Now that we are all in the realm of tone mapping - whether entering or exiting the process - here are two samples from this year's classes and their takes on "Chicago." Yes, jingoistic is included!
How interesting that even though different tone words were used to describe the sections, that both maps ended up nearly identical in shape!
Additionally, both of these samples analyzed the pattern as a part of an argument with the "insider" point of view usurping the initial "outsider" perspective.
Thursday, November 8, 2018
ev
Heading to Pathos
With the tone unit moving quite quickly in all hours, the last part of rhetorical analysis, those rhetorical appeals, namely pathos, will be taking center stage in the next week. As a blatant reminder, having copies of our tone texts will only help you for later assessment purposes and advanced discussions. If you do not have a sense of what the poems are about, what the words mean, what the allusions reference, you will not have as much ethos on the texts' tones.
1: We returned to "Chicago" and created a class tone map by identifying the shifts, identifying the tone of each section, selecting a range to create the map, plotting points of tone, connecting the dots, and analyzing patterns of tone. With that as an example (and quite a vibrant one in shades of pink and orange), you started the same process with "The Children's Hour." At this point, you are starting to identify the tone of each stanza (normally via line, but we shall avoid any arguments by stanza shifts this time around) and will continue through the process of tone mapping during Friday's class.
3: We finished up "The Children's Hour," by looking at examples of the maps and the analytical paragraphs associated with this poem. Then, we read our EAR selections, "Richard Cory" and "Miniver Cheevy." Each of you have been assigned one of the poems in which to create a tone map with its corresponding analysis paragraph - just remember it is the speaker's tone and not the character's tone that you are charting. For this tone map, you will locate shifts by line and not by stanza. So every time you see a shift, that indicates another section of the text. KE, you have "Richard Cory" and MT, you have "Miniver Cheevy" for you individual tone maps.
5: As with all of our units, fifth hour has completed the tone unit with a flourish by analyzing the tones of "To a Skylark" and "Ode to a Nightingale." At the end of the hour, you received the take-home prompt: In regards to Percy Shelley’s “To a Skylark” and John Keats’ “Ode to a Nightingale,” compare and contrast the tone and other rhetorical devices used by these poets in their writing about birds. As with the last prompt, this may be handwritten or types and will be turned in via hard copy by Tuesday, November 13, at 5:00 p.m. If absent for the entire day, you may send via digital methods and then turn in a hard copy.
1: We returned to "Chicago" and created a class tone map by identifying the shifts, identifying the tone of each section, selecting a range to create the map, plotting points of tone, connecting the dots, and analyzing patterns of tone. With that as an example (and quite a vibrant one in shades of pink and orange), you started the same process with "The Children's Hour." At this point, you are starting to identify the tone of each stanza (normally via line, but we shall avoid any arguments by stanza shifts this time around) and will continue through the process of tone mapping during Friday's class.
3: We finished up "The Children's Hour," by looking at examples of the maps and the analytical paragraphs associated with this poem. Then, we read our EAR selections, "Richard Cory" and "Miniver Cheevy." Each of you have been assigned one of the poems in which to create a tone map with its corresponding analysis paragraph - just remember it is the speaker's tone and not the character's tone that you are charting. For this tone map, you will locate shifts by line and not by stanza. So every time you see a shift, that indicates another section of the text. KE, you have "Richard Cory" and MT, you have "Miniver Cheevy" for you individual tone maps.
5: As with all of our units, fifth hour has completed the tone unit with a flourish by analyzing the tones of "To a Skylark" and "Ode to a Nightingale." At the end of the hour, you received the take-home prompt: In regards to Percy Shelley’s “To a Skylark” and John Keats’ “Ode to a Nightingale,” compare and contrast the tone and other rhetorical devices used by these poets in their writing about birds. As with the last prompt, this may be handwritten or types and will be turned in via hard copy by Tuesday, November 13, at 5:00 p.m. If absent for the entire day, you may send via digital methods and then turn in a hard copy.
Wednesday, November 7, 2018
All That Tone!
