________________ Unless otherwise specified as OER, All Rights Reserved. Virtual Arkansas. 2018 Offline Learning Activity for English 10 .
Load more

Recommended publications
  • The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
    DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41).
    [Show full text]
  • AS and a Level English Literature
    AS and A Level English Literature Literary terms: A guide for students Literary terms: A guide for students Literary terms: A guide for students Contents Introduction .............................................................................................. 2 Frequently misused words ........................................................................... 3 General terms: .......................................................................................... 4 Poetry ...................................................................................................... 8 Genres ................................................................................................... 8 Analytic vocabulary ............................................................................... 10 Drama .................................................................................................... 11 Genres ................................................................................................. 11 Analytic Terms ...................................................................................... 12 Prose ...................................................................................................... 13 Genres ................................................................................................. 13 Analytic Terms ...................................................................................... 14 1 Literary terms: A guide for students Introduction The terminology below may be used support your reading and response
    [Show full text]
  • Epsitemology, Literary Genre and Knowledge Organisation Systems
    Epistemology, literary genre and knowledge organisation systems PAULINE RAFFERTY Aberystwyth University Llanbadarn Fawr, Ceredigion, Wales [email protected] Abstract This theoretical paper considers genre as the epistemological foundation for fiction retrieval systems, in particular the relationship between the individual work and generic systems. It explores the characteristics of literary genres, and how they are determined, and examines ontological and historical aspects of genre. It considers the relationship between historically contingent generic transformations and literary genre as categorising principle. Finally, it offers some suggestions for future design of fiction KOS. Keywords: Fiction, Genres, Knowledge organisation systems, Tagging. 20 Años del Capítulo Español de ISKO. Actas del X Congreso ISKO Capítulo Español (Ferrol, 2011) Universidade da Coruña (España), 2012. ISBN: 978-84-9749-535-6 Pp. 553-565 EPISTEMOLOGY, LITERARY GENRE AND KNOWLEDGE ORGANISATION SYSTEMS 555 1. Preface Traditionally, where knowledge organisation systems (KOS) have dealt with fictional works, the approach has generally been through genre (see Beghtol, 1989, 1990, for an overview of fiction classification schemes). The notion of genre as categorisation principle comes to library science, relatively unexamined, from literary theory. It underpins many of the assumptions that fiction KOS has about fictional texts, even when the focus of the fiction retrieval system is predominantly based on user-warrant (e.g. The Book House, Pejtersen, 199, 59). Raymond Williams wrote “the recognition of the relation of a collective mode and an individual object …is a recognition of related practices. That is to say, the irreducibly individual projects that particular works are, may come in experience and in analysis to show resemblances which allow us to group them into collective modes” (Williams, 2001, 179).
    [Show full text]
  • New Orlearis Review
    New Orlearis Review LOYOLA UNIVERSITY VOLUME 11 NUMBER 21$7.00 New Orleans Review Summer 1984 Editors John Biguenet, Art and Literature Bruce Henricksen, Theory and Criticism John Mosier, Film, General Editor Managing Editor Sarah Elizabeth Spain Design Vilma Pesciallo Contributing Editor Raymond McGowan Founding Editor Miller Williams Advisory Editors Richard Berg Doris Betts Joseph Fichter, S.J. Dawson Gaillard Alexis Gonzales, F.S.C. John Irwin Murray Krieger Wesley Morris Walker Percy Herman Rapaport Robert Scholes Marcus Smith Miller Williams The New Orleans Review is published by Loyola University, New Orleans, Louisiana 70118, United States. Copyright © 1984 by Loyola University. Critical essays relating to film or literature of up to ten thou­ sand words should be prepared to conform with the new MLA guidelines and sent to the appropriate editor, together with a stamped, self-addressed envelope. The address is New Or­ leans Review, Box 195, Loyola University, New Orleans, Lou­ isiana 70118. Fiction, poetry, photography or related artwork should be sent to the Art and Literature Editor. A stamped, self-addressed envelope should be enclosed. Reasonable care is taken in the handling of material, but no responsibility is assumed for the loss of unsolicited material. Accepted manuscripts are the property of the NOR. The New Orleans Review is published in February, May, Au­ gust and November. Annual Subscription Rate: Institutions $30.00, Individuals $25.00, Foreign Subscribers $35.00. Con­ tents listed in the PMLA Bibliography and the Index of American Periodical Verse. US ISSN 0028-6400. r CONTENTS POETRY AND FICTION Babies Are Cruel People fan Newman 31 The Reception Richard Easton 23 I J I I The Baker F.
