English Department 7-8 Scope Sequence Chart MP1 MP2 MP3 MP4

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English Department 7-8 Scope Sequence Chart MP1 MP2 MP3 MP4 How Have We Learned THREADED UNIT Who Am I? Nothing but the Truth Choices: Personal and Artistic From the Past? How Far Have We Come How do our choices affect 7th grade Where Do I Fit In? and How Far Do We Have to What constitutes Truth? ourselves and others? What makes Go? literature universal and enduring? Who Am I As A Reader and How Is Truth Presented in Fiction 8th grade Why Should We Remember? Has It All Been Done Before? Writer? and Nonfiction? Where Narrative and Rhetorical Devices & Persuasive LITERARY ELEMENT Elements of Fiction Dramatic & Poetic Devices Research intersect Techniques Plot: Sequential vs. Spatial Characters in Conflict: Main Ideas in Nonfiction Texts; Figurative Language Elements of Drama & Theater 7th grade Internal vs. External Claim, Evidence, Warrant, & Characterization Verse vs. Prose Setting: Time & Place Counterclaims Foreshadowing & Flashback Elements of Fiction: Primary vs. Secondary Point of View & Elements of an 8th grade dialogue, theme, point of Sources; Diction Argument (ethos, pathos, & logos); Archetypes, Allusions, and Themes view, conflict (connotation vs. denotation) Syntax *planning/monitoring *making inferences FOCAL READING SKILL *determining importance * making connections *synthesizing *judging/critiquing * visualizing * asking questions WRITING Narrative Expository/Research Argument/Persuasion Literary Analysis ASSIGNMENT Creative Narrative: Compare Fiction portrayal Cause/Effect or Problem/Solution Shakespearean Research and 7th grade Alternate Ending, Sequel, or with Historical Account of Essay Analysis Paper Ghost Chapter Same Period Historical Fiction Short Story Compare Original Source Material 8th grade Digital Documentary Argument-Based Op-Ed Piece & Fan Fiction with Filmed or Staged Version GRAMMAR Phrases, Clauses (independent vs. Compound, Complex, and 7th grade 8 Parts of Speech Subject and Predicate dependent), Sentences; Compound-Complex Sentences fragment/run-on review Basic Functions of Nouns (concrete vs. abstract), Participles, Absolutes, Agreement: Pronouns and 8th grade Verbs (action, auxiliary, Cumulative grammar review Appositives antecedents; singular and plural helping), Adjectives and Adverbs Speaking/Media Performance-based Academic Discourse Presentation of Research Group Projects & Discussion literacy (suggested) Interpretation Individual or Group Dramatic Presentation: Introduction to Socratic Small-group Literature Circle 7th grade Presentation accompanied dramatization of a scene, Oral Seminar Discussion by multi-media interpretation. Individual Presentation of Paired Presentation on Researched material; Adaptation or Transformation of 8th grade literary YouTube Video Advertisement Introduction to the Socratic Original Material into new medium analysis/interpretation Circle.

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Literary Elements Name Period Date
Literary Elements Name Period Date Literary elements are what make up the backbone of almost every single story created. A literary element is a broad topic which describes the attributes of a story. These elements are used to create a story in an interesting fashion. Literary elements are divided into many smaller categories. These categories are the better known terms. These include conflict, foreshadowing, climax, irony, theme, motif, etc. Literary elements are often used by famous story writers such as Edgar Allen Poe, Roald Dahl, and many others. Three of the most important elements, that make stories interesting, are foreshadowing, climaxes, and motifs. The first literary element is foreshadowing. Foreshadowing is what helps come up with ideas of what will occur later on. Foreshadowing is widely used in many films such as The Avengers. This occurs when the character Loki states, “No, you have already brought the monster…” This leads to the conclusion that there is someone on board who Loki plans on using. Foreshadowing also appears in the famous story “The Cask of Amontillado.” It is apparent when the character Montressor states, “… and I to your long life.” This makes me think that Fortuanato was not going to be alive for much longer. Foreshadowing also appears in the short story “The Stolen Party.” In which a character tells the main girl, “… because I am her cousin, and I know all her friends, and I don’t know you.” This forms the idea that maybe that girl is right after all. Without foreshadowing, stories would be left bland and boring.
