11Th Grade Summer Assignment

Total Page：16

File Type：pdf, Size：1020Kb

English 11-American Literature Mrs. Lydon [email protected] Summer Reading 2021 Assignment: This summer, students will read Unbroken by Laura Hillenbrand. Here is a brief synopsis of the story: Unbroken is a true account of one man’s prodigious journey from juvenile delinquency, to the 1936 Berlin Olympics as a world-class runner, to participating in World War II bombing missions on Japanese-held territory. While on a search-and-rescue mission, Louis (Louie) Zamperini’s B-24 bomber crashes in the Pacific Ocean. Of eleven men aboard, only Louie and two other men survive, climbing into life rafts. One man eventually dies, and Louie and his pilot float on. On the forty-seventh day, they are captured by the Japanese. Sadistic guards at Japanese prison camps, attempting to erase all traces of dignity from their captives, physically torture, starve, enslave, and mentally abuse Louie and other fellow prisoners of war. After the war, Louie stumbles through addiction, failed business ventures, and a strained marriage before finding redemption (Penguin, 2018). ● Students should read the adult version of the novel-not the junior version. ● Students are strongly encouraged to take Cornell notes on the material as they read. Aim to take about ½-1 page of notes per chapter. ● While there is a movie on the book, I do not recommend using that as a substitute for the book. There are many important events that happen in the book that are completely left out of the movie. The assignment I give will hinge on those important parts that are missing from the movie. ● Students will complete an in-class writing assignment based on the major themes found within the novel when they return to school on Thursday, September 10th. ● The summer reading assignment is weighted as a writing grade which is 35% of the students Q1 grade. (Please note there will be other writing assignments that will go into the quarter as well.) If you have any questions about this assignment, do not hesitate to contact me at the address above. I check my email throughout the summer..

Copy Link

Recommended publications

Pilot Season
Portland State University PDXScholar University Honors Theses University Honors College Spring 2014 Pilot Season Kelly Cousineau Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Cousineau, Kelly, "Pilot Season" (2014). University Honors Theses. Paper 43. https://doi.org/10.15760/honors.77 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Pilot Season by Kelly Cousineau An undergraduate honorsrequirements thesis submitted for the degree in partial of fulﬁllment of the Bachelor of Arts in University Honors and Film Thesis Adviser William Tate Portland State University 2014 Abstract In the 1930s, two historical figures pioneered the cinematic movement into color technology and theory: Technicolor CEO Herbert Kalmus and Color Director Natalie Kalmus. Through strict licensing policies and creative branding, the husband-and-wife duo led Technicolor in the aesthetic revolution of colorizing Hollywood. However, Technicolor's enormous success, beginning in 1938 with The Wizard of Oz, followed decades of duress on the company. Studios had been reluctant to adopt color due to its high costs and Natalie's commanding presence on set represented a threat to those within the industry who demanded creative license. The discrimination that Natalie faced, while undoubtedly linked to her gender, was more systemically linked to her symbolic representation of Technicolor itself and its transformation of the industry from one based on black-and-white photography to a highly sanctioned world of color photography.
[Show full text]
Assessing the Vulnerability of Watersheds to Climate Change: Results of National Forest Watershed Vulnerability Pilot Assessments
D E E P R A U R T LT MENT OF AGRICU United States Department of Agriculture Forest Service Pacific Northwest Research Station Assessing the Vulnerability General Technical Report PNW-GTR-884 of Watersheds to Climate July 2013 Change Results of National Forest Watershed Vulnerability Pilot Assessments The Forest Service of the U.S. Department of Agriculture is dedicated to the principle of multiple use management of the Nation’s forest resources for sustained yields of wood, water, forage, wildlife, and recreation. Through forestry research, cooperation with the States and private forest owners, and management of the national forests and national grasslands, it strives—as directed by Congress—to provide increasingly greater service to a growing Nation. The U.S. Department of Agriculture (USDA) prohibits discrimination in all its programs and activities on the basis of race, color, national origin, sex, religion, age, disability, sexual ori- entation, marital status, family status, status as a parent (in education and training programs and activities), because all or part of an individual’s income is derived from any public assis- tance program, or retaliation. (Not all prohibited bases apply to all programs or activities). If you require this information in alternative format (Braille, large print, audiotape, etc.), con- tact the USDA’s TARGET Center at (202) 720-2600 (Voice or TDD). If you require information about this program, activity, or facility in a language other than English, contact the agency office responsible for the program or activity, or any USDA office. To file a complaint alleging discrimination, write USDA, Director, Office of Civil Rights, 1400 Independence Avenue, S.W., Washington, D.C.
