Lord of the Flies Written Response

Read Lord of the Flies by William Golding.

Choose one of the following approaches as a final written response to the novel:

1. Write a 5 Paragraph Essay: How do we live with the consequences of our decision making?

or

2. Write Chapter 13: “Gift of the Goddess.” Write a final chapter to the novel that begins with the last paragraph of Chapter 12. Maintain an omniscient point of view. Consider the following ideas (you do not have to use any of them).

  • The officer may or may be familiar with Ralph’s father.
  • The officer reveals to the survivors that the rescue ship has a morgue with two corpses.
  • The rescue ship has a telegraph which allows the Officer to send a message home to the boys parents.
  • There is a Catholic priest – a Chaplan – on the ship for the boys to talk to.
  • The damage caused by WW 2 is real, not fictional. The world has sustained only damage that is indeed historically accurate.
  • The boys have been missing 40 days.
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Someday

Read “Someday” by Drew Hayden Taylor.

Read Alfred Fisher’s brief review of the play from the author’s site:

Someday


Page 393: http://www3.brandonu.ca/cjns/15.2/bkrev152.pdf

Write an essay exploring any one of the following statements from the review:
1. “A short, tight work of finely calculated tension and economy, SOMEDAY is an effective play that develops the inherent power of a desolating, all too well-known scenario in Canadian Native communities: the removal of
Native infants for the adoption trade in the 50s and 60s.”
2. “(Taylor) has mastered his craft and is able to construct drama in which word and expression, as well as the medium of time itself are selected and modelled; in which expression is not a function of description, but the product of a dynamic internal and exclusive cycle of language, gesture and response.”
3. “Taylor’s craft and feeling for theatre are of a depth and subtlety sufficient to contain as well as project a message of explosive power.”
4. “Tension generated by the grinding of nested contexts of Native and White perception as represented within the family is handled intelligently and [with] sensitivity as is the strip of comedy injected by the mother’s lottery win.”
5. “Given the relation of the author to the painful experience forming the central preoccupation of the work, it can also be credited as the gift that lends reflection of the dramatic potency of irony, wit, and taut containment, rather than the waste of bombast and encoded rage.”
6. “The critical event of reunification and trauma set within the context of snowy Reserve and the sardonically coloured presence of the Christmas season all contribute to a level of incongruity that lead to the definition of character in ways that are as subtle as they are telling.”
7. “SOMEDAY will be an especially powerful read for those who care about Canadian drama.”

“A feature of Canadian life that has been noted by writers from Susanna Moodie onward is the paradox of vast empty spaces and lack of privacy, with no defences against the prying or avaricious eye.” – Northrop Frye
“Families in Canadian fiction huddle together like sheep in a storm or chickens in a coop: miserable and crowded, but unwilling to leave because the alternative is seen as cold empty space.” – Margaret Atwood

Tip #1 – Thoughts and Ideas: http://iblog.stjschool.org/dsader/2016/02/25/themes-in-canadian-literature/
Tip #2 – Critical Questions: http://iblog.stjschool.org/dsader/english-language-arts-general-outcomes2003/critical-questions/
Tip #3 – Structure: http://www.murphycentre.ca/trudy/English3201/HandoutWritingLiteraryAnalysisEssay.htm

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ELA 10-1, 10-2, 10-4 Final (Sader, and only Sader)

The Hero’s Journey.

Suggested Time: 2.5 Hours
Use Microsoft Word, no internet access.

Create a short story from the point of view of one hero you have studied this semester.

Put that character into a new “hero’s journey.”

Here’s the catch, all elements of your new short story ought to be inspired by what you have studied this semester. All characters (hero, guardian(s), helper(s), mentor) in your story must be inspired by any other story/film/play characters you have studied. As well, the call to adventure, supernatural aid, threshold, transformation, challenges, temptations, abyss, revelation, atonements and return ought to be inspired by elements studied in any film/story/play studied in ELA 10.

Consider bringing into your story characters, settings, plots, conflicts from the following sources:

  • Julius Caesar by Willam Shakespeare
  • Hanna
  • “I’ve Got Gloria” by M.E. Kerr
  • “The Adventurous Life of John Goddard” by Sturart McLean
  • “War” by Timothy Findley
  • “Superman’s Song” by Brad Roberts
  • “The Michelle I Know” by Alison Lohans
  • “The Conversation of Birds” by Jean Yoon
  • “The Sniper” by Liam O’Flaherty

Rubric

Example Plan:

Hero: Hanna – a thirty-something year-old unmarried and unhappy Social Studies teacher at Archbishop Jordan High School.
Call to Adventure: Skydiving at the Edmonton Skydiving Centre
Supernatural Aid: iPhone X with face recognition technology, and a weather app with notifications turned on.
Helpers, Guardians, Antagonists: there are several other “characters” in the story: all similar to characters studied in English 10. A man with an unusually large gap in his front teeth, a women dressed in green, and someone carrying an empty dog crate. One of the skydivers collects Superman comics, one has a sister battling cancer, one remained back on the ground because he is afraid of ducks. You get the idea.

