...THE GLENCOE LITERATURE LIBRARY Study Guide for To Kill a Mockingbird by Harper Lee i Meet Harper Lee at the same university. In 1949, however, she withdrew and moved to New York City with the goal of becoming a writer. While working at other jobs, Lee submitted stories and essays to publishers. All were rejected. An agent, however, took an interest in one of her short stories and suggested she expand it into a novel. By 1957 she had finished a draft of To Kill a Mockingbird. A publisher to whom she sent the novel saw its potential but thought it needed reworking. With her editor, Lee spent two and a half more years revising the manuscript. By 1960 the novel was published. In a 1961 interview with Newsweek magazine, Lee commented: Writing is the hardest thing in the world, . . . but writing is the only thing that has made me completely happy. To Kill a Mockingbird was an immediate and widespread success. Within a year, the novel sold half a million copies and received the Pulitzer Prize for fiction. Within two years, it was turned into a highly acclaimed film. Readers admire the novel’s sensitive and probing treatment of race relations. But, equally, they enjoy its vivid account of childhood in a small rural town. Summing up the novel’s enduring impact in a 1974 review, R. A. Dave called To Kill a Mockingbird . . . a movingly human drama of the jostling worlds—of children and adults, of innocence and experience, of kindness and cruelty, of love and hatred, of humor...
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...others, in attempt to bury their own hurt. Throughout the book, To Kill A Mockingbird, readers see an array of many characters going through some very difficult times, thus resulting in conflict among them. During this time, of the Depression, people faced economic and social struggles. Segregation was a growing problem in the South during the 1930s. People are quick to judge, based on their appearance, without looking deeper, into their skin. In To Kill A Mockingbird, the Finch family does their best...
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...In the novel To Kill a Mockingbird by Harper Lee, mockingbirds are animals that “... ‘ don’t do one thing but make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corncribs, they don’t do one thing but sing their hearts out for us…’” (Lee). A few people in the novel also fit the description of this harmless bird, mainly Tom Robinson and Boo Radley. But another character, the lonesome but loathsome Mayella Ewell, has some traits that could classify her as a mockingbird. Living up to the stereotype of the Ewells, she faces isolation from the rest of society and has a lack of love from anyone, her dad, her siblings, and the rest of the town, except for the politeness she received from Tom. But as the story continues,...
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...to use violence at times to show their place and to stay in control. Segregation was a huge part in the south, during this period in time. These topics connect to Harper Lee’s novel To Kill a Mockingbird because blacks were degraded and stripped of their own being. They were viewed to be less than human beings compared to the whites. The racism in the south was very harsh and very cruel. Whites would call blacks by “niggers” and all kinds of other harshful, nasty names. After the Jim Crow Laws were passed, stores that used to sell to blacks could not any longer. There was a gang called the KKK gang. They would dress in all white and have ceremonies about and contributing to racism. If you were to be accused of something and you were black there would be a lynch mob that would walk around town just to kill you. In the novel a scene takes place where Scout is getting bullied because her father is defending a black in one of his cases. These bullies are calling her father a “nigger lover” (Harper Lee 99). In the novel Scout came...
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...Hannah Aitken Hallberg Period 1 5-18-17 TKM Essay Award winning novelist, Harper Lee, author of To Kill A Mockingbird demonstrates multiple coming of age moments for the narrator Scout, also known as Jean Louise Finch. Specifically in chapter 5, Lee demonstrates how Scout felt heartbreak when Dill told her he loved her and then left her. Lees purpose is to expand this aspect of the human condition Heartbreak of betrayal by incorporating literary elements such as symbol, juxtaposition, metaphor, and tone. Lee opens up chapter 5 with Scout explaining how she knew Jem would get tired of her nagging him, and was relieved when he was. “My nagging got the better of Jem eventually,” (Pg.55). This passage demonstrates how Scout realized that her nagging of Jem would only irritate him more, and that was a moment of realization and maturation for her, coming of age. Lee uses the symbol of the game that Scout and Jem were playing to juxtapose how young they were. The game was about Boo Radley’s life, and it wasn't exactly child friendly, juxtaposing how young Dill and Scout were. Lee uses the symbolism of summer to represent Dill and Scouts relationship. Summer...
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...There are three main types of texts: literary, factual, and persuasive. A literary text is a piece of written material that has the purpose of telling a story or diverting its audience from daily stresses of life. A couple examples of literary texts include Black Beauty by Anna Sewell and To Kill a Mockingbird by Harper Lee. Literary texts utilizes numerous literary devices to aid in its storytelling or to reinforce its theme while making its content appealing. The usage of hyperbole in storytelling and the irony in reinforcing themes in an appealing manner found in Persepolis and Mango Street had determined that both these books are literary. One of the characteristics of book Persepolis have is that it use hyperbole to help tell a story....
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...* 1. The passage above is notable chiefly for c. a literary conceit 2. In The Federalist, No, X, James Madison proposed that the dangers of factions be controlled by a a. republican form of government * 3. Sky Woman, Wolverine, and Turtle are all important figures in which of the following types of literature ? * d. Native American oral tales * 4. In line 1, “offspring” most probably refers to the author’s * b. book of poem * * 5. “My rambling brat” (line 11) is an example of * d. personification * * * 6. Place the name of teach of the Colonial era figures beside the British colony with which he is most closely associated. A. John Smith- The Virginia Colony B. John Winthrop- The Massachusetts Bay Colony * C. Roger Williams- The Colony Of Rhode Island * * * 7. The passage above is an example of a. Puritanism * * 8. Thomas Pain’s Common Sense had a direct influence on which of the following Revolutionary era works? * c. Jefferson’s Declaration of Independence * 9. The passage above is from * a. William Bradford’s The History of Plimouth Plantation 10. All of the following are writers of the Colonial era EXCEPT b. Margaret Fuller 11. The passage would best be described as an example of d. Sentimentalism 12. The first paragraph of the passage provides an example of which of the following figures of speech ? c. Apostrophe 13...
