ࡱ> MOL#` *bjbj 7:"8$&B! &$C(h*JD&CCCD&Y&CdCV`@$ Ķ6X pDo&0&x*d*$*$L>R,~$D&D&cd&CCCC  SENIOR A.P. ENGLISH LITERARY ANALYSIS PROJECT Reading great works, studying them, and discussing them with other people -- sharing your insights and questions -- can help you reach a fuller understanding of literature as well as the world around you. Being a participant means that you are curious and willing to work with the teacher and the others in the class. This cooperation, of course, will help you gain an understanding and appreciation of the works and be able to write intelligently about them in and out of the classroom as well as on the A.P. exam at the end of the year. The learning that goes on in class will depend directly on your own interest, energy, and commitment -- how well you prepare for your research presentation as well as the discussions on the works studied by other groups. You know that as you go on to college, research will be an important part of your program, no matter what field you pursue. This project is your opportunity to practice this kind of skill --- finding information and presenting it in clear, coherent, interesting ways so others can share your knowledge. As you might expect, this project is a major portion of your grade for the semester. Each member of the group is responsible for understanding and communicating information from three areas: 1. A biographical depiction of the author with details especially pertinent to the assigned work 2. Commentary on his writing style/philosophy, including critical reviews on them 3. Specific criticisms/comments on the work the class read The group will spend five days of class time leading the discussion and demonstrating the members knowledge. Points will be deducted from the groups grade if I need to clarify quite a few details and/or lead the discussion myself. The presenters must organize their ideas effectively in order to present a lucid, concise, and logical presentation. Each presentation needs to incorporate information from a minimum of six (6) sources (not including the work itself) which are utilized sometime during the five-day presentation. These sources will also be listed on a Works Cited page (due at the end of your presentation). For rules and examples of citation format, consult the Student Style Handbook. The analysis of an authors development deals with the mode and method employed by the author to present his story. Look at all the stylistic techniques we have discussed with short fiction. See what critics point out as salient features. We are working on both the MOW and the HOW of the novel. Each member of the class has most likely read the work, so the presentation should not include a summary of the book. On the other hand, the presenters most definitely should use specific passages which enhance any point of discussion -- that is not considered a summary. Biographical and critical information is available both online and in hard copy. Search the internet for university web sites that have author information. There are series available: Contemporary Literary Criticism and Twentieth Century Literary Criticism, though you may have to go the Glendale Public or ɫ Public to find them. Glendale has Gale research tools; MRHS has ProQuest, which has extensive biographical and critical information. Biographies, diaries, books, letters, and journals can provide useful insight ----- A VARIETY OF SOURCES IS THE KEY! I can help you format your sources correctly. If you have trouble, ask for help early! In presenting the views of the literary critics, group members need to summarize the position taken toward the novel. Consider which type of criticism the source uses (see textbook for clarification.) What does the reviewer feel is the most important aspect of the novel? What are the good points and what are the faults? Of what value is the novel? (Note: you may or may not agree with the review: however, you must treat it as objectively as possible.) Answer whether or not the author proves his/her point to your satisfaction. Why or why not? What about the literary aspects of the work? Class participants are free to offer answers and opinions to the group, to request clarification of points, and to raise objections to the remarks of other participants. They also discuss specific passages in the selection that bear on the discussion question. They compare their differing ideas of what these passages mean. The group leaders, meanwhile, ask additional questions, clarifying and expanding their interpretive questions while helping the class members to arrive at complete, cogent answers. Class participants dont necessarily have to agree with all of the groups interpretations, but they should be able to explain their opinions clearly and support them with evidence from the selection. TIME LINE FOR RESEARCH PRESENTATION: The week before the presentation: The Group should distribute any study guides needed to help the class understand and be ready for the novel the following week. Due from teaching group on Day One: - 10 Interpretive questions from each member (try not to duplicate) - Lesson plans for the week (one page for each day, with objectives and activities) Due from the class on Day One: - Open Question Study Guide, Questions 1-5. Questions 6-8 are due the last day of the presentation. (group members are excused from this) - Quiz (group members will also take this) Day One - Do something to gain audience attention and introduce the author. Give background information on the authors life -- specifically concentrating on events which led to composing the work the class read. Help the class understand the man or the woman and his/her motivations. Introduce any philosophy which seems to be influential in the work. Talk about the man or woman as a writer. Discuss the other works (in general) for which he/she is famous. Day Two - The group will discuss the specific work read by the class, using interpretive questions. (Note: INTERPRETIVE QUESTIONS ARE ONES WHICH ASK THE PARTICIPANTS TO MAKE INFERENCES ABOUT THE MEANING OF A SELECTION. More than one valid answer to an interpretive question is possible and even likely. Answers to interpretive questions should be supported by evidence in the selection.) The group will address some or all of the class concerns or questions as well as continuing to ask interpretive questions of their own. Although the focus and emphasis of the class period is on this type of question and answer period, the groups may also address questions of evaluation. (Note: EVALUATION QUESTIONS ARE ONES IN WHICH THE PARTICIPANTS ARE ASKED TO COMPARE THE EXPERIENCES AND OPINIONS OF AN AUTHOR WITH THEIR OWN. Do participants agree or disagree with the authors point of view? What connections can we make with life in general? Answers to evaluative questions are as individual and as varied as the participants themselves.) Days Three and Four - The group may decide how to use these days, but at some point, the SWAT team must go into action (Style Without Agony and Tears). You may choose your method, but the members of the group who specialize in the analysis of the style should plan so that the whole class understands the HOW - what techniques the author uses to express his ideas. Small groups and passage analysis are probably the best way to go. Day Five - Be sure the class understands the ideas the book conveys, and be sure to include evaluation of the work, beyond a simple loved it/hated it statement. If groups did not have enough material, the class may need the teachers help to develop their understanding. (In order to avoid having this happen, which would mean lost points for all group members, plan on more than you need: MORE IS BETTER) Due on Last Day: * Open Question Study Guide, 6-8 * Evaluation on book and group from all class members * Works Cited from EACH group member Drama teaching groups will teach author, historical/philosophical background will lead discussion of the play will help students understand the salient features of style will dramatize a scene of the play during one day Dramatizations may include a rewrite of the script may update the time period or change the setting should use dramatic resources of props, costumes, set to illuminate the meaning may involve the audience Drama groups will earn the same points as other groups, but presentation will have its own rubric. 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