[Show full text]
Tax Credits Issued
TAX CREDITS ISSUED TOTAL APPLICANT CREDIT PRODUCTION NAME APPLICANT ADDRESS Curious Holdings LLC dba Curious Pictures Dan Zanes Show Pilot 440 Lafayette Street, 6th floor New York, N.Y. 10003 New York New York Productions, Inc. Good Shepherd 10 East Lee Street, Suite 2705 Baltimore, MD 21202 Forever the Film LLC Never Forever 180 Varick Street, Ste. 1002 New York, N.Y. 10014 c/o Trevanna Post, Inc. 161 Avenue of the Americas, #902 New Pretty Good Productions, Inc Win Win York, N.Y. 10013 Prime Film Production, LLC Prime 10850 Wilshire Blvd.,6th floor, Los Angeles, CA. 90024 The Ten Film, LLC Ten 6 East 39th Street, New York, N.Y. 10016 Fast Lane Productions Inc, dba FILMAURO Christmas (Natale) in NY 9623 Charleville Blvd. Beverly Hills, CA 90212 Girl in the Park, LLC Girl in the Park 9242 Beverly Blvd., Suite 200 Beverly Hills, CA 90210 57th & Irving The Cake Eaters LLC Cake Eaters 19 W 21st Street, Suite 706 New York, N.Y. 10010 c/o River Road Entertainment 60 South 6th Street, Suite 4050 FURTHEFILM, LLC Fur Minneapolis, MN 55402 Freedomland Productions, Inc. Freedomland 2900 West Olympic Blvd. 2nd floor Santa Monica, CA 90404 Griffin & Phoenix Productions LLC Griffin and Phoenix 9420 Wilshire Blvd., Suite 250 Beverly Hills, CA 90212 Reason For Leaving LP Wreck, The 601 W. 26th St. Suite 1255, New York, N.Y. 10001 Eric Nadler Transbeman 10 Jay Street, #204, Brooklyn, New York 11201 Gregory Lamberson Slime City Massacre 1824 Kensington Avenue, Cheektowaga, N.Y. 14215 Whitest Kids You Know Season 4; Whitest Kids You Know Season 3; Whitest Kids You L.C Incorporated $987,780 Know Season 5 c/o GRF LLP, 360 Hamilton Ave, #100 White Plains, NY 10601 Persona Films Inc.
[Show full text]
Plane Crash Kills Pilot Health and Safety of Recovery Houses No One Disputes That Henry Green Kitchen, and Com- Provides a Valuable – Some Say Lifesaving Mon Area
■ Barnabas helps with Cares Act 5B ■ Crescendo Amelia 7B Inside This WEDNESDAY, SEPTEMBER 23, 2020 / 22 PAGES, 2 SECTIONS • fbnewsleader.com $1.00 Issue City reviews the Plane crash kills pilot health and safety of recovery houses No one disputes that Henry Green kitchen, and com- provides a valuable – some say lifesaving mon area. They – service in Fernandina Beach. Places are required to for people who have nowhere else to go, attend the twice- due to the life they lived as addicts. But, daily Narcotics can Green legally operate a residential Anonymous and/ recovery facility in the city? That is the or Alcoholics question at the heart of what Fernandina Anonymous meet- Beach says are code enforcement viola- ings, to keep their tions at the houses used for Grace and living space clean, Gratitude Sober Living Inc. Green to get a job, and Green rents four houses in the keep the house city that he uses to operate Grace and clean. Gratitude. The houses are located on Food is not provided, but everyone Vernon Street, South 10th Street, South is encouraged to buy enough to cook Ninth Street, and South 13th Street. “family style” for everyone in the house. Grace and Gratitude receives no Those staying in the houses sign a con- local, state or federal funding; no grants tract before they are allowed to stay, or loans or other funding other than a and must adhere to the rules to stay. $21.50 daily fee from residents. Green They must, above all, stay alcohol- and said each house costs approximately drug-free.