We are in varying phases of tone work from the beginning of tone maps to the final texts. As a reminder, one that is becoming quite redundant, it is highly recommended that you print out copies of the tone texts (all linked on a previous blog) for preview and preparation of terms, improving comprehension, and fostering discussion.
1: We completed a creative activity, which definitely exhibited the ability to differentiate positive, negative, humorous, and sorrowful tones. From paranoid to loving, we had quite the mix of tones to identify. Absentees will need to use their umbrella tone list, select 3 tones from the neutral category, and create a thorough conversation between 3 people with each person having a specific tone. Afterwards, we read our first tone text, "Chicago," which we will use tomorrow to craft a class tone map. For homework, read through the "big kid" tone list and star/asterisk/mark the tone words that you find fun, interesting, enchanting, or anything else for that matter.
3: We moved into the partner tone map with "The Children's Hour," crafting all but the last step of the process, which we will have tomorrow. If absent, you should craft a rough draft of a tone map for the text and have it ready to go for next class.
5: We finished our tone mapping work (I know, sad) with our EAR poems, comparing and contrasting his tones as an author. Now, we go into "To a Skylark," looking at its meaning (sadness and happiness, happiness and sadness, the theme that will not go away!) and working in partners to paraphrase, identify tones, and look for any other rhetorical strategies fluttering about in the stanzas. We will resume with stanza 4 tomorrow and then it will be back to Keats for our last tone text. I think you're going to like what's coming up after tone!
1: We completed a creative activity, which definitely exhibited the ability to differentiate positive, negative, humorous, and sorrowful tones. From paranoid to loving, we had quite the mix of tones to identify. Absentees will need to use their umbrella tone list, select 3 tones from the neutral category, and create a thorough conversation between 3 people with each person having a specific tone. Afterwards, we read our first tone text, "Chicago," which we will use tomorrow to craft a class tone map. For homework, read through the "big kid" tone list and star/asterisk/mark the tone words that you find fun, interesting, enchanting, or anything else for that matter.
3: We moved into the partner tone map with "The Children's Hour," crafting all but the last step of the process, which we will have tomorrow. If absent, you should craft a rough draft of a tone map for the text and have it ready to go for next class.
5: We finished our tone mapping work (I know, sad) with our EAR poems, comparing and contrasting his tones as an author. Now, we go into "To a Skylark," looking at its meaning (sadness and happiness, happiness and sadness, the theme that will not go away!) and working in partners to paraphrase, identify tones, and look for any other rhetorical strategies fluttering about in the stanzas. We will resume with stanza 4 tomorrow and then it will be back to Keats for our last tone text. I think you're going to like what's coming up after tone!
Monday, November 5, 2018
It's Benjamin Banneker Week!
In exciting news, it is Benjamin Banneker week, which celebrates the revered writer, scientist, and all-around savant. I must say that one of the highlights of teaching AP Lang for all of these years is my introduction to Banneker, his historical significance, his brilliance as a savant, and his letter-writing abilities to our old buddy Tommy J.
Here is a little more information from a fun website of daily, weekly, and monthly celebrations: https://www.daysoftheyear.com/days/benjamin-banneker-week/.
And, to make this a little more relevant and applicable, you will notice that there are 2 activities for celebrating Banneker's role in our lives.
The first is to make a clock face (non-working) using mathematics to represent the numbers 1-12 (so don't literally write 1, 2, and so forth but construct formulas or mathematical expressions to represent each number). Here is a picture I found online (which may be blocked since it originally came from facebook) of such a clock, which looks to be made out of cardboard: https://www.facebook.com/events/1601106116857922.
The second is to compose a poem that actually features mathematical puzzles for the reader to solve. Here are some examples: https://apcentral.collegeboard.org/courses/resources/mathematical-puzzles-benjamin-banneker. As you can see the word problems are divided up into verse form, which means you can play with rhyme and diction and poetic elements to express math.
