English 3

Monday, March 19, 2007

Regionalism or Local Color

Became dominant between the Civil War and the end of the nineteenth century

Blend of romanticism’s strange/exotic settings and realism’s accurate, detailed description

Focus is on characters, dialect, customs, and other features particular to a specific region

Setting is integral to the story

Narrator is usually an educated observer
Realism
Often defined as “the faithful representation of reality” or “verisimilitude”
An accurate representation and exploration of American lives in various contexts
Became dominant after the Civil War because of the Industrial Revolution, the rise of middle class, literacy, and education
Diction is natural vernacular
Tone may be serious, satiric, humorous
Subjects are people living in society and their relationships: birth, death, money, love, courtship, marriage, childhood, adolescence, parenthood, infidelity, social problems of times
Mixed characters, not idealized -- both good & bad, strong & weak elements
Conflicts: protagonist (not “hero”) vs. antagonist (not “villain”)

Naturalism
Apply scientific principles of objectivity and detachment to human beings

Focus is on philosophical position – determinism, a theory or doctrine that acts of the will, occurrences in nature, or social or psychological phenomena are causally determined by preceding events or natural laws

Human beings as “products” of their environment are studied impartially, without moralizing about their natures.

Narrator is objective, detached, distant, unemotional

Characters are often ill-educated or lower-class whose lives are governed by the forces of heredity, instinct, and passion. Characters struggle to retain a “veneer of civilization” despite external pressures that threaten to release the “brute within.”

Conflicts are usually “man against nature” or “man against himself” or both.

Nature is an indifferent force acting on the lives of human beings.

Human beings, affected and afflicted by the forces of heredity and environment, attempt to exercise free will, but in the naturalist’s indifferent, deterministic universe, free will is an illusion.

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Wednesday, March 07, 2007

DATE
CLASS WORK AND ASSIGNMENTS
Monday 2/26

FCAT – READING
1ST AND 2ND Period - A Pair of Silk Stockings by Kate Chopin
pp. 437-443
Questions: p.245 2,3,4
Tuesday, 2/27



FCAT – MATH
3RD AND 4TH Period - A Pair of Silk Stockings by Kate Chopin
qq. 437-443
Questions: p.245 2,3,4
Wednesday 2/28



Bell Work – Grammar Phrases & Clauses
Collect Gatsby Essay and Books
Collection 9
Kate Chopin’s Biography p. (Empahsize Creole Life and feminism)
HW: Read Desiree’s Baby and Answer Questions – Story and Questions Posted on Website
Thursday 3/1



Bell Work – Grammar Phrases & Clauses
Stamp Homework Discuss Desiree’s Baby
Read Story of an Hour - Do Questions or finish for Homework
HW: Opportunity to complete Silk Stockings( if not otherwise done) and/or finish Story of An Hour Questions
Friday 3/2




Bell Work – Grammar Phrases & Clauses
Discuss Story of an Hour & “A Pair of Silk Stockings”
Discuss Freudian Theory in relation to “Story of an Hour” and motivation , feminism and ironies
HW Read Critic: Roslyn Reso Foy
Source: The Explicator 49, no. 4 (summer 1991): 222-23.
Source Database: Literature Resource Center
Posted on web site
Plan a Persuasive essay agreeing or disagreeing with Reso Foy
DATE
CLASS WORK AND ASSIGNMENTS
Monday 3/5



FCAT SCIENCE
Tuesday, 3/6
Critic: Roslyn Reso Foy
Source: The Explicator 49, no. 4 (summer 1991): 222-23.
Source Database: Literature Resource Center
Persuasive Essay w/o first person pronoun based on critique
HW: Read Mark Twains’ Biography p. 450-452 and write 10 facts about Mark Twain
Tuesday, 3/7



Bell Work – Grammar Phrases & Clauses
Collection 10
Discuss Mark Twain and his humor
Teach Words to Own pp.
Read Life on the Mississippi p. 452 ---
HW: Finish reading and Answer Questions in Reading Check p. 463
Wednesday 3/8



Bell Work – Grammar Phrases & Clauses
Discuss Life on the Mississippi
Literary Elements: Extended Metaphor, Hyperbole, Understatement, tall tale anecdote and proverbs. Teach Vocabulary “Words To Own”
Thursday 3/9



Catch up and Review
Discuss Essay due on 3/19: Comparing and Contrasting Regionalism, Realism and Naturalism
HW: Study for test on Rise to Realism pp 404-422, Desiree’s Baby, Story of An Hour and Life on the Mississippi. Class Notes (Posted) Questions and Class Discussions


DATE
CLASS WORK AND ASSIGNMENTS
Monday 3/12



Bell Work - Phrases & Clauses
Ambrose Bierce Biography p. 466
Words to Own pp.468-472
Read Ocurrence at Owl Creek pp.468-472 –
HW: Question Reading Check p.
Tuesday, 3/13



