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SREB

Standards-based UnitStandards-based UnitHigh School to College and Career

Transitions

Senior English Redesigned:Senior English Redesigned:A 12th-grade English

Transitional Course

SouthernRegionalEducationBoard

592 Tenth Street, N.W.Atlanta, GA 30318(404) 875-9211www.sreb.org

Critical Literacy AnalysisCritical Literacy AnalysisUnit PlanUnit Plan

Unit Plan OverviewUnit Plan Overview

Unit Title: Critical Literary Analysis

Course Name: Senior English Redesigned

Grade Level(s): 12

Unit OverviewStudents read a novel and produce a critical literary essay. Students will read and respond deeply to a novel and they will use the writing process to write a critical literary analysis paper based on the novel.

Timeframe: 12 50-minute classes

Essential Questions: (Open-ended style which promote in-depth investigation)1. How does adversity help individuals to build character?2. How do people’s choices affect their lives and the lives of others?3. How can strengths also be weaknesses?4. How does the author use literary elements and devices to achieve a purpose?

SREB Readiness Indicators

3. Analyze the relationship(s) and purpose(s) within a text and across texts.4. Make inferences and predictions.6. Identify the elements of texts (e.g., purpose, theme, plot) and analyze the author’s development of

them.7. Compose writing that conveys a clear main point with logical support.9. Use English language structure and grammar appropriately to communicate effectively.

State/Local Standards: Mississippi

1. The student will develop and apply expansive knowledge of words and word meanings to communicate.2. The student will comprehend, respond to, interpret, or evaluate a variety of texts of increasing levels of

difficulty.3. The student will produce, analyze, or evaluate effective communication.4. The student will use standard English grammar, mechanics, and sentence structure to communicate.

Acknowledgment(s): Kim Russell, Jane Harmon, Paul Wood, Kelly Walden, Robert Armbruster,Andrew Halford, West Kentucky Community and Technical College and Elizabeth Bailey

Critical Literacy Analysis– Overview 1

Unit Plan OverviewUnit Plan Overview

Literacy Strategies Habits of Success_X_ Admit/Exit slips___ Graphic organizer___ Know/Want to

Know/Learn Chart (KWL)

_X_ Open-response questions

___ Two-column/Cornell notes

___ Re-telling_X_ Reflection_X_ Jigsaw reading_X_ Peer Review_X_ Peer Editing___ Anticipation Guide___ RAFT

(Role/Audience/Format/ Topic)

___ Summarization (GIST)(Generating Interactions Between Schemata and Text)

___ Paired Reading_X_ Other

1. ___ Create RelationshipsTeamwork/responsibility/effective communication2. ___ Study, Manage Time, OrganizeOrganization/time management/study skills3. _X_ Improve Reading/Writing SkillsUse reading and writing to learn strategies4. ___ Improve Mathematics SkillsEstimate/compute/solve/synthesize5. ___ Set Goals/PlanSet goals/plan/monitor progress6. ___ Access ResourcesResearch/analyze/utilize

Assessments: Pre, Daily/Weekly and Post

Post-assessment consists of two parts1. Content-based (traditional paper and pencil test) Test on The Kite Runner, Vocabulary of Literary

Analysis, and Reading Comprehension (Attachments 13 and 14)2. Performance - or product-based

Responses and Discussion of the novel (Attachment 5)Critical Literary Analysis Paper (Attachment 10)

Critical Literacy Analysis– Overview 2

Daily Activities PlanDaily Activities PlanUnit Title: Critical Literary Analysis

Day 1 of 10

SREB’s Readiness Indicator(s) for Daily Activities

4. Make inferences and predictions.

State/District Standard(s) for Daily Activities: Mississippi


difficulty.3. The student will produce, analyze, or evaluate effective communication.

Anticipated Times*(50-minute Schedule) Sequence of Instruction Activities Checklist

3 minutes Get StartedDOL:[Daily Oral Language exercises that the teacher writes on the board or overhead and which students must correct in their journals. The teacher reviews correct answers with students including reasons for corrections.Sentences should be student-generated and be taken from their last writing assignment, admit or exit slip, journal entry, etc. They should also illustrate a major grammatical (sentence fault, irregular verb form or S-V agreement) or comma error (between subject and verb, between adjective and noun, omitted in items in a series).

Grammar editing review

5 minutes EngageShow a map or globe and ask for a student volunteer to find Afghanistan. Ask: What do you know about this country? Has it always been as we think of it today? When did it change? If you had been growing up in that country when it changed radically, how might it have affected you? [ Information about the setting of the novel-Afghanistan—and the author—Khaled Hosseini—can be found at http://www.sjsu.edu/reading/KRGuide.pdf ]

Display object/ picture

10 minutes ExploreDistribute copies of The Kite Runner and lead students in exploring the cover, the information on the back, the reviews, the dedication, and acknowledgements.Read aloud Chapter 1, pp. 1-2Ask:What is the point of view? What difference might it make that the story is told in first person?What predictions do the students make about the

Investigate

Critical Literacy Analysis– Day 1 3

http://www.sjsu.edu/reading/KRGuide.pdf

Daily Activities PlanDaily Activities Plan

narrator and the story he will tell based on the preview and chapter 1? List these on chart paper.

5 minutes ExplainDistribute the reading guide assignment (Attachment 1) and Double Column Notes charts (Attachment 3).Answer any questions

Graphic organizers

10 minutes Practice TogetherModel using the double column notes chart. Select a passage from chapter one and write a response to it. (Attachment 2)

Model

15 minutes Practice AloneSustained silent reading of assignment for Day 2.

Sustained silent reading

5 minutes Closing ActivitiesExit Slip: What idea about the book has changed? What do you think will happen next?

Exit slip

As Needed Enrichment/Extension/Re-teaching/Accommodation(s) Encourage interested students to do more research

on the political changes in Afghanistan or other related topics.

For students who struggle with the reading, set up extra help. One suggestion would be to have a reading workshop after school when students can come to your classroom and read the assignment so that they can receive help with difficult passages; assign struggling students a reading partner.

Resources/Instructional Materials Needed Copy of The Kite Runner by Khaled Husseini for

each student. Attachments 1, 2 and 3 Transparency of one chart from Attachment 2 Overhead projector Markers Chart paper

NotesAnother novel of the teacher’s choice may be used instead of The Kite Runner. Some suggestions are as follows:Angela’s AshesSiddharthaThe Alchemist The Joy Luck ClubThe Mayor of CasterbridgeJane EyreGreat Expectations



Day 2 of 12



them.





3 minutes Get StartedDOL:Quickly check every student’s organizer. If a student has come to class unprepared, do not allow him/her to participate in a discussion group today.


Check homework

5 minutes EngagePair Share:After reading chapters 1-7, what unfamiliar words did you discover? What do the context and the word parts tell you about their meanings?[Directions: For 2-3 minutes the partners will share their words with each other. Instruct each pair to write their words on one side of a sheet of paper and their idea of its meaning on the back. If the partners have some of the same words, tell them to write those words only once and collaborate on the meaning.]Students will post the words on the Word Wall for the unit.