[Show full text]
Stand up Comedy and the Essay, Aka Louis C.K
Reinhart 1 EXPLORATIONS INTO STAND-UP COMEDY THROUGH THE MULTIMEDIA ESSAY: “STAND UP COMEDY AND THE ESSAY, AKA LOUIS C.K. MEET MICHEL DE MONTAIGNE” AND “YOU’RE IN THE SUN” A Thesis Presented to The Honors Tutorial College Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts and Sciences in English By Taylor Reinhart April 2014 Reinhart 2 A. Introduction This thesis is an exploration of the tradition and practice of stand-up comedy. To accomplish this aim, I use the essay in both its traditional and non-traditional forms. My thesis consists of two pieces: “Stand Up Comedy And The Essay AKA Louis C.K. Meet Michel De Montaigne,” published in The Weeklings online magazine, and “You’re In The Sun,” a ten-minute video essay. These pieces each offer an analysis of comedy, but they also investigate the essay as a genre, focusing on the extent to which the video essay is an effective sub-genre for essayistic communication. My focus on the video essay is crucial to my critical introduction. To date, the video essay has a relatively short history as a subgenre and little critical commentary. After reviewing what little history and commentary exists, I offer my own definition and analysis of the video essay. I do so by first discussing the craft of the essay in general, especially as it pertains to stand-up comedy. I then place the video essay in that larger history, reviewing the critical discussion of this subgenre, referring to key video essay works, and showing the relevance of my enhanced definition and analysis.
[Show full text]
Rank Series T Title N Network Wr Riter(S)*
Rank Series Title Network Writer(s)* 1 The Sopranos HBO Created by David Chase 2 Seinfeld NBC Created by Larry David & Jerry Seinfeld The Twilighht Zone Season One writers: Charles Beaumont, Richard 3 CBS (1959)9 Matheson, Robert Presnell, Jr., Rod Serling Developed for Television by Norman Lear, Based on Till 4 All in the Family CBS Death Do Us Part, Created by Johnny Speight 5 M*A*S*H CBS Developed for Television by Larry Gelbart The Mary Tyler 6 CBS Created by James L. Brooks and Allan Burns Moore Show 7 Mad Men AMC Created by Matthew Weiner Created by Glen Charles & Les Charles and James 8 Cheers NBC Burrows 9 The Wire HBO Created by David Simon 10 The West Wing NBC Created by Aaron Sorkin Created by Matt Groening, Developed by James L. 11 The Simpsons FOX Brooks and Matt Groening and Sam Simon “Pilot,” Written by Jess Oppenheimer & Madelyn Pugh & 12 I Love Lucy CBS Bob Carroll, Jrr. 13 Breaking Bad AMC Created by Vinnce Gilligan The Dick Van Dyke 14 CBS Created by Carl Reiner Show 15 Hill Street Blues NBC Created by Miichael Kozoll and Steven Bochco Arrested 16 FOX Created by Miitchell Hurwitz Development Created by Madeleine Smithberg, Lizz Winstead; Season One – Head Writer: Chris Kreski; Writers: Jim Earl, Daniel The Daily Show with COMEDY 17 J. Goor, Charlles Grandy, J.R. Havlan, Tom Johnson, Jon Stewart CENTRAL Kent Jones, Paul Mercurio, Guy Nicolucci, Steve Rosenfield, Jon Stewart 18 Six Feet Under HBO Created by Alan Ball Created by James L. Brooks and Stan Daniels and David 19 Taxi ABC Davis and Ed Weinberger The Larry Sanders 20 HBO Created by Garry Shandling & Dennis Klein Show 21 30 Rock NBC Created by Tina Fey Developed for Television by Peter Berg, Inspired by the 22 Friday Night Lights NBC Book by H.G.