Bell Work - Phrases & Clauses
Discuss Ocurrence at Owl Creek
Literary Elements: Author’s Point of View
HW: Words to Own pp. 468-472 for Vocabulary Quiz
Read Jack London’s Biography p. Write five facts
Wednesday 3/14



Bell Work – Grammar Phrases & Clauses
Naturalism – Cause and Effect
Read To Build a Fire pp. Answer Question on p. 509

Thursday 3/15



Discuss Essay due 3/19
Discuss “To Build a Fire”
Discuss Format for Book Talk/Review
Review for Test Friday 3/16 on Ambrose Bierce and works, Jack London and works + Vocabulary
Friday 3/16




Test and Essay Question
HW: Be Ready to give book talk/review





DATE
CLASS WORK AND ASSIGNMENTS
Monday 3/19



Outline Moderns 1900-1950 pp.523-536
Book Talk – 5 (15 minutes)

HW: Read the Secret Life of Walter Mitty pp Answer Quesions

Tuesday, 3/20



James Thurber
Parody
The Secret Life of Walter Mitty Lecture
Book Talk (15 minutes)

HW: Read Ernest Hemingway Biography p. Write Ten facts
Wednesday 3/21



Discuss Ernest Hemingway and work
Words to Own pp
Book Talk (15 minutes)
HW: A Soldier’s pp
Thursday 3/22



Discuss A Soldier’s
Edwin Arlington Miniver Cheevy and Richard Cory
Book talk: 15 minutes
HW: Answer questions on pp.
Friday 3/23




Teacher Workday


DATE
CLASS WORK AND ASSIGNMENTS
Monday 3/26



American Gothic
William Faulkner – p.713-714
Read A Rose for Emily pp715-722

HW: Finish Questions pp.724 (pp2-9)
Tuesday, 3/27



Bell Work: Grammar Phrases & Clauses
Discuss Faulkner’s work
Horacio Quiroga “A Feather Pillow pp. 728-731
Wednesday 3/28



Bell Work: Grammar Phrases & Clauses
Review Moderns & Catch up
Test Wednesday 3/28 (see Wednesday’s note)
Thursday 3/29



TEST : Moderns Background
Thurber’s Secret Life of Walter Mitty
Hemingway’s A Soldiers???
Robinson’s Minever Cheevy and Richard Cory
Faulkner’s A rose for Emily
Quiroga’s Feather Pilllow
Friday 3/30




Their Eyes Were Watching God
Audio Tape Chapter 1
HW: During Break read up to Chapter 4 and answer questions

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Thursday, March 01, 2007

"Chopin's 'Désirée's Baby'"
Critic: Roslyn Reso Foy
Source: The Explicator 49, no. 4 (summer 1991): 222-23.
Source Database: Literature Resource Center
[Foy asserts that "Désirée's Baby" is an exploration of the dark side of the protagonist's personality.]
In Kate Chopin's "Désirée's Baby," Armand's ruthlessness is more psychologically complicated than it appears on first reading. His cruelty toward the slaves, and ultimately toward his wife and child, is not simply a product of nineteenth-century racism. The story transcends its social implications to explore the dark side of personality.
Armand is a man who must deal with a demanding social climate, uphold a position of noblesse oblige, and eventually come to terms with his own heritage. Early in the story, Chopin reveals that Armand was eight years old at the crucial turning point in his life when his mother died and he left Paris with his father. She states that Armand's mother had "loved her own land too well ever to leave it"1 but intimates that there was a reason why she never served as mistress of L'Abri.
Armand was certainly old enough to remember his mother, but circumstances have caused him to suppress the past. Although Chopin offers these clues to Armand's dark side and to his psychological confusion, she leaves it to the reader to decide whether Armand's cruelty springs from social forces and prejudice or whether it is in reality a distant memory of his mother--a repressed, unconscious remembrance of his own past.
Contrasting his father's easygoing and indulgent manner toward the negroes with the strict rule of Armand, Chopin warns of a tragic outcome but does not enlighten us until the very end. With racial prejudice and psychological confusion as the sources of his cruelty, Armand has no choice but to turn from Désirée and the baby. Acting out of his passion for her and the child, Armand experiences an ironic misunderstanding of his duty that takes him to almost tragic proportions. His hatred is the opposite extreme of love. By casting out the passion, he has in a way ended the cruelty and finally must [beginning of page 2] come face to face with himself, the true source of his hatred, anger, and emotional distress. Armand hates the very thing that he is.
Although Armand is ruled by time and place, Chopin clearly indicates that there is much more disturbing this man that eventually permits him to harm his wife and his own flesh. In the brief but poignant story, Chopin delivers a flawed character whose dark side struggles to be set free. The birth of his child and the love of his wife soften him temporarily and perhaps offer him a psychological reprieve, but his actions clearly indicate that he is a man filled with torment and confusion. When Armand reads his mother's letter, he is finally purged of his painful past but is now left to face an uncertain and tragic future.
Kate Chopin stated that the only true subject for great fiction is "human existence in its subtle, complex, true meaning, stripped of the veil with which ethical and conventional standards have draped it."2 Armand moves out of the conventions that have governed his life, and Chopin strips him of the veils that have hidden his real self. In "Désirée's Baby," the complexity of human existence comes face to face with reality.
Notes
1. Kate Chopin, "Désirée's Baby," The Norton Anthology of Short Fiction, Ed. R. V. Cassill. New York: Norton, 1986. 221.
2. Cynthia Griffin Wolff, ed., Classic American Women Writers. New York: Harper, 1980. 2.