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Creative Nonfiction February 2014 Page 1 of 7 Grade: 11/12
K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL – ACADEMIC TRACK Grade: 11/12 No. of Hours: 80 hours Subject Title: Creative Nonfiction Pre-requisite: Creative Writing (CW/MP) Subject Description: Focusing on formal elements and writing techniques, including autobiography and blogging, among others, the subject introduces the students to the reading and writing of Creative Nonfiction as a literary form. The subject develops in students skills in reading, and thinking critically and creatively, that will help them to be imaginative readers and writers. PERFORMANCE CONTENT CONTENT STANDARD LEARNING COMPETENCY CODE STANDARD Quarter I 1. Identify dominant literary conventions of A. Introduction to Literary HUMSS_CNF11/12-Ia-1 a particular genre Genres The learner understands The learner clearly and 2. Compare and contrast how the elements 1. Understanding the literary conventions coherently uses a HUMSS_CNF11/12-Ia-2 Conventions of that govern the different chosen element are used in the different genres Traditional Genres conventionally 3. Analyze and interpret the theme and genres. (e.g., narrative HUMSS_CNF11/12-Ia-3 a. Fiction identified with a genre techniques used in a particular text b. Poetry convention of fiction, etc.) for a written output 4. Create samples of the different literary c. Drama elements based on one’s experience HUMSS_CNF11/12-Ib-d-4 d. Other forms (e.g. metaphor to describe an emotion) 2. Identifying Elements of 5. Write a draft of a short piece using any the different Genres of the literary conventions of genre 3. Using Elements as following these pointers: Techniques to develop a. Choosing a topic Themes b.
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Rhetorical Analysis of Film Or TV Shows
Literary and Film Analysis Analyzing literature and film is a specialized form of rhetorical analysis, which is itself a specialized form of critical analysis and evaluation. Therefore, as background to this document, you may wish to review Chapter 14 “Critical Analysis and Evaluation” and Chapter 15 “Rhetorical Analysis” in Acting on Words, or find out more about those two related forms in another source. “Rhetoric” refers to the art of using language at all levels, from individual words to entire structures. Rhetorical analysis therefore refers to thinking and writing critically about how a piece of writing works. Literary analysis most commonly refers to the analysis of fiction, poetry, plays, or film/TV fiction. We use the term in that sense here, not to express the view that non-fiction lacks literary merit but because fiction and poetry use specialized techniques requiring specialized preparation. Literary analysis looks at how prose fiction, poetry, plays, or films work as specialized rhetoric to express meaning. Literary analysis may also extend its interest to topics and meanings beyond the text in question. Expanded inquiry may involve connections between the works and their authors, readers, historical times and places, and cultures. Inquiry into relationships between literary works and many other fields of knowledge is increasingly common. Two Main Stages of Analysis There are two main stages of critical analysis: 1) breaking your subject down into meaningful parts and relationships and 2) evaluating those according to a standard or standards you deem suitable (logical, practical, ethical, aesthetic, spiritual, etc.). These stages overlap, but it can be helpful to have this basic method in mind to help guide your efforts.
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The Description of Plot Found in Gillian Flynns's Novel
THE DESCRIPTION OF PLOT FOUND IN GILLIAN FLYNNS’S NOVEL GONE GIRL A PAPER BY NAME : EMRYA GRACELIA A PURBA REG NO :132202091 DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN JUNI 2016 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum NIP. 19630216198903 1 003 Submitted to Faculty of Culture Study, University of Sumatera Utara In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of EnglishDiploma Study Program, Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of Sumatra Utara As a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of the requirements for the D-III Examination of the Diploma-III of English Study Program, Faculty of Culture Study, University of Sumatera Utara. The examination is held on May 15th, 2014 Faculty of Culture Study, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 001 Board of Examiners/Readers: Signature 1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) ( …………….. ) 2. Drs.Parlindungan Purba, M.Hum. (Supervisor) ( ...................... ) 3. Drs. Siamir Marulafau , M.Hum (Reader) ( ..................... ) UNIVERSITAS SUMATERA UTARA AUTHOR'S DECLARATION I am, EMRYA GRACELIA A PURBA , declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.
