...inspiring subject by comparing and contrasting two of the essays that I have read. Malcolm X “Learning to Read , with Frederick Douglass “Learning to Read and Write”. Both Frederick Douglass and Malcolm X set a part an extensive amount of details to describing the process by which they learned to read and write, and, as important, the obstacles that they they confronted. Douglass explains that he had to acquire his reading and writing skills in secretive and, in one of the Important quotes from “Learning to Read and Write” regarding literacy, it said, “he had no regular Teacher” (para .1), and his owner and his mistress consider slavery and education to be incompatible, Douglass equates illiteracy with living in a” mental darkness” (para.1) and, from an early age he devotes Himself to learn first how to read and then how to write by the help of the young white boys. Just as with X, Douglass thrills at the challenges of learning to read and write and, sees this as part of the road to his salvation from “mental darkness” that once enslave him. Similary, X responds responds to his passion to learn to read and write by creating the conditions that made such learning possible despite some challenging circumstances. While in prison, X teaches himself to read by going through dictionary page by page. In order to remember what he has learned, he copied every single page. He explained in one of the important quotes from “Learning to Read”, “I’d never realized...
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...“The Joy of Reading and Writing: Superman and Me” How does this Sherman Alexie essay compare to the Frederick Douglass and Malcolm X essays we read earlier in the semester? What implications does Alexie invoke with his use of the Superman imagery? In comparing the three essays, “The Joy of Reading and Writing: Superman and Me” by Sherman Alexie, to “Learning to Read and Write” by Frederick Douglass and “Learning to Read” by Malcolm X, one immediately recognizes that all three authors place high importance on the value of reading and writing. When one has the ability to read and write, one has the ability to achieve many goals. One also has the ability to make a difference in the lives of others and society. In “Learning to Read” by Frederick...
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...evolved to write about only one grievance, instead of many like its predecessors. The reason for this evolution is the African American voice gained freedom and equality, leading authors to explain only one theme they have instead of the many that they face in their daily life. Frederick Douglass who faced slavery and the challenge of teaching himself to read and write, has more themes than that of Langston Hughes, who faced the burden of his faith. But both of these authors faced more challenges than Henry Louis Gates Jr. whose main grievance addressed in his writing is that of African Americans in the school systems. Because of the freedoms and equalities that the African Americans gained they...
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...Freeman Brown Dr. J. Jones English 112 23 September 2013 Narrative of the Life of Frederick Douglass, An American Slave, Written by Himself, is a powerful piece that flings the reader into disgust of slavery from the very instant he starts writing. In doing so, he directly appeals to the readers emotions and continues to do so at various times throughout the story. Douglass also uses a logical appeal about midways his story. Implying freedom as common sense, he begins to rhetorically provoke the reader to question the morality of slavery. Within the very first paragraph written by Frederick Douglass, the reader is subjected to tidbits of the pitiful situation he and other slaves were in. He writes “By far the larger part of the slaves know as little of their ages as horses know of theirs, and it is the wish of most masters within my knowledge to keep their slaves thus ignorant.” (Douglass, 17) That statement both dehumanizes them by comparing the life of a slave to that of an animal, and establishes aversion toward those who owned slaves. It makes one feel sorry for him. Perhaps, even allowing you to think, “Awe, poor guy doesn’t even know how old he is.” Douglass is indeed upset while writing this and intends to induce anger within the reader as well, for the purpose of abolishing the evil that is slavery. He is sure to expose the desires of slave masters by throwing them at fault to the deed of withholding such pertinent and common information. Surely one in high social...
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...the end of the year, read and comprehend literature, including stories, dramas, and poems, at the high end of Grades 6-8 text complexity band independently and proficiently. [RL.8.10]READING STANDARDS FOR INFORMATIONAL TEXT: RANGE OF READING AND LEVEL OF TEXT COMPLEXITY By the end of the year, read and comprehend literary nonfiction at the high end of the Grades 6-8 text complexity band independently and proficiently. [RI.8.10]WRITING STANDARDS: RANGE OF WRITING Write routinely over extended time frames, including time for research, reflection, and revision, and shorter time frames such as a single sitting or a day or two for a range of discipline-specific tasks, purposes, and audiences. [W.8.10]KNOWLEDGE OF LANGUAGE Use knowledge of language and its conventions when writing, speaking, reading, or listening. [L.8.3]VOCABULARY ACQUISTION AND USE Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression. [L.8.6]SPEAKING AND LISTENING STANDARDS Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on Grade 8 topics, texts, and issues, building on others’ ideas and expressing their own clearly. [SL.8.1a,b,c,d] | Students, with scaffolding as needed: * read and actively engage...
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...junior and senior high students to study. Although on one level the novel is an allegory of the 1917 Russian Revolution, the story is just as applicable to the latest rebellion against dictators around the world. Young people should be able to recognize similarities between the animal leaders and politicians today. The novel also demonstrates how language can be used to control minds. Since teenagers are the target not only of the educational system itself but also of advertising, the music industry, etc., they should be interested in exploring how language can control thought and behavior. Animal Farm is short and contains few words that will hamper the reader’s understanding. The incidents in the novel allow for much interactive learning, providing opportunities for students to dramatize certain portions, to expand on speeches, and to work out alternative endings. The novel can be taught collaboratively with the history department as an allegory of the Russian Revolution, allowing students to draw parallels between actual events and people and the imaginary ones created by Orwell. The novel can also be taught as a beast fable following the study of shorter fables by Aesop and James Thurber. Examining the work as a satirical comment on the corrupting influence of power, students should be able to trace the corruption of the pigs and perhaps relate their findings to individuals in our own...
