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Bell Ringer 1/27

Bell Ringer 1/27. Please get out your books and your 2 nd Langston Hughes Graphic Organizer (“Dream Variations” and “Refugee in America”). Please answer the following question with someone sitting near you: How does the imagery in “Dream Variations” affect the poem’s interpretation and tone?

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Bell Ringer 1/27

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  1. Bell Ringer 1/27 • Please get out your books and your 2nd Langston Hughes Graphic Organizer (“Dream Variations” and “Refugee in America”). • Please answer the following question with someone sitting near you: • How does the imagery in “Dream Variations” affect the poem’s interpretation and tone? • Be able to discuss when class begins. • Have specific examples ready.

  2. Bell Ringer 1/27 • Please get out your books, your Harlem Renaissance handout (with the Hurston questions), and turn in your books to pg. 914. • Please discuss the following question with a partner: • How would you describe Hurston’s personality as a girl? Use specific details. • 2, 3

  3. Bell Ringer 1/27 • Please get out your books, your Langston Hughes graphic organizers, and sit with your partners. • Turn to pg. 929 and begin analyzing the poems. • “Dream Variations” • “Refugee in New York” • 4

  4. Bell Ringer 1/27 • Please get out your books and your Langston Hughes graphic organizer. • Answer the following question with someone sitting near you: • Who is Ardella? What do you know about her from the poem? • Be ready to discuss when I get done with taking attendance. • 7

  5. Bell Ringer 1/27 • Please get out your books, your Langston Hughes graphic organizers, and sit with your partners. • Turn to pg. 927 and begin analyzing the poems. • “The Negro Speaks of Rivers” • “Ardella” • 9

  6. English III • EQ: How can we give strong and thorough evidence for our inferences and conclusions about the poetry of the Harlem Renaissance? • Agenda • Bell Ringer/Discussion • Agenda/EQ • Dust Tracks on a Road by Z.N. Hurston • Langston Hughes • Read Poetry/Create Graphic Organizers • Claude McKay • Read Poetry/Create G.O. • Type 2 Writing

  7. Langston Hughes • “The Negro Speaks of Rivers” & “Ardella” • What conclusions can we draw about the speakers in these poems? • Get a piece of lined paper • Fold in half (Side 1 = “The Negro Speaks of Rivers,” Side 2 = Ardella) • Column 1 (on both sides) = Conclusion about speaker • Column 2 (on both sides) = Specific Line/Word (with line # from the poem) • Bottom Section – Imagery • List the Imagery in the poem

  8. Langston Hughes #2 • Repeat the process for creating the graphic organizer for “Dream Variations” and “Refugee in America.” • Follow the example on the board. • Don’t forget to list ALL the imagery you find. • List specific words/lines with their line numbers. • If it helps, break the conclusions down to answer the questions who, what, where, when, and why.

  9. Claude McKay • Make the same graphic organizer that you made for Langston Hughes (see board). • Turn to pg. 930, “The Tropics in New York” by Claude McKay. • Analyze the poem (conclusions about speaker, proof from text, imagery) on the front of the graphic organizer. • On the back, answer the following question with a paragraph: • What can you learn about the speaker in Claude McKay’s “The Tropics in New York” by examining the poem’s imagery? • Use quotes from the poem to support your main idea. • Be thorough – use multiple quotes from throughout the poem. • Make sure you explain all proof so that any reader could understand your points.

  10. Bell Ringer 1/27 • Please get out your Re-written dramatic structure (homework for Friday) and your expanded story based on that dramatic structure so that I can check it. • If you were here on Friday, I already collected these things. • Answer the following questions: • Why do good writers include transitions in their stories? • What kinds of information do transitions normally include?

  11. Creative Writing • EQ: How do authors use pace and sequence to build a vivid, engaging, coherent story that works towards a particular tone and outcome? • Agenda • Bell Ringer – Homework Check • Agenda/EQ • Sharing Our In Medias Res stories • Transition Words and Phrases • What types of transition could you possibly need? • What kinds of words and phrases are need for each type? • What should you avoid when creating transitions in stories?

  12. Transitions • Scene transitions need to identify place, time, and viewpoint character, especially if there’s been a change in any of the three. If the new scene has a change in mood, tone, or pacing, that should also be established right away. • If the viewpoint character has changed, identify the new viewpoint character right off by naming him. • Time and place can be established in any number of ways. By • naming the place • describing the place • describing the event • mentioning the time or day or date • showing a character doing something we already knew he’d be doing at a set time or in a particular place

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