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Theme, Plot, and Conflict
ENG125: Introduction to Literature Theme, Plot, and Conflict Purpose: Use this resource to learn about how theme, plot, and conflict are different from one another but yet work together in literature. When reading literature, the reader needs to make a distinction between three key elements: Theme Plot Conflict So what are the differences between these elements? Theme The theme is a common idea that is incorporated and repeated throughout a literary work. A theme is often also called “the moral of the story.” The author uses the characters, plot, and other literary devices to build and enhance the theme. The theme weaves through the entire story and is highlighted by symbols, setting and character actions. Some common themes include: Revenge: Hamlet, Star Trek: Wrath of Khan, A Time to Kill Unrequited Love: Romeo and Juliet, Forest Gump The Journey: The Adventures of Huckleberry Finn, Lord of the Rings: Fellowship of the Ring Coming-of-Age: To Kill a Mockingbird, The Perks of Being a Wallflower Pride and Downfall: Macbeth, Downfall (a movie about Hitler’s last days) ENG125: Introduction to Literature Racism: “A Worn Path,” Mississippi Burning Fight Between Good and Evil: “Where are You Going, Where Have You Been,” “A Good Man is Hard to Find,” Superman, The Terminator War is often a theme, though can be represented in different ways: War as futile: All Quiet on the Western Front, Farewell to Arms War as brutal: The Things They Carried, Full Metal Jacket War as glory: Courage Under Fire War as opposing evil: Braveheart, The Dirty Dozen War as tragedy: Schindler’s List, Taking Chance War as survival: The Pianist, Defiance The Effects of War: The Brothers, Sometimes a theme can entwine two different ideas, so that there is a main theme and a minor theme.
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1. Identify the Literary Element in the Following Passage
Name: __________________________________________________ Date: ____________ For this activity, you will be asked to continue applying the concepts we've been learning about over the course of the unit in preparation for your short story test. Multiple choice questions on this activity are designed to be very similar to the questions on your upcoming test, while other activities are designed to help you practice. Do your best and work on your own -- remember, you will not have a friend to help you on the test! When everyone finishes, we will review. 1. Identify the literary element in the following passage: "He was a newcomer in the land, and this was his first winter. The trouble with him was that he was not able to imagine. He was quick and ready in the things of life, but only in the things, and notin their meanings. Fifty degrees below zero meant 80 degrees of frost. Such facts told him that it was that it was cold and uncomfortable, and that was all. It did not lead him to consider his weaknesses as a creature affected by temperature ... The dog did not know anything about temperatures. Possibly in its brain there was no understanding of a condition of very cold, such as was in the man’s brain. But the animal sensed the danger. Its fear made it question eagerly every movement of the man as if expecting him to go into camp or to seek shelter somewhere and build a fire. The dog had learned about fire, and it wanted fire. Otherwise, it would dig itself into the snow and find shelter from the cold air." a.