So to make this interesting and decorate my room, you have the challenge of constructing a 3 dimensional clock (so not on typing paper but with a more solid material - creative materials add to the presentation) and/or a mathematical poem on decorated construction paper/cardboard/posterboard for extra credit. The poem can have combined mathematical puzzles to boost the level of difficulty and content. All the math must be accurate - and, yes, I am a polymath (at least that is what Joe Cassidy calls me) and have right and left brain talents. The clock will be worth a maximum of 35 points, and the mathematical poem will be worth a maximum of 20 points. Points will be awarded for originality, mathematical connection, presentation, and effort, which means those utilizing the most clever materials, math, and presentation will amass the most points.
You can do one of each by the way. The due date for this extra credit, which must be in person, is Monday, November 12, so you have one week on this extra credit opportunity. This must be turned in via hard copy (obviously) by 2:40 p.m. on that day. If you have any questions, e-mail me for clarifications. Otherwise, I am looking forward to the final products! Especially since I had about 8 clocks last year and no poems! Photo below - you can tell which had a little more effort than others.
Scintillating Tones
I can finally type that we are all working on tone at this point! And, as I have repeated for about a week or so now, all of the poems that we will use to analyze tone are listed on a previous blog with links so that you may print out copies, take notes, and be able to participate to the fullest. From empirical evidence, I can tell that many of you are not previewing the texts, which does not help your experience in identifying tone shifts and how to identify these tone shifts in the most accurate of manners. As we move from class tone mapping to partner tone mapping to individual tone mapping to essay prompt, copies of the texts can only help you!
1: We finished up the Keats' letters, and you have the following prompt: Analyze how John Keats' diction reflects his mentality and purpose in his letters to Fanny Brawne. This will be due by 3:15 p.m. on Thursday in hard copy form, either typed or handwritten. Make sure to use page numbers for the parenthetical citations. As with any take-home prompt, if you are absent for the entire today, you will need to either share or send a photograph of you work to indicate its completion. Next, we completed our second toolbox quiz, which means any absentees will need to make this up a.s.a.p. Last, we started our tone work, utilizing scintillating, apathetic, lachrymose, bilious, and surprised tones to read like statements and identify major tone shifts. Alas, tone shifts are usually of a smaller nature, so our next class will be about the subtlety of tone shifts via a little creative conversation. As noted in class, and as above, all of the upcoming tone texts are listed on a previous blog and the expectation at this level of class is that you are prepared to contribute.
3: Our hour, after looking over the "big kid" tone list, was dedicated on how to create a tone map through "Chicago." As with any tone map assignment, you start by identifying all of the subtle tone shifts existing in a text. Then, you identify each tone section with a specific, mature tone word. Then, you select 2 words to act as the range for all of the other tone words to fit within those confines. Then, you create a map by placing the points to convey the visual shift of tone. Last, you look at the patterns of the tone shifts and analyze the importance. We will have many more tone maps to come - which all stem from the list of texts on a previous blog. I've mentioned this 3 times in this blog thus far, so it must be important to preview and have your own copies for future assignments.
5: After we looked over your very pastel selections for "The Children's Hour" tone map, we read the next two poems on the tone list: "Richard Cory" and "Miniver Cheevy" by my old buddy, EAR. After our look-see at these 2 men and their lives, you were assigned one poem to make a tone map and write a corresponding analytical paragraph. If absent today, choose one of the aforementioned poems and create the tone map (look at shifts by line and not by stanzas). Make sure to have this tone map completed for next class. And, as I have repeated several times in this blog and in class, we have 2 texts left with hour tone work, which means an essay is most likely imminent. If you do not preview those poems and have notes relating what words and allusions mean, you will not have as successful of an experience as you could have.
1: We finished up the Keats' letters, and you have the following prompt: Analyze how John Keats' diction reflects his mentality and purpose in his letters to Fanny Brawne. This will be due by 3:15 p.m. on Thursday in hard copy form, either typed or handwritten. Make sure to use page numbers for the parenthetical citations. As with any take-home prompt, if you are absent for the entire today, you will need to either share or send a photograph of you work to indicate its completion. Next, we completed our second toolbox quiz, which means any absentees will need to make this up a.s.a.p. Last, we started our tone work, utilizing scintillating, apathetic, lachrymose, bilious, and surprised tones to read like statements and identify major tone shifts. Alas, tone shifts are usually of a smaller nature, so our next class will be about the subtlety of tone shifts via a little creative conversation. As noted in class, and as above, all of the upcoming tone texts are listed on a previous blog and the expectation at this level of class is that you are prepared to contribute.