Work Cited
Foy, Roslyn Reso. “Chopin’s Desiree’s Baby.” The Explicator 49:4. Summer 1991: 222-23. Literature Resource Center. Thomson Gale. Buchholz High School. Gainesville, FL. 23 January 2006. <http://infotrac.galegroup.com>.

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Friday, February 23, 2007

l The Rise of Realism: The Civil War and Postwar Period (408-422)


l What was the news headline on April 12,
1861?

“Confederate attack on Fort Sumter; beginning of Civil War”

Name the sport invented in 1891

basketball by James Naismith in Springfield, Mass

Name the purpose of the thirteenth amendment, ratified in 1865

outlaw slavery

Name the place and date of the first Olympic Games
Athens, Greece in 1896


l Name the organizer and date of organization of the American Red Cross
l Clara Barton (1821 – 1912) American Humanitarian
l Angel of the Battlefield, American Red Cross Founder

l Name two important inventions in 1876 and 1878
l first telephone – Alexander Graham Bell; first phonograph – Thomas Edison
l Name the school Booker T. Washington founded in 1881
l Tuskegee Institute (believed black interests best served by a vocational education – not an academic one and not by participation in politics

What was the name and date of the last major victory of the Sioux (Lakota)?

Little Bighorn in Dakota Territory in 1876 when US forces under General George A. Custer were defeated – also called Custer’s Last Stand
How did people’s response to the war change? Why?

Began idealistically but after the north lost the Battle of Bull Run, they realized that it would be a long war and were disillusioned. Also, lack of supplies, medicine, doctors.

l Why did photographs of the war not appear in newspapers?
l Newspapers could not yet reproduce photos, so photographers sold directly to the public

l Name the most famous Civil War photographer.

l Matthew Brady
•Give two reasons why “very little important poetry and fiction issued directly from the Civil War.”Why did few American writers saw the war firsthand – 1)Poe (’49), Thoreau (’62), and Hawthorne (’64) were dead; Melville and Emerson fascinated but too old to see it firsthand; the younger generations of writers – William Dean Howells, Henry James, and Henry Adams were in Europe 2) no genre appropriate for such strong material; realistic novel had not been fully realized

l Compare and contrast romanticism and realism.
l Romanticism – idealistic, larger-than-life heroes
l Realism – accurate portrayal of real life without idealizing or romanticizing Also, why people behave as they do, so they began to focus on behavioral science, biology, psychology, sociology


Realism

l Often defined as “the faithful representation of reality” or “verisimilitude”
l An accurate representation and exploration of American lives in various contexts
l Became dominant after the Civil War because of the Industrial Revolution, the rise of middle class, literacy, and education
l Diction is natural vernacular
l Tone may be serious, satiric, humorous
l Subjects are people living in society and their relationships:
l Mixed characters, not idealized -- both good & bad, strong & weak elements
l Conflicts: protagonist (not “hero”) vs. antagonist (not “villain”)



Name the best-known regional writer and the novel considered his best.
Mark Twain [Samuel Langhorne Clemens] / The Adventures of Huckleberry Finn
What compliment did Ernest Hemingway pay to this regional writer and this novel?
“All modern American literature comes from one book by Mark Twain called Huckleberry Finn.





l Explain the three requirements of the “smiling realism” of William Dean Howells, the editor of the influential magazine The Atlantic Monthly.
l 1. deal with the lives of ordinary people
l 2. be faithful to the development of character – even to the
l 3. discuss social questions bothering AmericansAlso, although people may act foolishly, their good qualities have to win out in the end.


l What is the subject of Frank Norris’s novel The Octopus?
l Struggles between wheat farmers and the railroad monopoly in California


l Define naturalism.
l Extension of realism – claimed to portray life exactly as is. Human behavior formed by forces beyond a person’s control -- heredity and environment; humans subject to laws of nature. Relied heavily on psychology and sociology.