Discuss previous experiences

10 minutes ExplainAssign students to discussion groups and give instructions for the groups. (Attachment 4)Also review the rubric (Attachment 5).

Explain process

20 minutes Practice in Teams/Groups/Buddy-pairsConduct discussion in small groups. Share out on chart paper.

Practice active reading strategies

10 minutes Evaluate Understanding (Daily/Weekly/Post-Assessment)Observe group discussion. Conduct whole group discussion in response to each group’s shared quote, question, etc.

Discussion

2 minutes Closing Activities Exit slip



Exit Slip:What new idea do you have about the book as a result of today’s discussion?

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)Resources/Instructional Materials Needed Attachments 4, 5 Chart paper markers paper for Word Wall

NotesA suggestion for DOL:Select sentences or paragraphs from the chosen novel. Write them without punctuation or with errors in grammar, mechanics and usage. Have students edit and correct these sentences.Select long, complex sentences and take them apart, creating a series of short sentences. Instruct students to combine the short sentences into one longer, more effective sentence correctly punctuated. Refer to the novel to compare their sentence with the author’s. Discuss choices.



Day 3 of 12


3. Analyze the relationship(s) and purpose(s) within a text and across texts.4. Make inferences and predictions.



difficulty.


3 minutes Get StartedDOL (See Note for Day 2):Check reading response organizer.


Check homework

5 minutes EngagePair-Share with partner on Word Wall contributions. (See Day 2 instructions.)

Word Wall

5 minutes ExploreAsk if there are any questions or concerns that students would like to raise before moving into discussion groups.

Ask questions

20 minutes Practice in Teams/Groups/Buddy-pairsSmall group discussion of chapters read for Day 3. (Students who are unprepared may not participate in the group. Note that grades are affected by non-preparation and non-participation.)Share out on chart paper.


15 minutes Practice AloneSustained Silent Reading of assigned chapters forDay 4

Sustained Silent Reading

0 minutes Evaluate Understanding (Daily/Weekly/Post-Assessment)Take up the response organizers at the end of class. Use these for formative evaluation and record for rubric evaluation (Attachment 5).

Writing sample

2 minutes Closing ActivitiesExit Slip:What question do you have about the book that has not been answered in your discussion group or that has been raised by the discussion?

Exit slip

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)



Resources/Instructional Materials Needed Novels Attachment 5 copies to evaluate each student Chart Paper Markers Paper for Word Wall

Notes



Day 4 of 12



them.



difficulty.


3 minutes Get StartedDOL (See Note for Day 2):Check reading response organizer.


5 minutes EngageGallery Walk to view charts. Ask students to make notes of questions, quotes, comments of interest to them.

Gallery Walk

25 minutes Practice in Teams/Groups/Buddy-pairsSubmit words for Word Wall. Share on chart paper.Students participate in discussion groups using reading response journals.


10 minutes Practice AloneSustained Silent Reading

Sustained Silent Reading

0 minutes Evaluate Understanding (Daily/Weekly/Post-assessment)Observe the discussion groups.Take up the day’s response organizers.

Discussion

25 minutes Practice in Teams/Groups/Buddy-pairsSubmit words for Word Wall. Share on chart paper.Students participate in discussion groups using reading response journals.


5 minutes Closing ActivitiesWritten Reflection:As I reviewed the charts and participated in discussions, the thoughts that come to my mind about this book and our responses to it are...

Student reflection activity




Resources/Instructional Materials Needed Novels Chart Paper Markers Paper for Word Wall

Notes



Day 5 of 12



them.



difficulty.


3 minutes Get StartedDOL:Check response organizers

Grammar editing exercise

Check homework

16 minutes ExploreIntroduce the NPR interview with Khaled Hosseini:“Host Liane Hansen speaks with Khaled Hosseini, author of The Kite Runner (Riverhead Books, 2003), a new novel about a young boy who flees Afghanistan for America, but cannot forget the friend he left behind to suffer under the Taliban.”Ask students to listen for the following: Connections between Hosseini and Amir Interesting ideas/themes in interview that connect

with the story Connections between yourself and the author Questions, points needing clarification

(Attachment 6)Listen to the interview found at URLhttp://www.npr.org/templates/story/ story.php?storyId=1358775Write a response to the interview (see Attachment 6).

Practice active listening strategy

25 minutes Practice in Teams/Groups/Buddy-pairsDiscussion GroupsInclude your responses to the interview in the discussion of the book today.


1 minutes Evaluate Understanding (Daily/Weekly/Post-Assessment)Observe discussions with checklist.Take up the response organizers for Day 4.

Discussion


http://www.npr.org/templates/story/story.php?storyId=1358775

http://www.npr.org/templates/story/story.php?storyId=1358775


5 minutes Closing ActivitiesAdd words to the Word WallExit Slip:How do you predict the story will end?

Exit slip

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)Resources/Instructional Materials Needed Novels Computer to play NPR interview Attachment 6 Paper and tape for Word Wall

Notes



Day 6 of 12








3 minutes Get StartedDOL:Check organizers

Grammar editing exercise

5 minutes EngageGive students the exit slips from Day 5. Ask them to review their predictions and comment on how close they came to predicting the ending correctly.

Confirm predictions

5 minutes ExplainSilent Discussion (Attachment 7) Explain directions

12 minutes Practice TogetherCarry out Silent Discussion.

Collaborative writing

10 minutes Practice in Teams/Groups/Buddy-pairsIn discussion groups, share final responses and consider the book in light of the essential questions: How does adversity help individuals to build

character? How do people’s choices affect their lives? Lives of

others? How can strengths also be weaknesses?

Group discussion

10 minutes Evaluate Understanding (Daily/Weekly/Post-Assessment)Observe discussion groups.Use rubric (Attachment 5) to give students summative grade for reading, responding to and discussing the novel.Lead concluding discussion based on questions students raise from the silent discussion. Take up Day 6 organizer.

Discussion Reading/responding/

discussion

5 minutes Closing ActivitiesReflection:

Student reflection activity



I will or will not recommend this novel to _________ because.... (Consider the nature of the novel and the nature of the person you choose. Make connections between them as to why or why not you think this would be a book he/she would enjoy. Be specific.)

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)Resources/Instructional Materials Needed Novels Attachments 5, 7

Notes



Day 7 of 12


6. Identify the elements of texts (e.g., purpose, theme, plot) and analyze the author’s development of them.



difficulty.


2 minutes Get StartedAdmit slip is posted as students enter: Who should play your character in a movie of the book? Why?

Admit slip

3 minutes EngagePair/Share:Persuade your partner why this person is suitable for the character. Partners take turns, so both have approximately 1 minute to talk.

Pair share reading response

15 minutes ExploreStudents will be placed in small groups. Each group will discuss one of the first three essential questions (posted on board), finding examples from their lives, movies, other reading and the novel to develop answers to the question. They will share briefly with the whole group.