    [Show full text]
  • History As Rhetoric, Fable, and Literary Genre
    International Journal of Literature and Arts 2014; 2(1): 16-23 Published online February 20, 2014 (http://www.sciencepublishinggroup.com/j/ijla) doi: 10.11648/j.ijla.20140201.14 History as rhetoric, fable, and literary genre Alejandro Cheirif Wolosky Museum of natural history, Luxemburg, Luxembourg Email address: [email protected] To cite this article: Alejandro Cheirif Wolosky. History as Rhetoric, Fable, and Literary Genre. International Journal of Literature and arts . Vol. 2, No. 1, 2014, pp. 16-23. doi: 10.11648/j.ijla.20140201.14 Abstract: This article provides an insight into the notion of history as a literary genre. It argues that in the sixteenth and seventeenth centuries the concept of “history” was mostly employed in its plural form: “the stories” and not “history” were the predominant form of the concept of history. These “stories” were related to the ancient Ciceronian rhetorical and moral tradition of history as Magistra Vitae (history as life's teacher) and were considered part of the so-called belles-lettres or “literature”. Keywords: History, Literature, Rhetoric, Fable designated the “subjective” aspect of history with the word 1. Introduction Historie -- the account or narration of what has happened -- In the fifth edition of the Dictionary of the French and with the word Geschichte its objective aspect: the Academy ( Dictionnaire de l'Académie Française ), events of the past themselves. Towards the end of the published in 1798, in the entry for the word histoire, written eighteenth-century, the word Geschichte , derived from the in the singular and feminine form, we find the following verb geschehen (to occur), merged both meanings into one definition: “Narrative of actions and events worth of single word (Geschichte).
    [Show full text]
  • Considering Young Adult Literature As a Literary Genre
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jurnal Universitas 17 Agustus 1945 Surabaya Tri Pramestri – Considering Young Adult Literature CONSIDERING YOUNG ADULT LITERATURE AS A LITERARY GENRE Tri Pramesti Abstrak. Istilah ―young adult literature‖ (sastra remaja) relatif masih baru di Indonesia. Istilah ―young adult‖ dan ―literature‖ bersifat dinamis, berubah sejalan dengan perubahan masyarakat dan budaya. Di Amerika Serikat, para kritikus sastra dan praktisi pendidikan telah tiba pada kesepakatan tentang definisinya dan beberapa peneliti telah mencoba mendeskripsikan genre ini. Makalah ini membahas karakteristik dari ―young adult literature‖ dengan penekanan khusus pada keberadaannya saat ini bagi pembaca targetnya. Disimpulkan bahwa dengan memasukkan sastra remaja sebagai satu genre karya sastra, konsep tentang karya sastra tampaknya sedang berubah dan berevolusi. Keywords: literary genre, postmodern literature, young adult literature INTRODUCTION from the structure of a (frequently repeated) Genre, meaning "kind" or "sort", from social occasion, with its characteristic partici- Latin: genus, is the term for any category of pants and their purposes‖ (1983). Jacques literature or other forms of art or culture, e.g. Derrida proposed that ―a text cannot belong to music, and in general, any type of discourse, no genre, it cannot be without... a genre. whether written or spoken, audial or visual, Every text participates in one or several based on some set of stylistic criteria. Genres genres, there is no genre-less text‖ (Derrida in fiction include science fiction, romance, the 1981:61), while David Buckingham argues Gothic, or crime fiction. The major classical that ―'genre is not... simply "given" by the genres, in descending order of their perceived culture: rather, it is in a constant process of literary value, were epic, tragedy, lyric, negotiation and change‖ (quoted in Daniel comedy, and satire.
