Presentation on theme: "Warm-up On Friday, one of the main descriptors we used for Holden was mature. We suggested in class that being mature is taking responsibility for oneself.What."— Presentation transcript:
Warm-up On Friday, one of the main descriptors we used for Holden was mature. We suggested in class that being mature is taking responsibility for oneself.What does this mean? Is this the only aspect of maturity? How would you define maturity? At what age are we supposed to start acting maturely? Is immaturity a bad thing? Do you think you are mature person?
Today Warm-up - Collect commentary and narrative Reading Quiz #2 Examine writer’s style and relationship to commentary 1-2-4 method. Discuss passage from Catcher
Analyzing Prose and Commentary Writing Analyzing prose is not very different from analyzing poetry. In both you look at literary techniques, at choice of language, imagery, structure and so on, but these may be used in different ways to achieve different effects in prose. You may have to read even more carefully when studying prose passages, because the techniques used may not be as easy to detect. For this unit, the prose passages you will be asked to analyze are extracts from longer pieces work. For your exam, you will analyze an extract from CITR, but in class we will also practice using unseen extracts.
What is a writer’s style A writer ’ s style is the combination and the way in which the author uses literary devices, structures and vocabulary. Style can be viewed as the expression of a writer ’ s personality and things that are important to them. The ways in which writers experience the world and the things which are most important to them are bound to affect how and what they write.
Style Theme Syntax Imagery Sound Language Point of View
JD Salinger Salinger: If you really want to hear about it, the first thing you ’ ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don ’ t feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have had tow hemorrhages apiece if I told anything like that, especially my father. They ’ re nice and all - I ’ m not saying that - but they ’ re touchy as hell.
Nathaniel Hawthorne The young woman was tall, with a figure of perfect elegance, on a large scale. She had dark abundant hair, so glossy that it threw off the sunshine with a gleam, and a face which, besides being beautiful form regularity or feature and richness of complexion, had the impressiveness belonging to a marked brow and deep black eyes. She was lady- like, too, after the manner of feminine gentility of those days; characterized by a certain state and dignity, rather than by the delicate, evanescent, and indescribable grace, which is now recognized as its indication.
Junot Diaz I t seemed to Oscar that from the moment Maritza dumped him - Shazam! - his life started going down the tubes. Over the next couple of years he grew fatter and fatter. Early adolescence hit him especially hard, scrambling his face into nothing you could call cute, splotching his skin with zits, making him self- conscious; and his interest - in Genres! - which nobody had said boo about before, suddenly became synonymous with being a loser with a capital L. Couldn ’ t make friends for the life of him, too dorky, too shy, and (if the kids from his neighborhood are to be believed) too weird (had a habit of using big words he had memorized only the day before).
Sandra Cisneros What they don't understand about birthdays and what they never tell you is that when you're eleven, you're also ten, and nine, and eight, and seven, and six, and five, and four, and three, and two, and one. And when you wake up on your eleventh birthday you expect to feel eleven, but you don't. You open your eyes and everything's just like yesterday, only it's today. And you don't feel eleven at all. You feel like you're still ten. And you are—underneath the year that makes you eleven.
Joanne Harris We came on the wind of the carnival. A warm wind for February, laden with the hot greasy scents of frying pancakes and sausages and powdery-sweet waffles cooked on the hotplate right there by the roadside, with the confetti sleeting down collars and cuffs and rolling in the gutters like an idiot antidote to winter. There is a febrile excitement in the crowds which line the narrow street, necks craning to catch sight of the crepe-covered char with its trailing ribbons and paper rosettes.
Elif Safak Rain is an agony here. In other parts of the world, a downpour will in all likelihood come as a boon for nearly everyone and everything – good for the crops, good for the fauna and the flora, and with an extra splash of romanticism, good for lovers. Not so in Istanbul though. Rain, for us, isn ’ t necessarily about getting wet. It ’ s not about getting dirty even. If anything, it ’ s about getting angry.
Lois Lowry Lois Lowry: It was almost December, and Jonas was beginning to be frightened. No. Wrong word, Jonas thought. Frightened meant that deep, sickening feeling of something terrible about to happen. Frightened was the way he felt a year ago when an unidentified aircraft had overflown the community twice. He had seen it both times. Squinting toward the sky, he had seen the sleek jet, almost a blur at its high speed, go past, and a second later heard the blast of sound that followed.
1-2-4 Method Stage 1: Write down three points about the extract from CITR. This was be obvious (for example, there are three paragraphs), or it can be put in the form of a question. It doesn’t matter as long as you write down three comments.
1-2-4 Method Stage 2 - With the person next to you, look at the six statements you have made. On a separate piece of paper, try to put them in order of importance.
1-2-4 Method Get together with the pair close to you and form a group of 4. Look at the two lists you have and decide the key points you want to make about the extract.
Tomorrow Polished version of narratives - error free to be published. Choose one key passage for chapters 6, 7, 8 and 9