Small group discussion

20 minutes ExplainThe teacher will make the point that each of the essential questions deals with conflict and that conflict is a literary element. The teacher will distribute the Literary Terms Glossary (Attachment 8) and the Langston Hughes poem, “Mother to Son”(Attachment 9). Still in groups, students find examples of each of the literary terms in the poem and share their findings in an interactive discussion. (Note: this addresses essential question 4.)

Teacher guided discussion

10 minutes Closing ActivitiesDistribute assignment sheet with rubric for critical analysis (Attachment 10). Distribute three sample papers. Homework is to score the three sample papers based on the rubric. Students will also identify the elements of a critical literary essay based on reading the samples and the rubric.Exit slip:Identify the literary element with which you are most comfortable and the one that you with which you are still struggling.

Assign homework Exit slip

Resources/Instructional Materials Needed



Attachments 8, 9, 10 3 sample literary analysis papers, not included

NotesStudents will already have completed reading the novel that will be the basis of the final essay.



Day 8 of 12


4. Make inferences and predictions.6. Identify the elements of texts (e.g., purpose, theme, plot) and analyze the author’s development of

them.





7 minutes Get StartedStudents get into small groups. They are given the exit slips from yesterday. They develop answers to help students identify the literary elements that are identified as problematic on the exit slips. Students share answers with whole group.

Student responses

23 minutes Practice in Teams/Groups/Buddy-pairsIn small groups, students trace the development of a particular character from the novel. They must use textual references to support their inferences and conclusions. Groups share their findings with the whole class.


5 minutes Closing ActivitiesDistribute Q-chart (Attachment 11). As homework, each student will write one question from the lower right quadrant about the novel.

Assign homework

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)Resources/Instructional Materials Needed Attachment 11: Q-chart Novels

Notes



Day 9 of 12








2 minutes Get StartedAs preparation for Socratic Seminar, as they enter the room, students draw cards for position in either inner or outer circle.

Preparation for Socratic Seminar

5 minutes EngageStudents practice the Socratic method by getting into inner and outer circle. Teacher poses the question: What are five essential characteristics of a mate?Students practice the Socratic method for a few minutes to become familiar with the procedure. (Attachment 12)

Practice procedure

21 minutes ExploreUsing the questions students wrote on Day 2, they use the Socratic Seminar to discuss the novel as related to essential questions.

Socratic Seminar

2 minutes ExplainThe teacher guides a short discussion about how this information and responses apply to the final paper.

Guided discussion

13 minutes Practice AloneIn class, students each draft one paragraph about one of the essential questions.

Draft writing

1 minutes Closing ActivitiesAssign revision of the paragraph

Assign homework




Resources/Instructional Materials Needed Attachment 12 Cards used to divide students into inner and outer

circles. One method may be to use playing cards with students in inner circle receiving one color and students in outer circle receiving another color.

Notes



Day 10 of 12


6. Identify the elements of texts (e.g., purpose, theme, plot) and analyze the author’s development of them.

7. Compose writing that conveys a clear main point with logical support.





3 minutes Get StartedAdmit Slip:What was one strategy that you used to revise your paragraph? Briefly share.

Admit slip

6 minutes EngageDemonstrate PQP (Praise, Question, Polish) with one student’s paragraph. Praise, one good thing about writingQuestion, one question for author about content or stylePolish, one suggestion to strengthen writing

Demonstrate process

19 minutes Practice in Teams/Groups/Buddy-pairsIn groups of three, students give PQP feedback with each paragraph. Each person’s paper will be the focus for approximately four minutes. At end, students briefly respond to teacher question: What did you gain from this activity?

Peer review

15 minutes Practice AloneStudents revisit the essential questions and create the thesis statement, essay map and three topic sentences, based on one question.

Draft writing

5 minutes Evaluate Understanding (Daily/Weekly/Post-Assessment)Teacher reviews each thesis statement as an exit slip.

Exit slip

2 minutes Closing ActivitiesAssign first draft of essay for next class session.

Assign homework




Day 11 of 12








5 minutes Get StartedTeacher distributes another copy of the rubric and answers questions about the rubric, assignment, terminology and standards.

Review task

35 minutes Practice in Teams/Groups/Buddy-pairsPeer review of first draft of essay in groups of 3 to 4. Students read their works aloud and receive responses from partners.

Peer review/edit

10 minutes Closing ActivitiesExit slip:What insight did you gain from your group that you can apply to your revision?Final draft is due at the beginning of class next day.Assign Test on The Kite Runner and Literary Vocabulary and Reading Comprehension for Day 12 (Attachments 13 and 14). The test should take20-30 minutes.

Exit slip Assign homework

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)Resources/Instructional Materials Needed



Day 12 of 12








5 minutes Get StartedAdmit slip:Could this novel be set in any other time or place? Explain your answer.

Admit slip

35 minutes EvaluationStudents take unit test.

Test

10 minutes Closing ActivitiesExit slip:Discuss one thing that you have learned about yourself as a reader or writer in this unit.

Exit slip

As Needed Enrichment/Extension/Re-teaching/Accommodation(s)Resources/Instructional Materials NeededCopies of unit test for each student (Attachment 13). Key is in attachment 14.


Attachment 1Attachment 1

Name___________________________________________________________________________________

Reading Assignment

1. Read the following chapters of The Kite Runner before coming to class on the day listed as follows:

The Class Day Chapters & Pages

Day 2 2-7, pp. 3-79Day 3 8-11, pp. 80-142Day 4 12-17, pp. 143-223Day 5 18-22, pp. 224-292Day 6 23-25, pp. 293-371

2. Complete the double-entry journal as follows: As you read, be on the lookout for ideas that catch your attention. This could be something you don’t

understand, something you agree with, have an experience in common with, disagree with, or find any other connection with.

In the box on the left, write the words of the book exactly as they are written. If the quote is very long, you may just write the beginning and ending phrases. Be sure to included the page numbers of your quote so you can refer to it during the discussion.

In the box on the right, write your response to this piece of text. Why did you choose this section? What about it had meaning for you?

Come to class prepared to talk about at least one quote from each chapter.

3. Identify unfamiliar words. Prepare to write them on the Word Wall.

Adapted from C. Lynn Jacobs as printed in Classroom Notes Plus, October 2006

Critical Literacy Analysis– Attachment 1 1-A

Attachment 2Attachment 2Model

Page The book says: I say:1 “That was a long time ago, but it’s wrong

what they say about the past, I’ve learned, about how you can bury it. Because the past claws its way out. Looking back now, I realize I have been peeking into that deserted alley for the last twenty-six years.”

It seems to me that he is comparing “the past” to a monster or a zombie rising from the grave—clawing out. There must have been something really bad that happened that he would like to forget. Is the narrator foreshadowing something important that will happen in the story? I wonder what it was.



Name___________________________________________________________________________________

Day 2: Chapters 2-7

Page The book says: I say:



Name___________________________________________________________________________________

Day 3: Chapters 8-11




Name___________________________________________________________________________________




Attachment 4Attachment 4Instructions for Working in Discussion Groups

Everyone person in the group is to read their first quote and then tell why they chose it. (Read “I Say” portion of the organizer.)