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...[pic] Direct Instruction Lesson Plan – November 10, 2010 |Lesson Planning Information | |Teacher Candidate Name: Brenda Baker-Mitchell |Date: Nov 10, 2010 | |Mentor Teacher Name: | |JIU Professor Name: Dr. Alana James |JIU Course Name and Session: EDU 500 | |Grade: 9-12 | |Content Area (e.g., reading, writing, math, science, social studies, arts, etc.): Social Studies/US History – “The Removal of the Cherokee Indians” | |(DIRECT INSTRUCTION) | |Group Size: 25 | |Pre-Lesson Planning | |ACEI | ...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S MACBETH LINDA NEAL UNDERWOOD S E R I E S E D I T O R S : W. GEIGER ELLIS, ED.D., ARTHEA J. S. REED, PH.D., UNIVERSITY OF GEORGIA, EMERITUS and UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Macbeth 2 INTRODUCTION William Shakespeare developed many stories into excellent dramatizations for the Elizabethan stage. Shakespeare knew how to entertain and involve an audience with fast-paced plots, creative imagery, and multi-faceted characters. Macbeth is an action-packed, psychological thriller that has not lost its impact in nearly four hundred years. The politically ambitious character of Macbeth is as timely today as he was to Shakespeare's audience. Mary McCarthy says in her essay about Macbeth, "It is a troubling thought that Macbeth, of all Shakespeare's characters, should seem the most 'modern,' the only one you could transpose into contemporary battle dress or a sport shirt and slacks." (Signet Classic Macbeth) Audiences today quickly become interested in the plot of a blindly ambitious general with a strong-willed wife who must try to cope with the guilt engendered by their murder of an innocent king in order to further their power. The elements of superstition, ghosts, and witchcraft, though more readily a part of everyday life for the Renaissance audience, remain intriguing to modern teenagers. The action-packed...
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....................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write to: PENGUIN GROUP (USA) INC. Academic Marketing Department 375 Hudson Street New York, NY 10014-3657 www.penguin.com/academic In Canada, write to: PENGUIN BOOKS CANADA LTD. Academic Sales 90 Eglinton Ave. East, Ste. 700 Toronto, Ontario Canada M4P 2Y3 Printed in the United States of America A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion 3 AN...
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...TExES I Texas Examinations of Educator Standards Preparation Manual 133 History 8–12 Copyright © 2006 by the Texas Education Agency (TEA). All rights reserved. The Texas Education Agency logo and TEA are registered trademarks of the Texas Education Agency. Texas Examinations of Educator Standards, TExES, and the TExES logo are trademarks of the Texas Education Agency. This publication has been produced for the Texas Education Agency (TEA) by ETS. ETS is under contract to the Texas Education Agency to administer the Texas Examinations of Educator Standards (TExES) program and the Certification of Educators in Texas (ExCET) program. The TExES program and the Examination for the Certification of Educators in Texas (ExCET) program are administered under the authority of the Texas Education Agency; regulations and standards governing the program are subject to change at the discretion of the Texas Education Agency. The Texas Education Agency and ETS do not discriminate on the basis of race, color, national origin, sex, religion, age, or disability in the administration of the testing program or the provision of related services. PREFACE The State Board for Educator Certification (SBEC) has developed new standards for Texas educators that delineate what the beginning educator should know and be able to do. These standards, which are based on the state-required curriculum for students—the Texas Essential Knowledge and Skills (TEKS)—form the basis for new Texas Examinations...
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...GLENCOE LANGUAGE ARTS Grammar and Language Workbook G RADE 9 Glencoe/McGraw-Hill Copyright © by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or means, or stored in a database or retrieval system, without the prior written permission of the publisher. Send all inquiries to: Glencoe/McGraw-Hill 936 Eastwind Drive Westerville, Ohio 43081 ISBN 0-02-818294-4 Printed in the United States of America 1 2 3 4 5 6 7 8 9 10 024 03 02 01 00 99 Contents Handbook of Definitions and Rules .........................1 Troubleshooter ........................................................21 Part 1 Grammar ......................................................45 Unit 1 Parts of Speech 1.1 Nouns: Singular, Plural, and Collective ....47 1.2 Nouns: Proper and Common; Concrete and Abstract.................................49 1.3 Pronouns: Personal and Possessive; Reflexive and Intensive...............................51 1.4 Pronouns: Interrogative and Relative; Demonstrative and Indefinite .....................53 1.5 Verbs: Action (Transitive/Intransitive) ......55 1.6 Verbs: Linking .............................................57 1.7 Verb Phrases ................................................59 1.8 Adjectives ....................................................61 1.9 Adverbs........................................................63 1.10 Prepositions...
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...If this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas...
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... Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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