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Our Purpose in Writing Young Adult Literature: Exploration, Evaluation
AA01_BUCH6791_03_SE_FM.indd01_BUCH6791_03_SE_FM.indd PagePage xixxix 29/04/1329/04/13 10:1010:10 PMPM f-399f-399 //204/PH01336/9780133066791_BUCHER/BUCHER_YOUNG_ADULT_LITERATURE3_SE_9780133066791204/PH01336/9780133066791_BUCHER/BUCHER_YOUNG_ADULT_LITERATURE3_SE_9780133066791 ... Preface ur purpose in writing Young Adult Literature: Exploration, Evaluation and O Appreciation is to open the door for readers to explore young adult literature. To do so, we have tried to establish a foundation of knowledge about young adult literature while providing pathways leading to the literature itself. New to This Edition In addition to the updated popular features from the second edition such as Consid- erations for Selecting Young Adult Literature, Expanding Your Knowledge with the Internet, Connecting Adolescents and Their Literature, From Page to Screen, renamed From Page to Screen with the Common Core, and Collaborating with Other Professionals, the third edition includes a number of new features. Much of the content within chapters has been rearranged to make the book more user-friendly. Throughout the chapters, the discussions and lists of young adult literature have been updated to include literature published since the second edition of this book and literature that reflects some of today’s concerns, such as bullying and cultural diversity, including sexuality. We firmly believe a number of young adult texts are complex and can serve mul- tiple purposes, including encouraging critical thinking. The new Using the Com- mon Core: Developing College and Career Readiness feature is found in selected genre chapters and is designed for teachers and library media specialists. It is influ- enced by the Common Core State Standards for the English language arts. Sample questions about selected young adult literature are included, all of them designed to encourage critical thinking.
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Dialogue Definition Literary Term
Dialogue Definition Literary Term Apish Meier determine, his mongrels comfits thimblerigged wilily. Unviewed Wadsworth desquamate patiently and ungrammatically, she militated her Breughel debag gallingly. How planimetrical is Cyril when spurting and mystifying Claudio destructs some biopoiesis? From this term pastoral, let stray strands fall. Glossary of Literary TermsAAbstract Used as a noun the term refers to a short. Literary Terms and Plot The darling of events in a. It shall not end until my death. A literary device is drug specific aspect of literature or a helpful work survey we can. Literary Devices Literary Terms not with Examples. Today, dialogue is used in classrooms, community centers, corporations, federal agencies, and other settings to nutrition people, weak in small groups, to litter their perspectives and experiences about difficult issues. Which literary devices are your favorites? Anastrophe is a figure of speech wherein the traditional sentence structure is reversed. In literary definition in relation to a dialogue is not only three deaths in which exciting events. But this is not a thing, she thought, ladling out soup, that one says. First paragraph's define simile and look in some simile examples in literature. Here you decide find the information about the definition of a dialogue its types. You definitions or emphasis of contents within it to go, meaning of tragedy, or at a term. In terms and metaphors are we first book? Study requires one is dialogue definition and terms are utterances may greatly enrich your device. Glossary: An alphabetical listing of difficult, technical, or foreign ship with definitions or translation; usually found between the end of kindergarten book.
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What Is a Narrative Technique in Literature
1 What Is A Narrative Technique In Literature The narrative text structures are the plot and the setting. Similarly, it is asked, what are literary techniques. A narrative technique known for literary fictional narratives as a literary technique , literary device , or fictional device is any of several specific methods the creator of a narrative uses to convey what he or she wants 1 in other words, a strategy used in the making of a narrative to relay information to the audience and particularly to develop the narrative, usually in order to make it more complete, complex, or interesting. Autobiography a detailed description or account of the storyteller s own life. Literary techniques are specific, deliberate constructions of language which an author uses to convey meaning. Narrative techniques are the methods that writers use to give certain artistic and emotional effects to a story. Not until a writer chooses how to present that story in language does it become a narrative. October 2019 Narrative structure is a literary element generally described as the structural framework that underlies the order and manner in which a narrative is presented to a reader, listener, or viewer. A narrative technique known for literary fictional narratives as a literary technique , literary device , or fictional device is any of several specific methods the creator of a narrative uses to convey what he or she wants 1 in other words, a strategy used in the making of a narrative to relay information to the audience and particularly to develop the narrative, usually in order to make it more complete, complex, or interesting.