3: Our hour, after looking over the "big kid" tone list, was dedicated on how to create a tone map through "Chicago." As with any tone map assignment, you start by identifying all of the subtle tone shifts existing in a text. Then, you identify each tone section with a specific, mature tone word. Then, you select 2 words to act as the range for all of the other tone words to fit within those confines. Then, you create a map by placing the points to convey the visual shift of tone. Last, you look at the patterns of the tone shifts and analyze the importance. We will have many more tone maps to come - which all stem from the list of texts on a previous blog. I've mentioned this 3 times in this blog thus far, so it must be important to preview and have your own copies for future assignments.
5: After we looked over your very pastel selections for "The Children's Hour" tone map, we read the next two poems on the tone list: "Richard Cory" and "Miniver Cheevy" by my old buddy, EAR. After our look-see at these 2 men and their lives, you were assigned one poem to make a tone map and write a corresponding analytical paragraph. If absent today, choose one of the aforementioned poems and create the tone map (look at shifts by line and not by stanzas). Make sure to have this tone map completed for next class. And, as I have repeated several times in this blog and in class, we have 2 texts left with hour tone work, which means an essay is most likely imminent. If you do not preview those poems and have notes relating what words and allusions mean, you will not have as successful of an experience as you could have.
Friday, November 2, 2018
Toning Up
This is your daily reminder to read the tone texts before class. All the texts are on a previous blog with links so that you may print these out and be able to take notes for all of our future tone mapping.
1: After our vocab quiz, we spent the rest of the hour with Keats' letters and the impressive analysis of diction that all of the groups provided today. Delving into his diction (and the adjectives qualifying his shifting tones throughout the progression of his illness and love affair with Fanny) and purpose, you presented a strong, clarifying, and engaging didactic lesson for all of your classmates. (I can't wait to see what you do with tone next week!). We will wrap up the letters - and our diction unit - on Monday.
3: What a fun, creative Friday, expressing all the attitudes of team positive, team negative, team humor, and team worry! From blaming shifts of a fighting family to a paranoid conspiracy theorist bothering the rest of his group, we had excellent examples of tone and the subtle shifts that occur amongst each voice in the group. We will do more with tone next week - including the ever-fun tone maps!
5: We were a little casual in class today, but I think that paid off dividends with the quality of tone maps and analysis for "The Children's Hour," which we will share on Monday. Then, it will be time for solo tone maps, so make sure you have previewed our next texts. I can always tell by the reaction to the ending of the poem who has read it and who has not!
1: After our vocab quiz, we spent the rest of the hour with Keats' letters and the impressive analysis of diction that all of the groups provided today. Delving into his diction (and the adjectives qualifying his shifting tones throughout the progression of his illness and love affair with Fanny) and purpose, you presented a strong, clarifying, and engaging didactic lesson for all of your classmates. (I can't wait to see what you do with tone next week!). We will wrap up the letters - and our diction unit - on Monday.
3: What a fun, creative Friday, expressing all the attitudes of team positive, team negative, team humor, and team worry! From blaming shifts of a fighting family to a paranoid conspiracy theorist bothering the rest of his group, we had excellent examples of tone and the subtle shifts that occur amongst each voice in the group. We will do more with tone next week - including the ever-fun tone maps!
5: We were a little casual in class today, but I think that paid off dividends with the quality of tone maps and analysis for "The Children's Hour," which we will share on Monday. Then, it will be time for solo tone maps, so make sure you have previewed our next texts. I can always tell by the reaction to the ending of the poem who has read it and who has not!
Thursday, November 1, 2018
Keats & Tone
In the next week or so, I have a feeling that the classes will align, and we will actually have collected agendas. Until then (or whenever that shall occur with our November schedule), we are still in the process of diction ending and tone commencing. And as a broken record, all of the poems that will be part of our tone unit are in previous blogs.