Group members listen carefully, and add ideas or respond to questions. This doesn’t mean you must have “the” answer, but by talking about the question together you may come up with some fresh ideas about it.

Go around the group until everyone has shared all of their quotes and reactions or until time is called. Remember that the purpose of this activity is to create a way to talk about what you have read.

After you have talked about everyone’s choices, decide on one you would like to share with the whole class. This might be a question that no one could really answer to your satisfaction, a quote that is controversial and could lead to good class discussion, or any other piece of text that you all agree to share.

Checklist for Effective Participation in Discussion Group

____ Reads all assigned chapters before coming to class

____ Completes the response organizer before coming to class

____ Identifies new words before coming to class

____ Raises open-ended questions for discussion

____ Shares in turn

____ Listens closely to other students in the group

____ Responds appropriately to other students

____ Assists in reaching consensus on point to share with whole group

Adapted from C. Lynn Jacobs as printed in Classroom Notes Plus, October 2006


Attachment 5Attachment 5Rubric for Discussion Preparation and Participation

Criteria Advanced4

Proficient3

Basic2

Below Basic1

Reading Response Organizer

Proficient criteria met

More than one quote from at least one assigned chapter is included some days.

Responses promote relevant discussion

1 Quote and response to quote for each chapter assigned each day.

Quotes are written exactly as they appear in the book with quotation marks.

Page numbers included

Responses are relevant and meaningful

Quotes and responses to quotes for most chapters read each day

Some mistakes in quotes or quotation marks omitted

Some page numbers omitted

Some responses are surface or irrelevant

Quotes from few chapters

Many mistakes in quote

Page numbers mostly omitted

No responses or responses seem shallow or meaningless

Word Wall Proficient criteria met

More than one word contributed some days

At least 1 word contributed every day

Evidence of deep understanding of meaning

Word(s) contributed 5 or 6 days

Evidence of use of context clues and/or word analysis to deduce meaning

Word(s) contributed 3 or 4 days

Little evidence of understanding of meaning

Word(s) contributed only 1 or 2 days

No evidence of understanding of meaning

Discussion Group Participation

Proficient criteria met

Contributes to group discussion with meaningful open-ended questions or responses to quotes that provoke relevant, thoughtful discussion

Evidence of preparation of discussion each day

Full participation in group discussion

Listens and responds to others in the group

Not prepared 1 or 2 days

Some participation in group discussion on days prepared

Not prepared more than 2 days

Little or no participation in discussion on days prepared


Attachment 6Attachment 6Listening Organizer

Name____________________________________________________ Date__________________________

Connections between Hosseini and Amir Connections between yourself and the author

Interesting ideas/themes that connect with the story Questions, points needing clarification

On the back of this sheet write your response to the interview. Use specific details from the notes above.


Attachment 7Attachment 7Silent Discussion Instructions

Choose one quote—your favorite—from your response organizer for today. Write it in “The book says” block on the organizer below.

Write your response to the quote in the “I say” block below. Turn in this organizer. You will be given a paper to read that is not yours. After you read the citation from the text, and your

colleague’s response to it, write your response to both the citation and the writer’s response in the first box. Put your name on the blank line of that box.

Raise your hand and I will pick up that paper and hand you another one. When you receive your paper back, at the end of the activity, please read all the responses and write a

reflection in the final box. Did the other people’s comments change your viewpoint at all?

The book says:

I say:

_____________________says:

_____________________says:

_____________________says:

After reading others’ reactions, I now say:


Attachment 8Attachment 8Glossary of Literary Elements

[This outline refers occasionally to children’s literature, but its descriptions of these important literary elements apply to all literature.]

CharacterCharacter 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.

Character development is showing the multitude of traits and behaviors that give the literary character the complexity of a human being. The amount of character development affects the quality of the story:

A flat character is not fully developed; we know only one side of the character. A round character is fully-developed, with many traits--bad and good--shown in the story. We feel that

we know the character so well that he or she has become a real person. Character development is a continuum with perfectly flat characters at one end and very round ones at

the other. Every character lies somewhere on this continuum. Round characters are usually considered an indication of literary quality. However, characters in folktales are almost always flat, and flatness is appropriate for minor characters in modern literature for children. A character foil is often flat, even if the protagonist is round.

The amount of change in a character over the course of the story also affects its quality: A static character is one who does not experience a basic character change during the course of the

story. A dynamic character is one who experiences a basic change in character through the events of the

story. This change is internal and may be sudden, but the events of the plot should make it seem inevitable.

There is also a continuum of character change in a story, with very static characters at one end, and very dynamic ones at the other. Every character lies somewhere on this continuum. Dynamism in the protagonist is usually considered an indication of quality, but many characters, especially in stories for younger children, have only the mild amount of change which can be expected from growing and maturing from day to day.

A character may thus be round and dynamic, round and static, or flat and static. A flat character cannot usually be dynamic, because you do not know enough about the flat character to notice a change. If a character seems flat and yet seems to change, it is usually because the characterization is not well written.


Attachment 8Attachment 8The following table summarizes how the development and change in characters interact:

Character Dynamic Static

Round Considered the best type of character development. Usually the protagonist.

Development is considered well-done. Often found in protagonists in books for younger children.

Flat Characters cannot be dynamic and flat, because in a flat character we do not know enough about them for them to recognize a change. If a flat character seems to change, it is usually due to poor writing.

In very simple books, or in fairy tales, the protagonist may be flat and static. Also appropriate for minor characters in other books.

PlotPlot is the sequence of events which involves the characters in conflict.

See the outline about Types of Plots in Modern Literature on the Web (http://nosferatu.cas.usf.edu/lis/lis6585/class/modplots.html to learn about types of plot.

The sequence of events is called the narrative order: The most common type of narrative order is chronological. In this case, the events are told in the order

they happen. A flashback occurs when the author narrates an event that took place before the current time of the

story. The opposite effect, a flash forward, is even rarer. A time lapse occurs when the story skips a period of time that seems unusual compared to the rest of

the plot. There is no standard amount of time that might constitute a time lapse; it depends upon the reader's sense that a longer than usual period of time has passed since the previous episode.

ConflictConflict is the struggle between the protagonist and an opposing force. There are several types of conflict:

Internal conflict, or person-against-self, occurs when the protagonist struggles within himself or herself. The protagonist is pulled by two courses of action or by differing emotions. This is often considered a characteristic of fine literature because it frequently leads to a dynamic change in the protagonist.

Interpersonal conflict, or person-against-person, pits the protagonist against someone else. Conflict of person-against-society happens when the protagonist is in conflict with the values of his or

her society. Conflict of person-against-nature takes place when the protagonists is threatened by an element of

nature. Conflict of person-against-fate occurs when the protagonist must contend against a fact or life or

death over which people have little control, such as death or disability. Some literary critics, however, see this conflict as a type of person-against-nature.