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...Comprehension | | | | | | | |Categorize |to place somebody or something in a particular category and |“Categorize the types of elephants discussed in the passage, | | |define or judge the person or thing accordingly |‘All Elephants.’ Describe the main characteristics of the | | | |elephant types using supporting details from the passage for | | | |support.” (IC11) | |Demonstrate |to explain or describe how something works or how to do |“Demonstrate your understanding of the term, ‘capricious,’ and | |...
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...versus Ethics ......................................................................................................................... 5 Responsibility and Culpability ............................................................................................................. 6 Atonement .......................................................................................................................................... 9 Law and Legality .................................................................................................................................... 10 Race and Ethnicity................................................................................................................................. 11 To Kill a Mockingbird...
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...ENGLISH HANDBOOK -“Welcome to my evil lair…” -Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important that we approach the subject as what it is: an art form. How does one study the arts? What exactly do we do when we study drawing, sculpture, music, or dance? Well, anyone who has studied the arts will tell you that studying the arts essentially involves two things: • Learning about, and developing an awareness of and appreciation for, existing works of art in that particular form; • Developing the skills and techniques associated with the art form, in order to create our own works. In the case of language arts, much like any other art form, we will be studying existing works of art (i.e., reading books, stories and poems), and developing the skills to produce our own (i.e., writing). That’s what English Language Arts is. We will also be preparing ourselves for New York State’s Regents Comprehensive Examination in English, which we’ll all be taking in June. This two-day, six-hour, four-part exam requires no specific knowledge or content, but it does require the skills to listen, read,...
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...Law and the Humanities Online Dr. Hugo Walter Spring 2014 Email: HGW@BerkeleyCollege.edu HUM360 Online 4 Credit Hours Office Hours: Online every day, seven days a week (Sunday through Saturday). Please always feel free to email me with any questions. I will also designate an hour each week when I will be available on Blackboard IM to answer your questions. COURSE DESCRIPTION This course examines the treatment of legal themes in literature, music, film and other visual arts as part of a broader consideration of the relationship between the humanities and the law. Students will explore the ways that the humanities utilize different perspectives and aesthetic styles in the discussion of such legal themes as morality, justice, equality and authority. COURSE GOALS At the conclusion of the course, students will be able to: Articulate the contribution made by law and the humanities as a field of study. Articulate the ways that imaginative portrayals of law often convey concerns about the process and practice of law with greater persuasive force than factual texts. Identify recurring themes that are investigated in law and the humanities, such as the difference between legal and moral codes, the role of custom in establishing legal norms, the role of punishment, the imperfect functioning of the legal process, unfairness in the criminal justice system, bias against minorities and the poor. Understand the...
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...[pic] JPPSS ELA COURSE GUIDE 2011-2012 ENGLISH I The JPPSS Instructional Sequence Guides are aligned with the LA Comprehensive Curriculum. JPPSS Implementation of Activities in the Classroom Incorporation of activities into lesson plans is critical to the successful implementation of the Louisiana Comprehensive Curriculum. The Comprehensive Curriculum indicates one way to align instruction with Louisiana standards, benchmarks, and grade-level expectations. The curriculum is aligned with state content standards, as defined by grade-level expectations (GLEs), and organized into coherent, time-bound units with sample activities and classroom assessments to guide teaching and learning. The units in the curriculum have been arranged so that the content to be assessed will be taught before the state testing dates. While teachers may substitute equivalent activities and assessments based on the instructional needs, learning styles, and interests of their students, the Comprehensive Curriculum should be a primary resource when planning instruction. Grade level expectations—not the textbook—should determine the content to be taught. Textbooks and other instructional materials should be used as resource in teaching the grade level expectations...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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...A Passage to India E. M. Forster Online Information For the online version of BookRags' A Passage to India Premium Study Guide, including complete copyright information, please visit: http://www.bookrags.com/studyguide−passageindia/ Copyright Information ©2000−2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other...
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...fourth EDItION Critical Thinking A student ' s Introduction Ba ssha m I I rwi n I N ardon e I Wal l ac e CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM TM Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2011, 2008, 2005, 2002. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 ISBN: 978-0-07-340743-2 MHID: 0-07-340743-7 Vice President, Editorial: Michael Ryan Director, Editorial: Beth Mejia Sponsoring Editor: Mark Georgiev Marketing Manager: Pam Cooper Managing Editor: Nicole Bridge Developmental Editor: Phil Butcher Project Manager: Lindsay Burt Manuscript Editor: Maura P. Brown Design Manager: Margarite Reynolds Cover Designer: Laurie Entringer Production Supervisor: Louis Swaim Composition: 11/12.5 Bembo by MPS Limited, A Macmillan Company Printing: 45# New Era Matte, R. R. Donnelley & Sons Cover Image: © Brand X/JupiterImages Credits: The credits section for this book begins on page C-1 and is considered...
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