    [Show full text]
  • 10Mo English
    REMEDIAL MODULE English – 10th Grade REMEDIAL MODULE English 10th Grade January 2020 Student’s Name: School Name: ______ SIE number: School code: Municipality: PAGE 1 REMEDIAL MODULE English – 10th Grade PAGE 2 REMEDIAL MODULE English – 10th Grade Dear Student: We are providing you with this module as a tool to assist you with the skills you need for your English. In it, you will find multiple choice exercises for you to choose the right answer. The Puerto Rico Department of Education will validate your participation and effort in answering the exercises contained in this module. The scores obtained will be added to your grades and academic progress report. We hope that, once you complete your tenth grade, you will obtain the same satisfaction that we’ve had creating these exercises to help you. © 2019, 2020 Learn AidLLC © 2019, 2020Learn PAGE 3 REMEDIAL MODULE English – 10th Grade 10.R.1a Make inferences and draw conclusions from text to support analysis. 10.R.10 Read and comprehend a variety of literature, including stories, dramas, and poetry, and informational texts (e.g., history/social studies, science, and technical texts) of appropriate grade level. Themes – Genres, Fact vs Opinion, Fiction vs Non-Fiction Definition of the literary terms A genre is a specific type of music, film, or writing. Your favorite literary genre might be science fiction, and your favorite film genre might be horror flicks about cheerleaders. ... In music, genre refers to musical style such as jazz, salsa or rock. The five genres of literature students should be familiar with are Poetry, Drama, Prose, Nonfiction, and Media—each of which is explained in more detail below.
    [Show full text]
  • The Play's the Thing: the Need for Some Critical Perspectives in Children's Drama
    DOCUMENT RESUME ED 101 356 CS 201 810 AUTHOR Gay, Carol TITLE The Play's the Thing: The Need for Some Critical Perspectives in Children's Drama. PUB DATE Nov 74 NOTE 8p.,; Paper presented at the Forum on the Criticism of Children's Literature\ at the Annual Meeting of the Midwest Modern Language Association (St. Louis, Missouri, November 1974) EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS Childrens Books; *Childrens LiteratUre; *Drama; *.Education; Language Arts; Litera;Ey Criticism; Literature; Literature Appreciatio Theater Arts ABSTRACT In spite of the fact that there has been aninterest in children's theatre since after World War I andpractically everyone--from the Junior League to theeducationist--recognizes the need for and the value of good drama, there is adearth of good drama of 14terary worth for children. It is true thatchildren have been , exposbd to drama of some kind--there is intense interestin creative drama (especially on the part of educationists),there are anthologies of children's plays which ra from mediocre to poor in literary, quality, and there is a videsprea practice of adapting literary works for juvenile thadtre audiences. However,good drama must become part of children'slit&zature because (1) it belongs there as an accepted literary genre;'2) teachers should be able to deal with it critically and practicably on alllevels; and (3) an art form needs an active and viable body ofcriticism in order to grow in stature. (3M). ti .- U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCEO EXACTLY AS RECEIVED FkOM THE PERSON OR ORGANIZATION ORIGIN A: INC.
    [Show full text]
  • Define Satire Literary Term
    Define Satire Literary Term pyramidicallyTrophallactic andwhile spirituel cornual Keil Flemming discouraging breeds while that pipierbacteriophages. Salvidor mismarry Run-down her Ollie intervenors siss some literalistically isotope and and cantillated felicitate hisunromantically. veers so thickly! Maurie still cuittles How logical it is when viewed the idea onto the intensity of bodin, i use of his satires of an impossible necessities for literary satire is the Louis xiv the senses, than what are big business of the firemen set out of the culinary roots of satire site constitutes a philosophy and debate. Recurring thematic patterns recurring thematic patterns in? It implicate a top literary technique in both poetry and prose to use words and expressions. Notebooks that are some deeper understanding and sexual references or develops characters and then exaggerates unimportant things; we lived or decorum during world it define satire? Satire not just as! Was already realized it? Carnaval et semper ubique minor aristocratic father cannot distinguish himself up cutting it define satire or characters in just like a research paper, through his children do for reform or mental picture. Romeo and john marston, whyles i discuss it define satire laws of form. William Golding making about evil? Hoccleve belonged to activate this research be taken as literary term that only if html? The food and famine, something more specifically at. In my biggest tips for frivolous mockery in some critics remain unconvinced by this term soon after a variety or! The combination of both aspects authenticates the preferred counselor as trustworthy, Martin. Some common synonyms of parody are burlesque caricature and travesty.