Several types of conflict may be present in any one story. Sometimes it is difficult to distinguish between two types of conflict. If a teenager is arrested by a

policeman for breaking a law, the conflict is probably person-against-society. If, however, a personal animosity develops between the two, so that the boy taunts the policeman and the policeman harasses the boy because they dislike each other, the conflict becomes person-against-person. Likewise, if a character is attacked by a strange dog, the conflict is person-against-nature. But if the dog knows and dislikes the character, it could be considered person-against-person. If the protagonist is diagnosed with a fatal disease, he or she has a conflict with fate or nature, but also probably has an internal conflict in learning to accept his or her fate.


http://nosferatu.cas.usf.edu/lis/lis6585/class/modplots.html

http://nosferatu.cas.usf.edu/lis/lis6585/class/modplots.html

Attachment 8Attachment 8Most plots have certain common elements:

A story commonly begins with exposition, an explanation of the situation and the condition of the characters.

A plot usually begins with a problem which the protagonist must meet or solve. During the story, tension is built through a series of complications, incidents which either help or hinder the protagonist in finding a solution. This is the rising action.

The climax is the peak or turning point of the action; at this point we know the outcome. The denouement or falling action is the part after the climax. It gives any necessary explanation and

ends with resolution, the sense of at the end of the story that it is complete. The ending of the story may be either open or closed:

a. In a closed ending, the most usual one in children's books, readers feel that they know what will happen. The various parts of the plot are tied together satisfactorily, and the reader feels a sense of completion.

b. In an open ending, readers must draw their own conclusions; they do not know what will happen.c. A cliffhanger is an abrupt ending at an exciting and often dangerous time in the plot. Its purpose

is to keep the reader reading. It is usually found at the end of a chapter, but occasionally a book will end this way. (Not all open endings are suspenseful enough to be called cliffhangers.) Recently, books in some science fiction and fantasy series have ended in cliffhangers, which encourage the reading of the other books in the series.

Other elements which may be found in plots include: Suspense is a state of tension, a sense of uncertainty, an emotional pull which keeps the reader

reading. All plots need some suspense to sustain interest. Foreshadowing is the planting of hints about what will happen later in the story. It prepares the

readers for the outcome and reassures them when the suspense is very high. Good foreshadowing is subtle and often contributes to high quality in a story.

Coincidence, the concurrence of events which happen by chance, is a fact in real life. However, real life is not a plot that moves from problem to climax to resolution. In fiction, coincidence seems contrived; it weakens the plot. Coincidence in a plot is acceptable if it is carefully but subtly foreshadowed.

Inevitability is the sense that the outcome is necessary and inescapable. It had to happen, given these characters and this situation; it is not contrived. It is a sign of high quality in writing.

Sensationalism is unrelieved suspense; it often includes violence and may produce fear in the reader. Readers often like it, as the popularity of horror books and films attest, but it is usually considered a sign of poor quality. Even the Disney Studio, known for wholesome entertainment, is guilty of sensationalism. Sixty years ago, many children were frightened by the witch in Snow White. More recently The Lion King was criticized for excessive violence. In films, suspense is often heightened by cutting quickly between scenes and by the adroit use of background music to create a mood.

Sentimentality is the opposite of sensationalism; it is the overuse of sentiment (a natural concern for another person) that produces a tear-jerker. It is dwelling too much on the "cute" and the "precious." Like sensationalism, it is a sign of poor quality but is often popular. Movies such as Love Story and Terms of Endearment are examples of sentimentality. Many popular children's books are overly sentimental. Black Beauty, The Velveteen Rabbit, The Giving Tree, Love You Forever, and the works of Joan Walsh Anglund have all been criticized for this.

SettingSetting includes the place and the time period in which the story takes place.

Setting may or may not have an important influence on the story: An integral setting is essential to the plot; it influences action, character or theme. A backdrop setting is relatively unimportant to the plot; it is like the featureless curtain or flat painted

scenery of a theater. Readers may interpret the importance of the setting differently; one may say that the setting is integral

because the story must happen in a big city; another may say the same thing is backdrop because it


Attachment 8Attachment 8may happen in any big city. (The former statement is probably more accurate, but either is acceptable if the meaning is clear.)

Setting can clarify conflict, illuminate character, affect the mood, and act as a symbol. The setting itself can be an antagonist in a person-against-nature conflict.

ThemeTheme is the underlying meaning of the story, a universal truth, a significant statement the story is making about society, human nature, or the human condition.

A book's theme must be described in universal terms, not in terms of the plot. The plot is the way the universal theme is carried out in that particular book. Themes can be applied to the reader's own life or to other literature.

Although themes can convey important messages, they should never be overtly didactic. Didacticism is preaching and teaching so explicitly that readers lose pleasure in the story and reject its message.

The primary theme is most important theme in the story. There may be other secondary themes as well.

Types of themes: An explicit theme is one that is stated openly in the book. It is stated in universal terms in the book

itself. An implicit theme is one which is not directly stated, but which the reader can infer. Many times,

readers will not notice that an explicit theme is directly stated, but they can often infer the theme anyway.

Themes must be clearly stated; one word is not usually enough. To say that a book's theme is "friendship" is not clear. It may mean, "Friends are a person's most valuable possession." It may also mean, "Friends can never be trusted if their own interests are opposed to yours."

An understanding of theme is dependent upon one's previous experience of life and literature. At the same time, theme in literature can enlarge one's understanding of life.

Not every good book has a significant theme; some books' value lies in the pleasure they give, rather than the message they bring. Books of humor, for instance, may or may not have a significant theme.

StyleStyle is the language used in a book, the way the words are put together to create the story.

Most children's books use standard written style. This style sounds natural, but when carefully analyzed, it is clear that it is more formal than most speech. Sentences are complete; expressions like "um," "you know," and "like--," are avoided; contractions are used less often than in ordinary speech. Lots of conversation may be included, but the style as a whole does not sound like speech.

In conversational style, the language is more informal, it sounds more like the way people really talk. The narration as well as the character's speeches sounds conversational.

Dialect is easiest to read if word order or a few unusual words and expressions are used to suggest a difference from normal speech. Other languages may be suggested in the same way through speech patterns and foreign words. Foreign and unusual words should be explained naturally in context. An eye dialect, in which words are spelled the way they sound, is sometimes very hard to read.

An ornate or unusual style is sometimes used, especially in some high fantasy and historical fiction. Older editions of traditional literature and older poetry may also have such styles.


Attachment 8Attachment 8Writers use many devices of style to make stories interesting.

Imagery is the most frequently used device. It is an appeal to any of the senses--taste, touch, sight, sound, and smell. It paints pictures in our mind.

Figurative language uses words in a nonliteral way, giving them a meaning beyond their ordinary one. a. Personification gives human traits to animals, nonhuman beings, or inanimate objects: "The trees

bowed before the wind." b. A simile compares two different things, using the words "as," "like," or "than": "The snowbank

looked like a huge pile of marshmallow syrup." c. A metaphor is an implied comparison stating the resemblance between two things: "Her presence

was a ray of light in a dark world." Devices of sound can increase pleasure and clarity. Books which use many such devices should be

read aloud. Poetry is particularly rich in such devices. a. Onomatopoeia is the use of words that sound like their meaning: a skirt "swishes," a bat "cracks,"

a hasty eater "gulps" his food. b. Alliteration is repetition of initial consonants: "the soft surge of the sea." c. Consonance is repetition of consonants sounds anywhere in the words: "The sight of the apple

and maple trees pleased the people." d. Rhyme is the repetition of a stressed sound, usually the final syllable: "His aim was to blame the

dame." e. Assonance is repetition of vowel sounds in a phrase: The owl swept out of the woods and circled

the house." f. Rhythm is the recurring flow of strong and weak beats in a phrase: "Chicka, chicka, boom, boom!

