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Tuesday / Wednesday 24 / 25 February

Students who turned in their Annotated Bibliographies on time got them back.

Note Cards were due and were checked.

Mr. Zartler gave the following ( at bottomw of this entry) vocabulary assignment to be worked on during the reading of Henry V.

Mr. Zartler gave a lesson on using note cards to create and outline, and on outlining.


The class finished viewing the Shakespeare Uncovered on Henry IV and Henry V.


Vocab Assignment:
Henry V
Vocabulary and Question Journal

Part A: Vocabulary
For this unit on Shakespeare’s Henry V we will be immersed in language. Language is dynamic; it grows and morphs and shape-shifts. Language has the power to connect people, start feuds, deepen understanding and inspire the unimaginable. Over the course of the next few weeks we’ll pay attention to how language affects us as readers and as writers. We will investigate meaning and formulate preferences for our own language choices.

As a tool to support this process, you will create vocabulary cards using 3 by 5 or 5 by 8 index cards.  Please choose words that you come across in the play (Shakespeare’s words, not the translator’s). Choose words that are new to you. This may include a word that you’ve come across several times but never fully understood before now.  Choose words because they’re exciting, weird, surprising, racy, beautiful, ugly, intense, and/or words that are utterly useful and how-did-you-ever-make-it-this-far-without-it. Choose new words for any good reason you can think of.

Please make 15cards total that covers the scope of the reading. Follow the steps below for each entry (adapted from Eileen Simmons of The National Writing Project):

  • Write the root of the word in capital letters in red in the middle of the card. Draw an arrow and write the meaning of the root and the language of its origin.
  • Write the prefix in black to the left of the root. Draw an arrow and write the meaning of the prefix.
  • Write the suffix in blue to the right of the root. Draw an arrow and write the meaning of the suffix.
  • In the lower left corner, write three words with the same root.
  • Put your quickdraw in the lower right of the card.
  • Write the author's definition and part of speech at the top of the card.


For an example, look at the next entry on the blog.

Part B: Questioning

Please make 15entries total that covers the scope of the reading.  For each entry:
·      Ask a question about style, plot, anything you want that is related to the play somehow.  If you need more guidance, consider the 5 different types of questions found on the back of this assignment.
·      Include the page number of the text where you thought of your question.


Question Entry Example:
(1.1.1-5) Is Canterbury plotting against the king in the opening scene when he talks to Ely? 

Due:                                                    Worth:30 formative points

WORLD CONNECTION QUESTION:
Write a question connecting the text to the real world.
Example: If you were given only 24 hours to pack your most precious belongings in a back pack and to get ready to leave your home town, what might you pack? (After reading the first 30 pages of NIGHT).
CLOSE-ENDED QUESTION:
Write a question about the text that will help everyone in the class come to an agreement about events or characters in the text. This question usually has a "correct" answer.
Example: What happened to Hester Pyrnne's husband that she was left alone in Boston without family? (After the first 4 chapters of THE SCARLET LETTER). OPEN-ENDED QUESTION:
OPEN-ENDED QUESTION:
Write an insightful question about the text that will require proof and group discussion and "construction of logic" to discover or explore the answer to the question.
Example: Why did Gene hesitate to reveal the truth about the accident to Finny that first day in the infirmary? (After mid-point of A SEPARATE PEACE).
UNIVERSAL THEME/ CORE QUESTION:
Write a question dealing with a theme(s) of the text that will encourage group discussion about the universality of the text.
Example: After reading John Gardner's GRENDEL, can you pick out its existential elements?
LITERARY ANALYSIS QUESTION:
Write a question dealing with HOW an author chose to compose a literary piece. How did the author manipulate point of view, characterization, poetic form, archetypal hero patterns, for example?

Example: In MAMA FLORA'S FAMILY, why is it important that the story is told through flashback? 

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