[Show full text]
Module 3A: Unit 2: Lesson 10 Mid-Unit Assessment: Classifying and Evaluating Primary Sources
Grade 8: Module 3A: Unit 2: Lesson 10 Mid-Unit Assessment: Classifying and Evaluating Primary Sources This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Exempt third-party content is indicated by the footer: © (name of copyright holder). Used by permission and not subject to Creative Commons license. GRADE 8: MODULE 3A: UNIT 2: LESSON 10 Mid-Unit Assessment: Classifying and Evaluating Primary Sources Long-Term Targets Addressed (Based on NYSP12 ELA CCLS) I can evaluate the advantages and disadvantages of using different mediums to present an idea. (RI.8.7) Supporting Learning Targets Ongoing Assessment • I can identify different types of mediums used in a Gallery Walk. • Gathering Textual Evidence note-catcher (from • I can evaluate the advantages and disadvantages of using different mediums to present information on homework) World War II. • Mid-Unit 2 Assessment Created by Expeditionary Learning, on behalf of Public Consulting Group, Inc. © Public Consulting Group, Inc., with a perpetual license granted to Expeditionary Learning Outward Bound, Inc. NYS Common Core ELA Curriculum • G8:M3A:U2:L10 • June 2014 • 1 GRADE 8: MODULE 3A: UNIT 2: LESSON 10 Mid-Unit Assessment: Classifying and Evaluating Primary Sources Agenda Teaching Notes 1. Opening • In this lesson, students revisit previously viewed mediums from the Gallery Walk (in Unit 1, Lesson 1) and primary A. Reviewing Learning Targets (4 minutes) sources (from Unit 2, Lesson 6). Since these lessons, students have built background knowledge by reading Unbroken, “The Life of Miné Okubo,” and various primary sources. Students now classify different mediums and 2.
[Show full text]
Unbroken Chapter 1 Excerpts
Name_________________________________________________ ELA 8 – Excerpts from Ch. 1 Date__________________________________________________Unbroken by Laura Hillenbrand Unbroken by Laura Hillenbrand Excerpts from Chapter 1 Introduction of Louie Zamperini, main character and some struggles he experiences as a POW. Ch. 1 gives some background on Louie’s childhood. The boy’s name was Louis Silvie Zamperini. The son of Italian immigrants, he had come into the world in Olean, New York, on January 26, 1917, eleven and a half pounds of baby under black hair as coarse as barbed wire. His father, Anthony, had been living on his own since age fourteen, first as a coal miner and boxer, then as a construction worker. His mother, Louise, was a petite, playful beauty, sixteen at marriage and eighteen when Louie was born. In their apartment, where only Italian was spoken, Louise and Anthony called their boy Toots. From the moment he could walk, Louie couldn’t bear to be corralled. His siblings would recall him careening about, hurdling flora, fauna, and furniture. The instant Louise thumped him into a chair and told him to be still, he vanished. If she didn’t have her squirming boy clutched in her hands, she usually had no idea where he was. In 1919, when two-year-old Louie was down with pneumonia, he climbed out his bedroom window, descended one story, and went on a naked tear down the street with a policeman chasing him and a crowd watching in amazement. Soon after, on a pediatrician’s advice, Louise and Anthony decided to move their children to the warmer climes of California.
[Show full text]
Watershed Climate Change Vulnerability Assessment Lolo National Forest
United States Department of Agriculture Watershed Climate Change Vulnerability Assessment Lolo National Forest EXECUTIVE SUMMARY Forest Northern Region (R1) & Publication Number Publication Date Service Lolo National Forest R1-16-05 April 2016 Watershed Climate Change Vulnerability Assessment Lolo National Forest Executive Summary Authors Alisa Wade, Consultant Christine Brick, Clark Fork Coalition Scott Spaulding, USFS R1 Traci Sylte, USFS Lolo National Forest Joan Louie, USFS R1 Please cite this report as: Wade, A.A., C. Brick, S. Spaulding, T. Sylte, and J. Louie. April 2016. Watershed Climate Change Vulnerability Assessment: Lolo National Forest. Publication Number R1-16-05. Missoula, MT: U.S. Department of Agriculture, Forest Service, Northern Region and Lolo National Forest. 132 p. Full report available on-line at: http://www.fs.usda.gov/main/lolo/workingtogether. This report is a joint production of the USDA Forest Service Northern Region (R1) and Lolo National Forest. For further information, please contact: Traci Sylte Scott Spaulding Soil, Water, and Fisheries Program Manager Regional Fisheries Program Leader Lolo National Forest Northern Region (R1) 406.329.3896 406.329.3287 [email protected] [email protected] USDA is an equal opportunity provider, employer, and lender. Watershed Climate Change Vulnerability Assessment: Lolo National Forest Page i ACKNOWLEDGEMENTS This work arose in response to an inquiry from the Region 1 Office regarding Lolo National Forest’s interest in conducting a watershed vulnerability assessment. At a time of increasing demands and decreasing personnel and resources, this endeavor was made possible by partnering with the Clark Fork Coalition, which is given full credit for the Lolo National Forest’s ability to commit and produce this assessment.