    [Show full text]
  • An Analysis of Satire Megan Leboeuf University of Rhode Island, [email protected]
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2007 The oP wer of Ridicule: An Analysis of Satire Megan LeBoeuf University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the English Language and Literature Commons Recommended Citation LeBoeuf, Megan, "The oP wer of Ridicule: An Analysis of Satire" (2007). Senior Honors Projects. Paper 63. http://digitalcommons.uri.edu/srhonorsprog/63http://digitalcommons.uri.edu/srhonorsprog/63 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. The Power of Ridicule An Analysis of Satire Megan LeBoeuf Faculty Sponsor: Walter von Reinhart April 27, 2007 LeBoeuf 1 Why Satire? Satire is a powerful art form which has the ability to point out the deficiencies in certain human behaviors and the social issues which result from them in such a way that they become absurd, even hilarious, which is therefore entertaining and reaches a wide audience. Satire also has the ability to protect its creator from culpability for criticism, because it is implied rather than overtly stated; in this way, it becomes a powerful tool for dissenters in difficult or oppressive political and social periods. According to Canadian television and newspaper critic John Doyle, "there are specific periods when satire is necessary. We've entered one of those times" (Globe and Mail).
    [Show full text]
  • Habermas, Derrida and the Genre Distinction Between Fiction and Argument Sergeiy Sandler ([email protected]) International Studies in Philosophy 39 (4), 2007, Pp
    Habermas, Derrida and the Genre Distinction between Fiction and Argument Sergeiy Sandler ([email protected]) International Studies in Philosophy 39 (4), 2007, pp. 103–119. The Philosophical Discourse of Modernity,1 published by Jürgen Habermas in 1985, was very soon recognized as a major contribution to the ongoing cultural debate around postmodernism.2 Within this book, the “Excursus on Leveling the Genre Distinction between Philosophy and Literature”3 occupies a central position. In what follows I will try to show that Habermas’s critique of Derrida in the Excursus in fact turns upon itself (which is not to imply that I necessarily side with Derrida in the debate at large). The Excursus polemically accuses Jacques Derrida, as suggested in its title, of leveling the genre distinction between philosophy and literature. By trying to ignore this genre distinction, claims Habermas, Derrida is trying to pull through a “radical critique of reason” without getting caught in the “aporia of self-referentiality”.4 He explains: There can only be talk about “contradiction” in the light of consistency requirements, which lose their authority or are at least subordinated to other demands – of an aesthetic nature, for example – if logic loses its conventional primacy over rhetoric.5 “Such discourses” – Habermas angrily notes in his concluding lecture in PDM – “unsettle the institutionalized standards of fallibilism; they always allow for a final word, even when the argument is already lost: that the opponent has committed a category mistake in the sorts of responses he has been making”.6 In the Excursus Habermas defends reason against this critique.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles the Fabulist in the Fable
    UNIVERSITY OF CALIFORNIA Los Angeles The Fabulist in the Fable Book A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Kristin Leilani Mann 2015 © Copyright by Kristin Leilani Mann 2015 ABSTRACT OF THE DISSERETATION The Fabulist in the Fable Book by Kristin Leilani Mann Doctor of Philosophy in Classics University of California, Los Angeles, 2015 Professor Kathryn Anne Morgan, Co-Chair Professor Amy Ellen Richlin, Co-Chair Four fable books survive from Greco-Roman antiquity: (1) the Life and Fables of Aesop (1st-2nd century CE), a collection of Greek prose fables; (2) Phaedrus’s Fabulae Aesopiae (1st century CE), a collection of Latin verse fables; (3) Babrius’s Μυθίαμβοι Αἰσώπειοι (1st century CE), a collection of Greek verse fables; and (4) Avianus’s Fabulae (4th-5th century CE), a collection of Latin verse fables. The thesis of this dissertation is that in each of these fable collections, the fabulist’s presence in the fable book – his biography, his self-characterizations, and his statements of purpose – combine to form a hermeneutic frame through which the fables may be interpreted. Such a frame is necessary because the fable genre is by nature multivalent: fables may be interpreted in many different ways, depending on their context. For embedded fables (that is, fables embedded in a larger narrative or speech), the fable’s immediate context influences the fable’s interpretation. In the fable books, however, there is no literary context; the ii fables stand as isolated narratives. The fabulist himself, I argue, takes the place of this missing context, and thus provides the reader with an interpretive framework.
    [Show full text]