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Reading Strategies and Literary Elements
READING STRATEGIES AND LITERARY ELEMENTS Contents Introduction to Reading Strategies and Literary Elements . 3 Literary Elements Focus Lessons Lesson 1: Elements of Fiction . 7 Lesson 2: Point of View I. 9 Lesson 3: Point of View II . 11 Lesson 4: Dialogue . 13 Lesson 5: Flashback . 15 Lesson 6: Foreshadowing. 17 Lesson 7: Irony. 19 Lesson 8: Style . 21 Lesson 9: Tone . 23 Lesson 10: Hyperbole. 25 Lesson 11: Archetype . 27 Lesson 12: Allusion . 29 Lesson 13: Symbolism . 31 Lesson 14: Figurative Language . 33 Lesson 15: Imagery and Motif. 35 Lesson 16: Mood . 37 Lesson 17: Sound Devices . 39 Lesson 18: Personification. 41 Reading Comprehension Exercises 1–5 . 43 Focus Lessons Answer Key. 77 Exercises Answer Key . .86 Exercises Answer Sheet . .87 This booklet was written by The Princeton Review, the nation’s leader in test preparation. The Princeton Review helps millions of students every year prepare for standardized assessments of all kinds. Through its association with Glencoe/McGraw- Hill, The Princeton Review offers the best way to help students excel on the North Carolina English I End-of-Course Test. The Princeton Review is not affiliated with Princeton University or Educational Testing Service. Grateful acknowledgment is given authors and publishers for permission to reprint the following copyrighted material. Every effort has been made to determine copyright owners. In case of omissions, the Publisher will be pleased to make suitable acknowledgments in future editions. “Nothing Gold Can Stay” by Robert Frost, from The Poetry of Robert Frost, edited by Edward Connery Lathem. Copyright © 1923, 1928, 1930, 1934, 1939, 1947, 1969 by Holt Rinehart and Winston.
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General Guide to Asking Complex Literary Analysis Questions
Leading Book Discussions With Complexity Intended Audience Parents to use as a guide for asking complex questions about literature Materials • Handout 1: Literary Analysis Wheel—Primary, or • Handout 2: Literary Analysis Wheel Note to Families: The Literary Analysis Wheel is used to guide students through analyzing how an author uses literary techniques to develop meaning within a work. The model allows students to see connections between multiple literary elements (e.g., setting impacts conflict, conflict reveals character motives and values, characterization impacts theme, etc.). Note that there are two versions of the model, the Literary Analysis Wheel—Primary (grades 2–4) and the Literary Analysis Wheel (grades 5 and up). The models differ slightly, as more accelerated elements (such as symbolism and tone) are incorporated into the model for older students. It helps when students have models and frameworks to guide their thinking. The Literary Analysis Wheel can be used to guide students through an analysis of a short story, poem, or novel. First, guide the students to identify elements of the wheel separately (Level 1—Singular Element), and then emphasize a deeper analysis by asking how elements relate to each other (Level 2—Combine Elements). The Literary Analysis Wheel is meant to be interactive. The inner wheel conceptually spins so that its elements interact with each other and the outer wheel. Each element can relate to each other, regardless of its placement on the wheel. Note that although students may write on the wheel, discussion of ideas, especially relationships between combined elements, is encouraged and adds to their complexity of thinking.
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Outline on Literary Elements
Outline on Literary Elements The literary quality of a fictional book is based not upon its popularity or the ease with which it can be read, but upon the quality of the literary elements found in the book. The following bold-faced terms are ones which should be understood and used in discussing the literary elements. Please note that these elements apply only to fiction books. Character Character can be revealed through the character's actions, speech, and appearance. It also can be revealed by the comments of other characters and of the author. Certain types of characters appear in many stories. Describe the following types if they appear in your book: • The protagonist is the central character (person, animal, or personified object) in the plot's conflict. • The antagonist is the force in conflict with the protagonist. It may be society, nature, or fate, as well as another person. It can also be the protagonist's own self, if he or she has an internal conflict. • A character foil is a character whose traits are in direct contrast to those of the principal character. The foil therefore highlights the traits of the protagonist. The foil is usually a minor character, although if there are two protagonists, they may be foils of each other. • A stereotype is a character who possesses expected traits of a group rather than being an individual. Using stereotypes is usually considered an indication of poor quality, especially in cases such as members of minority groups, people with disabilities, or women. However, stereotypes can be useful in furthering the story quickly and are acceptable in minor roles if they do not provide hurtful portraits of the groups in question.
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