[Show full text]
Pilot National Forest Reports
Pilot National Forest Reports Contents Gallatin National Forest ......................................................................... 34 Helena National Forest ........................................................................... 50 Grand Mesa, Uncompahgre, and Gunnison National Forests ................ 68 White River National Forest ................................................................ 116 Coconino National Forest .................................................................... 134 Sawtooth National Forest ..................................................................... 162 Shasta-Trinity National Forest ............................................................. 189 Umatilla National Forest ...................................................................... 214 Ouachita National Forest ...................................................................... 230 Chequamegon-Nicolet National Forest ................................................ 240 Chugach National Forest ...................................................................... 270 33 Assessment of Watershed Vulnerability to Climate Change Gallatin National Forest April 2012 Prepared By: Joan Y. Louie Fisheries Biologist/GIS Analyst 34 R1 Regional Office, Missoula, Montana BACKGROUND The Gallatin National Forest (GNF) is located in southwestern Montana within the Northern Region (R1) of the U.S. Forest Service (USFS) and is part of the Greater Yellowstone Ecosystem, the largest intact ecosystem in the continental United States (fig. 1).
[Show full text]
"So, Are We Good?" the Emerging Sensitive New Man Movement in the Boys' Club of Stand-Up Comedy Stephen Kohlmann University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 "So, Are We Good?" the Emerging Sensitive New Man Movement in the Boys' Club of Stand-up Comedy Stephen Kohlmann University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Gender and Sexuality Commons, Mass Communication Commons, and the Theatre and Performance Studies Commons Recommended Citation Kohlmann, Stephen, ""So, Are We Good?" the Emerging Sensitive New Man Movement in the Boys' Club of Stand-up Comedy" (2014). Theses and Dissertations. 581. https://dc.uwm.edu/etd/581 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “SO, ARE WE GOOD?” THE EMERGING SENSITIVE NEW MAN MOVEMENT IN THE BOYS’ CLUB OF STAND-UP COMEDY by Stephen Kohlmann A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media Studies at The University of Wisconsin-Milwaukee December 2014 ABSTRACT “SO, ARE WE GOOD?” THE EMERGING SENSITIVE NEW MAN MOVEMENT IN THE BOYS’ CLUB OF STAND-UP COMEDY by Stephen Kohlmann The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Michael Z. Newman This thesis discusses the emerging new man comedic persona in contemporary stand- up comedy. The new man comedian eschews the hypermasculine and heteronormative traits that were common among male stand-up comedians during the boom era (1980s-1990s).
[Show full text]
From Unbroken
from Unbroken Laura Hillenbrand BIOGRAPHY Corbis This version of the selection alternates original text Chapter 15 Sharks and Bullets with summarized passages. This story takes place during Word War II. Three American soldiers, Louie, Mac, and Dotted lines appear next to the summarized passages. Phil, are stranded on life rafts in the Pacific Ocean. They have been floating for twenty- seven days with little to eat or drink. The men have no protection from the sun, and sharks have been circling the raft. Suddenly, a bomber plane appears from the east. The NOTES soldiers discuss their options and decide the risk of wasting precious emergency supplies is worth taking. Louie fires two flares and empties a container of dye into the water around the rafts. Using a mirror, he directs a beam of sunlight at the plane. The plane passes them by but then circles back toward the rafts. And then, all at once, the ocean erupted. There was a deafening noise, and the rafts began hopping and shuddering under the castaways. The gunners were firing at them. Louie, Phil, and Mac clawed for the raft walls and threw themselves overboard. They swam under the rafts and huddled there, watching bullets tear through the rafts and cut bright slits in the water around them. Then the firing stopped. Afraid of the sharks, the men hurry out of the water. Both Mac and Phil need Louie’s help to get back into their rafts. Once above water, they sit exhausted and confused. Why had the Americans shot at unarmed men? As they gather their breath, the bomber plane loops back around.
[Show full text]