1: After reviewing vocab for our upcoming vocab quiz (yes, it would behoove you to study all of our vocabulary), I modeled for you how to present the diction analysis for the Keats letters, which included identifying diction patterns with adjectives, positing a plethora of evidence from the text, analyzing the pattern, and then ending with the purpose(s) of the individual letter. In partners you analyzed a letter, preparing for your sharing of diction and purpose with the class tomorrow. If absent, you should read over the letter packet; you will either be put with a partnership or be in charge of summing up the diction of all the letters (this will depend on class attendance, which hopefully will find all of you there).
3: We finished up diction with Keats' letters and you now have the prompt to do: Analyze how John Keats' diction reflects his mentality and purpose in his letters to Fanny Brawne. This will be due by 3:15 p.m. on Monday in hard copy form, either typed or handwritten. Make sure to use page numbers for the parenthetical citations. As with any take-home prompt, if you are absent for the entire today, you will need to either share or send a photograph of you work to indicate its completion. To conclude our class, we had the second toolbox quiz, which means absentees will need to make that up in the next few days either before or after school. Tone starts tomorrow!
5: Tone continues with the ever-fun, ever-debatable tone maps! With our first text, "Chicago," the world of the outsider ("they") and the perspective of the insider ("my") clearly conveyed the two-sided argument of the city as dangerous temptress and jingoistic construction ground. Tone maps are a visual means of clarifying the tone shifts throughout a text. First, you must identify all of the tone shifts. Second, you choose a tone word to describe each section. Third, you choose two of the tone words to construct a range. Four, you plot the points and connect the dots. Fifth, you identify patterns and explain these patterns in relation to the author's purpose, structure, and ideas. Our class tone map went very well - with little argument over our tone words. Hence, we moved to the second phrase of tone mapping by reading "The Children's Hour" and identifying the tone for each stanza. If absent, you will need to have tone ideas for each stanza of "The Children's Hour" as groups are moving quickly with this activity.
1: After reviewing vocab for our upcoming vocab quiz (yes, it would behoove you to study all of our vocabulary), I modeled for you how to present the diction analysis for the Keats letters, which included identifying diction patterns with adjectives, positing a plethora of evidence from the text, analyzing the pattern, and then ending with the purpose(s) of the individual letter. In partners you analyzed a letter, preparing for your sharing of diction and purpose with the class tomorrow. If absent, you should read over the letter packet; you will either be put with a partnership or be in charge of summing up the diction of all the letters (this will depend on class attendance, which hopefully will find all of you there).
3: We finished up diction with Keats' letters and you now have the prompt to do: Analyze how John Keats' diction reflects his mentality and purpose in his letters to Fanny Brawne. This will be due by 3:15 p.m. on Monday in hard copy form, either typed or handwritten. Make sure to use page numbers for the parenthetical citations. As with any take-home prompt, if you are absent for the entire today, you will need to either share or send a photograph of you work to indicate its completion. To conclude our class, we had the second toolbox quiz, which means absentees will need to make that up in the next few days either before or after school. Tone starts tomorrow!
5: Tone continues with the ever-fun, ever-debatable tone maps! With our first text, "Chicago," the world of the outsider ("they") and the perspective of the insider ("my") clearly conveyed the two-sided argument of the city as dangerous temptress and jingoistic construction ground. Tone maps are a visual means of clarifying the tone shifts throughout a text. First, you must identify all of the tone shifts. Second, you choose a tone word to describe each section. Third, you choose two of the tone words to construct a range. Four, you plot the points and connect the dots. Fifth, you identify patterns and explain these patterns in relation to the author's purpose, structure, and ideas. Our class tone map went very well - with little argument over our tone words. Hence, we moved to the second phrase of tone mapping by reading "The Children's Hour" and identifying the tone for each stanza. If absent, you will need to have tone ideas for each stanza of "The Children's Hour" as groups are moving quickly with this activity.
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