Will there be enough room?" Meter is the regular rhythmic pattern of stressed and unstressed syllables found in a line of poetry. The less regular rhythm sometimes found in prose is often called cadence.

Puns and other plays on words add interest and humor: "By the time the milking was finished, the new farmhand was thoroughly cowed." Puns are said to be "the lowest form of wit," but people usually enjoy them even as they groan.

Hyperbole is exaggeration: "He was frightened out of his wits." Understatement is the opposite: "He was upset when he learned he had AIDS."

Allusion is an indirect reference to something outside the current literary work: "He was a veritable Hercules." The reference may be to something in literature, history, modern culture, or another area. Allusion is often difficult for children to recognize because they lack the necessary background knowledge. The proponents of "cultural literacy" believe that all children should acquire a common fund of knowledge in order to understand allusions.

A symbol is something--a person, object, situation, or action--which operates on two levels, the literal and the symbolic. For instance, an engagement ring is a real object, but it is also stands for the abiding love of the engaged couple. Symbols add depth and meaning to a story. Symbols may be universal (as the engagement ring) or specific to a particular story.

Qualities which should be avoided in style include triteness (dull, stale, overused expressions), condescension (talking down to the readers, making them feel unintelligent or immature), didacticism, sensationalism, and sentimentality. In poetry, avoid a too regular meter which can become a sing-song rhythm.


Attachment 8Attachment 8Point of ViewPoint of view depends upon who the narrator is and how much he or she knows.

Point of view may be: First person - uses "I" - A character is telling the story. Second person - uses "you" - The author speaks directly to the reader. Second person is seldom used;

it is found most often in nonfiction today. Third person - uses "he," "she," or "it" - The author is telling about the characters. There are three

third person points of view: a. Limited omniscient - We are told the thoughts and feelings of only one character (sometimes,

but very seldom, of two or three characters). b. Omniscient - We are told everything about the story, including the thoughts and feelings of all the

characters, and even information in the author's mind which no character knows. c. Dramatic or objective - We are told only what happens and what is said; we do not know any

thoughts or feelings of the characters. It is called "dramatic" because it includes the words and actions, just what you would see and hear if it were in a play or film.

ToneTone is the author's attitude toward what he or she writes, but it may be easier to understand if you think of it as the attitude that you (the reader) get from the author's words. It is the hardest literary element to discuss; often we can recognize it but not put it into words. The easiest tone to recognize is humor. In describing tone, use adjectives: humorous, mysterious, creepy, straight-forward, matter-of-fact, exciting, boring, etc.

Contents Copyright © 1991, Marilyn H. Stauffer

Create a glossary to suit your needs by using the websites below:http://www.uncp.edu/home/canada/work/allam/general/glossary.htmhttp://andromeda.rutgers.edu/~jlynch/Terms/


http://andromeda.rutgers.edu/~jlynch/Terms/

http://www.uncp.edu/home/canada/work/allam/general/glossary.htm


Mother to Son by Langston Hughes

Well, son, I'll tell you:Life for me ain't been no crystal stair.It's had tacks in it,And splinters,And boards torn up,And places with no carpet on the floor—Bare.But all the time I'se been a-climbin' on,And reachin' landin's,And turnin' corners,And sometimes goin' in the darkWhere there ain't been no light.So, boy, don't you turn back.Don't you set down on the steps.'Cause you finds it's kinder hard.Don't you fall now—For I'se still goin', honey,I'se still climbin',And life for me ain't been no crystal stair.

http://www.favoritepoem.org/favoritepoem/poems/hughes/


http://www.favoritepoem.org/favoritepoem/poems/hughes/

Attachment 10Attachment 10After reading The Kite Runner, write a critical literary analysis to persuade people who have not read the book that the author effectively answers one of these questions: How does adversity help individuals build character? How do choices people make affect their lives and other people’s lives? How can strengths also be weaknesses? How does the author use literary elements and devices to achieve a purpose?

Criteria LEVELS4 3 2 1

Organization Clear and effective hierarchy of ideas

Focused thesis with subject, comment/attitude and key terms

Thoughtful examination of a narrowed topic

Strong introduction and conclusion

Effectively embeds title and author’s name

Effective, logical order

Focused thesis Stated topic

sentence Introduction and

conclusion paragraphs

States title and author’s name

Organization is scattered or inconsistent

Thesis or topic sentence is vague or overly general

States author’s name or title, but not both

Lacks organization No specific topic

sentence or thesis Essay just begins

without introduction and no conclusion

Does not state title or author’s name or states incorrectly

Development (content)

Uses appropriate details to make insightful inferences about persons, events, problems and/or ideas

Uses convincing details to support each of the main points

Reflects insightful analysis, synthesis and interpretation

Uses appropriate details to make reasonable inferences about persons, events, problems and/or ideas.

Accurately identifies criteria to compare ideas, events, people or objects.

Makes and supports reasonable inferences with adequate textual reference (summary or quote with internal documentation)

Includes details to support inferences about persons, events, problems and/or ideas

Compares ideas, events, people or objects without identified criteria

Makes inferences with scattered or general references to the text

Insufficient details or examples to support ideas

Fails to make comparisons

Does not make inferences.

Elements of literature

Effectively analyzes how author uses literary elements and devices to achieve purpose

Explains how author uses literary elements and devices to achieve purpose

Identifies literary elements, but not purpose they serve

Fails to identify or inaccurately explains elements

Grammar, syntax, diction

Correct grammar and diction

Effectively varied sentence structure

Acceptable grammar with no more than three major errors

Grammar, syntax and diction distract reader

Exhibits little or no control of grammar, syntax and diction


Attachment 11Attachment 11Q-CHART

Is Did Can Would Will MightWho

What

Where

When

How

Why

The simplest form of question is in the upper left or "Who is" such as in "Who is the main character?" The more complex the question the further it moves down and the further it moves right, so that the most complex questions are in the bottom right-hand corner (“how might...”). "How might Jesse have felt when Leslie gave him the paint set?" (Bridge to Terabithia). “Why will the society return to books?” (The Last Book in the Universe)


Attachment 12Attachment 12Socratic Seminar Grading Rubric

Uses text - Examples/evidence from book and articles. Use them during the Socratic Seminar. Refer to them for evidence. Evidence and examples are essential to your grade and are a habit of mind you should have. Use the texts for your evidence.Number of Comments - How often did you speak? Did you interrupt people? Don't talk to the teacher, talk to the class. You will lose points if you are talking while others are trying to score points.Use habits of mind - Repeat the question in the answer, give evidence, state connections to other topics, state the significance of what you are saying, "what if," and state the other side. Be obvious in the use.Quality of Comments - A quality comment offers a new idea, not yet expressed, or the comment takes a new approach to previously stated ideas and the comment applies the habits of mind.