Rough idea: The plane goes up and everything seems normal, a storm appears, then the plane appears to be heading directly at the capital where the new premier (a popular red-haired fellow with a large gap in his front teeth, but embroiled in a scandal where protesters in Fort MacMurray where injured) is about the speak in front of a noisy crowd. As the plane hurtles toward the Legislature, clues begin to emerge that a conspiracy to cause havoc and mayhem is underway …

 

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Supporting English Language Learners

Links collected from ESL PD in September 2017 by Sherri Johnston & Marie Wood (Edmonton)

Supporting English Language Learners: https://sites.google.com/s/0BxSnLb5DGYeWNndINk1aU2w5dW8/p/0BxSnLb5DGYeWWkppRU43LTRKTjA/preview?authuser=0

Characteristics of ELL (BICS vs CALP): https://sites.google.com/s/0BxSnLb5DGYeWNndINk1aU2w5dW8/p/0BxSnLb5DGYeWb1pMeER4VzB1UTA/preview?authuser=0

Woodcock-Munoz Language Survey Tools: http://www.hmhco.com/hmh-assessments/bilingual/woodcock-munoz

Benchmarks: http://www.learnalberta.ca/content/eslapb/printable_benchmarks.html
How to use benchmarks: http://www.learnalberta.ca/content/eslapb/documents/How_to_Use_the_Alberta_K_12_ESL_Proficiency_Benchmarks.pdf
Tracking Sheets: http://www.learnalberta.ca/content/eslapb/trackingsheets.html

Level 1
Read something every day, write something every day, do homework every day – even weekends.
TA and Pullout Support
Extracurricular clubs and PE
Jolly Phonics: http://jollyworks.org/
Reading Bear: http://www.readingbear.org
Dolche SightWords: http://bogglesworldesl.com/dolch/lists.htm
Learning Chocolate: http://www.learningchocolate.com

Unite for Literacy: http://www.uniteforliteracy.com
many many short books with audio narrations in English many more first languages
1000 Awesome Things: http://1000awesomethings.com/the-top-1000/

Level 2
More emphasis on asking questions, deep thinking, fluently switching between first language and English in short phrases.
http://rightquestion.org/education/
More Read/Write/Think strategies – RAFT: http://www.readwritethink.org/professional-development/strategy-guides/using-raft-writing-strategy-30625.html
“Turn and Talk”: http://minds-in-bloom.com/keep-your-students-engaged-with-turn/
Reading A-Z: https://www.readinga-z.com
Read Theory: https://readtheory.org/

Level 3
More writing for academic purposes, more subject specific vocabulary. Rely on support, visual clues and planners. Respond to W5+H.

 

Level 4
Student may have negative strategies to mask language deficiencies. Ask questions using specialized vocab. Rehearse prior to speaking. Use conventions with increasing accuracy.

 

General Tools:
Chromebooks have Read/Write browser tool
Dictionary.com has ESLsupport
Google Translate and iPhone app
Universal Design for Learning Principles: http://www.udlcenter.org/aboutudl/whatisudl/3principles

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ELA 20-1 Final Exam

DIRECTIONS: Write a well-organized composition on the topic below.

Write an essay, arguing how a Canadian poem you have studied is indeed “rooted in Canada and has drawn its essential characteristics from there”(Northrop Frye – from “Preface to ‘The Bush Garden'”).

Using specific references from the poem and Frye, explain the poem’s “essential characteristics,” the way they shape the discussion of figurative elements of the poem, and their importance to the overall theme of the poem.

As you write your composition, remember to:

  • Give the title and the author of the poem.
  • Focus on a poem’s “essential characteristics.”
  • Give specific examples, reasons, and details from the poem and Frye to explain the poem’s “essential characteristics,” the way they shape the discussion of the figurative elements of the poem, and their importance to the overall theme of the poem.
  • Write in complete sentences.
  • Write coherent and well-developed paragraphs.
  • Use correct grammar, spelling, punctuation, and capitalization.

Hints for “figurative elements of the poem”:

  • Identify emotionally charged words.
  • Explain any images/actions that can be interpreted as symbols/archetypes and defend your choice.
  • Explain any use of poetic devices: repetition, couplet, rhyme, simile, metaphor, personification, hyperbole, juxtaposition, alliteration, irony, stanza, meter, synechdoche, pun, paradox, image, symbol, archetype.

 

Choose your poem from The Essential Canadian Poem list

 

Expository Literary Essay Plan

Expository Literary Essay Plan

Critical Response Rubric

Critical Response Rubric

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Journey of Discovery

Describe and discuss Taylor’s journey of discovery.

As you write your composition, remember to:

  • In your introduction, give the title and author of the text.
  • Give specific examples, reasons, and details from the text to explain Taylor’s journey of discovery.
  • Give any necessary plot information but avoid giving a plot summary.
  • Write in complete sentences.
  • Write coherent and well-developed paragraphs.
  • Use correct grammar, spelling, punctuation, and capitalization

Use Microsoft Word in the iMac lab, no notes, no texts. 80 minutes.