A. Number of comments

No comments.0 points

1 comment5 points

2 comments8 points

3 comments 12 points

4 + comments.15 points

B. Quality of comments

Does not comment0 points

Repeats others’ comments

5 points

Original ideas expressed10 points

Original, deep comments, new ideas, reasons

15 points

..C. Text Reference

No reference to texts0 points

2 references to text8 points

3 references to text12 points

4 + references to text15 points

D. Clearly demonstrates "Habits of Mind."

No habits of mind demonstrated

0 points2 habits demonstrated

8 points3 habits demonstrated

12 points4 + habits

demonstrated15 points

E. Connection to the book and articles

No connection 0 points

2 connections10 points

3 connections15 points

4 + connections20 points

A___+B___+C___+D___+ = Total _______/80


Attachment 13Attachment 13Test on The Kite Runner, Vocabulary of Literary Analysis,

and Literary Reading Comprehension

I. Explain the meaning of each of the following literary elements and provide examples from The Kite Runner to illustrate each one. Explain why that element is important to the meaning of the novel.

1. Point of View

2. Protagonist as a flat or round character

3. Style

4. Implicit Theme

5. Flashback



II. Reading Comprehension - DIRECTIONS: The passage in this test is followed by several questions. After reading the passage, choose the best answer to each question and fill in the corresponding oval on your answer document. You may refer to the passage as often as necessary.PROSE FICTION: This passage is adapted from Elizabeth Bishop's short story "The Housekeeper" (©1984 by Alice Methfessel).

Outside, the rain continued to run down the screened windows of Mrs. Sennett's little Cape Cod cottage. The long weeds and grass that composed the front yard dripped against the blurred background of the bay, where the water was almost the color of the grass. Mrs. Sennett's five charges were vigorously playing house in the dining room. (In the wintertime, Mrs. Sennett was housekeeper for a Mr. Curley, in Boston, and during the summers the Curley children boarded with her on the Cape.)

5

10

My expression must have changed. "Are those children making too much noise?" Mrs. Sennett demanded, a sort of wave going over her that mightmark the beginning of her getting up out of her chair. I shook my head no, and gave her a little push on the shoulder to keep her seated. Mrs. Sennett was almost stone-deaf and had been for a long time, but she could read lips. You could talk to her without making any sound yourself, if you wanted to, and she more than kept up her side of the conversation in a loud, rusty voice that dropped weirdly every now and then into awhisper. She adored talking.

15

20

To look at Mrs. Sennett made me think of eigh-teenth-century England and its literary figures. Her hairmust have been sadly thin, because she always wore, indoors and out, either a hat or a sort of turban, and sometimes she wore both. The rims of her eyes were dark; she looked very ill.

25

Mrs. Sennett and I continued talking. She said she really didn't think she'd stay with the children another winter. Their father wanted her to, but it was too much for her. She wanted to stay right here in the cottage.

30

The afternoon was getting along, and I finally left because I knew that at four o'clock Mrs. Sennett's "sit down" was over and she started to get supper. At six o'clock, from my nearby cottage, I saw Theresa coming through the rain with a shawl over her head. She was bringing me a six-inch-square piece of spicecake, still hot from the oven and kept warm between two soup plates.

35

40

A few days later I learned from the twins, who brought over gifts of firewood and blackberries, that their father was coming the next morning, bringing their aunt and her husband and their cousin. Mrs. Sennett had promised to take them all on a picnic at the pond some pleasant day.

45


Attachment 13Attachment 13On the fourth day of their visit, Xavier arrived with a note. It was from Mrs. Sennett, written in blue ink, in a large, serene, ornamented hand, on linen-finish paper:50

...Tomorrow is the last day Mr. Curley has and the Children all wanted the Picnic so much. The Men can walk to the Pond but it is too far for the Children. I see your Friend has a car and I hate to ask this but could you possibly drive us to the Pond tomorrow morning?...

55

Very sincerely yours,Carmen Sennett

After the picnic, Mrs. Sennett's presents to me were numberless. It was almost time for the children to go back to school in South Boston. Mrs. Sennett insisted that she was not going; their father was coming down again to get them and she was just going to stay. He would have to get another housekeeper. She said this over and over to me, loudly, and her turbans and kerchiefs grew more and more distrait.

60

65

One evening, Mary came to call on me and we sat on an old table in the back yard to watch the sunset.

"Papa came today," she said, "and we've got to go back day after tomorrow."70

"Is Mrs. Sennett going to stay here?"

"She said at supper she was. She said this time she really was, because she'd said that last year and came back, but now she means it."

I said, "Oh dear," scarcely knowing which side I was on.

75

"It was awful at supper. I cried and cried."

"Did Theresa cry?"

"Oh, we all cried. Papa cried, too. We always do."

80 "But don't you think Mrs. Sennett needs a rest?"

"Yes, but I think she'll come, though. Papa told her he'd cry every single night at supper if she didn't, and then we all did."The next day I heard that Mrs. Sennett was going back with them just to "help settle." She came over the following morning to say goodbye, supported by all five children. She was wearing her traveling hat of black satin and black straw, with sequins. High and somber, above her ravaged face, it had quite a Spanish-grandee air.

85

90


Attachment 13Attachment 13"This isn't really goodbye," she said. "I'll be backas soon as I get these bad, noisy children off my hands."

But the children hung on to her skirt and tugged at her sleeves, shaking their heads frantically, silently saying, "No! No! No!" to her with their puckered-up mouths.

95



1. According to the narrator, Mrs. Sennett wears a hat because she:A. is often outside.B. wants to look like a literary figure. C. has thin hair.D. has unique taste in clothing.

6. Given the evidence provided throughout the passage, the children probably silently mouth the word "no" (lines 94--97) because: E. Mrs. Sennett has just called them bad, noisy

children, and they are defending themselves.F. they do not want to leave the Cape before the

summer is over and are protesting.G. they are letting the narrator know that Mrs.

Sennett is thinking about returning to the Cape.H. they are continuing their battle against Mrs.

Sennett's intention to return to the Cape.2. Considering the events of the entire passage, it is

most reasonable to infer that Mrs. Sennett calls the children bad (line 92) because she:E. is bothered by the noise they are making.F. doesn't like them hanging on her skirt.G. doesn't want to reveal her affection for them.H. is angry that they never do what she tells them.

7. It is reasonable to infer from the passage that Mrs. Sennett asked "Are those children making too much noise?" (lines 11--12) because Mrs. Sennett:A. concerns herself about the well-being of others.B. wishes to change the subject to literary figures.C. cannot supervise the children without the

narrator.D. is bothered by the noise the children make.

3. Considering how Mrs. Sennett is portrayed in the passage, it is most reasonable to infer that the word ravaged, as it is used in line 89, most nearly means that her face reveals:A. irritation and annoyance.B. resentfulness and anger.C. age and fatigue.D. enthusiasm and excitement.

8. The details and events in the passage suggest that the friendship between the narrator and Mrs. Sennett would most accurately be described as:E. stimulating, marked by a shared love of

eccentric adventures.F. indifferent, marked by occasional insensitivity

to the needs of the other.G. considerate, notable for the friends' exchange

of favors.H. emotional, based on the friends' long

commitment to share their burdens with one another.

4. What is the main insight suggested by the conversation in lines 69--83?E. The Curley family cries to manipulate Mrs.

Sennett into doing what they want.F. The narrator regrets that she is not going to

Boston and is a little jealous of Mrs. Sennett.G. Mrs. Sennett is happy to leave the Curley family

because they are always whining and crying.H. Mrs. Sennett intends to return to the Cape soon

because she has discovered that they have been manipulating and taking advantage of her.

9. As it is used in line 3, the word composed most nearly means:A. contented.B. unexcited.C. satisfied.D. constituted.

5. Which of the following does the passage suggest is the result of Mrs. Sennett's loss of hearing?A. She is often frustrated and short-tempered.B. She can lip-read.C. She dislikes conversation.D. She is a shy and lonely woman.

10. At what point does Mr. Curley cry at the supper table?E. Before Mary and the narrator sit and watch the

sunsetF. Before Mrs. Sennett tells the narrator she

doubts she will stay another winter with the children

G. Before the children spend a rainy afternoon playing house in the dining room

H. After the narrator learns that Mrs. Sennett will return to Boston


http://www.actstudent.org/sampletest/eincor.html

http://www.actstudent.org/sampletest/test1/engl/ecorr1.html







































Attachment 14Attachment 14Answers

I. Suggested Answers

1. Point of View[Point of view is relationship of the narrator to the action. In TKR, Amir is the 1st person narrator. He tells the story from his own perspective and knowledge. The reader knows only what Amir knows and tells. In this way Hosseini builds suspense about Amir’s relationship to Hassan and Hassan’s relationship to Baba.]

2. Protagonist as a flat or round character [The protagonist is the main character in the novel, and in TKR the protagonist is Amir. A flat character is one-dimensional, only good or only bad. A round character is one that is fully developed with all the complexities of good and bad traits, good and bad decisions. Hosseini fully develops Amir; therefore, he is a round character. The reader meets him early in the novel as a young boy who has a best friend, Hassan, whom he loves and to whom he is loyal. Amir’s betrayal of Hassan reveals Amir’s dark side and causes him to grapple with guilt. ]

3. Style[Style is the type of language used and the way the author puts the words together to create the story. In TKR, Hosseini uses standard style because it sounds natural but is more formal than everyday speech. [A few lines of dialogue or a short passage should be quoted to demonstrate the style as described.]]

4. Implicit Theme[The implicit theme is the meaning of the story which is revealed through the combination of all the elements--characterization, plot, figurative language, symbol—but not stated outright. One of the themes of TKR is that people are shaped by their environment. He reveals this theme through the relationship between Amir, the child of privilege and Hassan, the child of servitude. In spite of their close friendship, they still relate to each other as the culture of Afghanistan has taught them. This relationship haunts Amir throughout his life. [There are several possible themes that students may choose. The theme should be stated as a complete sentence without being didactic. They should be able to make a strong case for the theme with evidence from the novel.]

5. Flashback[A flashback occurs when the author narrates an event that took place before the current time of the story. Hosseini uses flashback as Amir tells the reader, “One day last summer, my friend Rahim Khan called from Pakistan.” Thinking about that call, Amir begins his story which takes him back to Afghanistan as a boy.]

II. Reading Comprehension1. The best answer is C. Lines 24–25 express the narrator's opinion that "Her hair must have been sadly

thin," and other evidence in support of this view appears in the third paragraph (lines 23–28). While the narrator thinks of literary figures (line 24), there is no indication that Mrs. Sennett wears a hat for this reason, so B is a choice not supported by the passage. She wears a hat all the time, "indoors and out," which rules out A. There is no evidence that she has unique taste in clothing, which blocks D as a good answer.

2. The best answer is H. It is clear from the passage that Mrs. Sennett has affection for the children; we know that while she needs to and would rather rest, she has returned with the children before, and will do so again now. While the children do hang onto her skirt, there is no indication that Mrs. Sennett is bothered by this (G). Because Mrs. Sennett is "almost stone-deaf" (lines 16–17), she would not be disturbed by their noise, which rules out F. G and J are choices contradicted by Mrs. Sennett's apparent affection for the children, and by her generous personality; there is no evidence to suggest that the children are disobedient or that their behavior bothers her.

3. The best answer is C. We know that Mrs. Sennett is old, looked ill (line 28), and is tired (lines 31–32). There is no indication that Mrs. Sennett feels annoyance (A) or anger (B); she has agreed to go, and must


Attachment 14Attachment 14know that she is wanted. D is too strong; while she is willing, she probably is not "enthusiastic" about going. Her words in lines 91–93 do not show enthusiasm.

4. The best answer is F. There are indications provided by lines 79 and 81–83 that the Curleys cry on cue to get what they want. There is no evidence in the passage that Mrs. Sennett is aware of their manipulation, which rules out J. Neither is there any evidence available to support G or H.

5. The best answer is B. The key is clearly supported by lines 16–18. All of the other foils are contradicted by the passage: C by line 22, and A and D by her personality as it is revealed over the course of the passage.

6. The best answer is J. The last 30+ lines of the passage focus on this issue. H is simply not true: the children are speaking to Mrs. Sennett, not the narrator. There is no indication that they are reluctant to leave, which rules out G. F can be eliminated because the children do not seem offended by Mrs. Sennett's words; it is more likely that they are merely continuing their manipulative behavior (see lines 79, 81–83).

7. The best answer is A. This choice is consistent with Mrs. Sennett's generous personality, and Mrs. Sennett's action comes in direct reaction to the narrator's change of expression (line 11). There is no evidence anywhere in the passage in support of B; C is obviously not true (she has performed her duties to the Curleys' satisfaction); and there is never any evidence that Mrs. Sennett is bothered by the noise the children make--she is "almost stone-deaf," after all, which rules out D.

8. The best answer is H. Both characters are considerate and exchange favors: the narrator lends Mrs. Sennett the car (lines 51–56) and Mrs. Sennett gives the narrator many presents (lines 59–60). There is no indication that their relationship has been anything but a relatively short-term, neighborly friendship, which makes both F and J choices that are not supported by the passage. G is contradicted by examples of both characters' sensitivity to the other (lines 11–16, 80).

9. The best answer is D. A, B, and C do not make sense in the context of the sentence.

10. The best answer is F. Mary tells the narrator of this earlier event as they sit watching the sunset (lines 67–68). Mrs. Sennett had told the narrator of her intentions before Mr. Curley even arrived (lines 61–63), so G cannot be correct. There is no evidence in the passage that supports H, which makes it implausible. The narrator learns of Mrs. Sennett's plans to return to Boston the next day, which rules out J.


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