Rubric:

Critical Response Rubric

Critical Response Rubric

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2016 ELA 10 Final Exam

Consider the following two pages of prompts. Then complete ONE the writing assignments.

Equality–Pain and Pride

 

Environment and Technology–Reality and Responsibility

 

Assignment (choose one):

  1. Write a narrative or essay in which you examine the pain and pride in being human.  OR
  2. Write a narrative or essay in which you examine how the environment influences life and shapes human feelings and opinions.

Rubric:

Tips:

  • Enhance your writing with connections to ideas in news, history, culture, music, philosophy, religion, politics, sports, and/or society in your exploration.
  • Enhance your writing with connections to ideas in any texts/media you have studied.
  • Use correct grammar, spelling, punctuation, and capitalization.
  • Enhance the clarity and artistry of communication, make it clear and interesting.
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Questions to Consider for Hamlet

  1. What troubles Hamlet at the opening of the play?
  2. When Horatio tells Hamlet about the apparition, who does Hamlet think it might be? What does he decide to do? What type of omen does Hamlet think the apparition is?
  3. Describe Hamlet’s meeting with the ghost. Who is the ghost? Why has it appeared? What does the ghost tell Hamlet to do? What might be some other reasons for the ghost appearing?
  4. Why does Hamlet act as if he were mad? Why does Polonius think the reason for the madness is? Do you agree with him? Why or why not?
  5. How does Claudius react to the performance of The Murder of Gonzago? Why? What does his reaction convince Hamlet of?
  6. Describe Claudius and Gertrude. What does each think of Hamlet? How does each treat him? What does Hamlet think of them?
  7. Why does Hamlet kill Polonius? How does Hamlet act after he finds out who he killed? What is your opinion of his actions?
  8. How does Claudius feel about what he did to King Hamlet? As he is praying, Hamlet entry with his sword drawn. Why doesn’t he kill Claudius?
  9. Why does Claudius decide to send Hamlet to England? What does he plan for Hamlet’s arrival there? What happens instead?
  10. How does Claudius hope to eliminate Hamlet during the Prince’s duel with Laertes? Describe what happens during the duel?
  11. Would you describe Hamlet as a tragic hero? Why or why not?
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Themes in Canadian Literature

  1. We are myth destroyers.
  2. We are paradoxical – we search for our own identity.
  3. We celebrate victims.
  4. We celebrate individual suffering – defeated by rebellion.
  5. Truly authentic Canadian experience is shrouded in violence and paranoia.
  6. External world defines who we are.
  7. Fear of America, Europe, “Old World.”
  8. Interior Separation
  9. Garrison Mentality
  10. Exploration and Discovery: Quest
  11. Canada is the great asylum for victims the world over.
  12. Long periods of death followed by the rush to (re)produce.
  13. Authors explore three key relationships to determine who we are:
    1. our relationship with the environment
    2. our relationship with each other
    3. our relationship with the Divine.
  14. Societal barriers, systems of all kinds are pulled back to uncover briefly who we are.
  15. Immigrants could not control the land or nature – so they controlled the indians.

Find a few more from Conclusion to ‘A Literary History of Canada’:

A feature of Canadian life that has been noted by writers from Susanna Moodie onward is the paradox of vast empty spaces and lack of privacy, with no defences against the prying or avaricious eye. – Northrop Frye

Other nuggets from Frye:

  • Myth of the hero brought up in the forest retreat, awaiting the moment when his giant strength will-be fully grown and he can emerge into the world.
  • We feel constantly that all the energy has been absorbed in meeting a standard, a self-defeating enterprise because real standards can only be established, not met.
  • The sense of probing into the distance, of fixing the eyes on the skyline, is something that Canadian sensibility has inherited from the voyageurs.
  • Canadian novels associate nobility of character with a faraway look, or base their perorations on a long-range perspective.
  • The feeling of nomadic movement over great distances persists even into the age of the aeroplane, in a country where writers can hardly meet one other without a social organization that provides travel grants.
  • There is something Hebraic about the Canadian tendency to read its conquest of a promised land, its Maccabean victories of 1812, its struggle for the central fortress on the hill at Quebec, as oracles of a future.
  • Civilization in Canada, as elsewhere, has advanced geometrically across the country, throwing down the long parallel lines of the railways, dividing up the farm lands into chessboards of square-mile sections and concession-line roads. There is little adaptation to nature: in both architecture and arrangement, Canadian cities and villages express rather an arrogant abstraction, the conquest of nature by an intelligence that does not love it.
  • Small and isolated communities surrounded with a physical or psychological “frontier,” separated from one another and from their American and British cultural sources: communities that provide all that their members have in the way of distinctively human values, and that are compelled to feel a great respect for the law and order that holds them together, yet confronted with a huge, unthinking, menacing, and formidable physical setting — such communities are bound to develop what we may provisionally call a garrison mentality.
  • The real terror comes when the individual feels himself becoming an individual, pulling away from the group, losing the sense of driving power that the group gives him, aware of a conflict within himself far subtler than the struggle of morality against evil.
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