What is the focus of a psychological novel?
Focused on character motivation in complex social and psychological situations
What does an ironist contrast or juxtapose?Human pretensions (claim to attention or right to attention) with the indifference of the universe

l P 408 Crane’s poem -- What effect of Civil War on America?

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Questions on Kate Chopin’s short story “Desiree’s Baby”
1. How do M and Mme Valmonde come to be the parents of Desiree?
2. What happens when Desiree is eighteen?
3. Where does Armand live for the first eight years of his life? Why?
4. How does Armand respond when M Valmonde reminds him of Desiree’s unknown origins?
5. How does Mme Valmonde feel about L’Abri, Armand’s home/plantation? Why?
6. How does Armand treat his slaves? How do they react?
7. The nurse woman is described as “yellow.” Explain.
8. How does Mme Valmonde react upon seeing Desiree’s baby for the first time in four weeks?
9. How does Desiree respond? Why?
10. How has Armand changed since the birth of his son?
11. When the baby is three months old, how does the behavior of the blacks and neighbors make Desiree feel uneasy?
12. How does Armand’s behavior toward Desiree and the baby change?
13. What does Desiree realize when she sits looking at her baby and then looking at the slave child fanning him?
14. How does Armand treat Desiree when she tries to talk to him?
15. What does Desiree say about her hand and Armand’s?
16. Desiree writes her step-mother and asks her to tell her/Armand/everyone that she, Desiree, is white. How does Mme Valmonde respond? Why?
17. How does Armand respond when Desiree shows him her mother’s letter?
18. Why does Armand no longer love Desiree? (find quote)
19. What is Armand’s “last blow at fate”?
20. Where does Desiree go? What are you to assume happens to her and her baby?
21. What does Armand do several weeks later?
22. What does Armand learn when he finds and reads an old letter from his mother to his father?

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Desiree's Baby by Kate Chopin
As the day was pleasant, Madame Valmonde drove over to L'Abri to see Desiree and the baby.
It made her laugh to think of Desiree with a baby. Why, it seemed but yesterday that Desiree was little more than a baby herself; when Monsieur in riding through the gateway of Valmonde had found her lying asleep in the shadow of the big stone pillar.
The little one awoke in his arms and began to cry for "Dada." That was as much as she could do or say. Some people thought she might have strayed there of her own accord, for she was of the toddling age. The prevailing belief was that she had been purposely left by a party of Texans, whose canvas-covered wagon, late in the day, had crossed the ferry that Coton Mais kept, just below the plantation. In time Madame Valmonde abandoned every speculation but the one that Desiree had been sent to her by a beneficent Providence to be the child of her affection, seeing that she was without child of the flesh. For the girl grew to be beautiful and gentle, affectionate and sincere,--the idol of Valmonde.
It was no wonder, when she stood one day against the stone pillar in whose shadow she had lain asleep, eighteen years before, that Armand Aubigny riding by and seeing her there, had fallen in love with her. That was the way all the Aubignys fell in love, as if struck by a pistol shot. The wonder was that he had not loved her before; for he had known her since his father brought him home from Paris, a boy of eight, after his mother died there. The passion that awoke in him that day, when he saw her at the gate, swept along like an avalanche, or like a prairie fire, or like anything that drives headlong over all obstacles.
Monsieur Valmonde grew practical and wanted things well considered: that is, the girl's obscure origin. Armand looked into her eyes and did not care. He was reminded that she was nameless. What did it matter about a name when he could give her one of the oldest and proudest in Louisiana? He ordered the corbeille from Paris, and contained himself with what patience he could until it arrived; then they were married.
Madame Valmonde had not seen Desiree and the baby for four weeks. When she reached L'Abri she shuddered at the first sight of it, as she always did. It was a sad looking place, which for many years had not known the gentle presence of a mistress, old Monsieur Aubigny having married and buried his wife in France, and she having loved her own land too well ever to leave it. The roof came down steep and black like a cowl, reaching out beyond the wide galleries that encircled the yellow stuccoed house. Big, solemn oaks grew close to it, and their thick-leaved, far-reaching branches shadowed it like a pall. Young Aubigny's rule was a strict one, too, and under it his negroes had forgotten how to be gay, as they had been during the old master's easy-going and indulgent lifetime.
The young mother was recovering slowly, and lay full length, in her soft white muslins and laces, upon a couch. The baby was beside her, upon her arm, where he had fallen asleep, at her breast. The yellow nurse woman sat beside a window fanning herself.
Madame Valmonde bent her portly figure over Desiree and kissed her, holding her an instant tenderly in her arms. Then she turned to the child.
"This is not the baby!" she exclaimed, in startled tones. French was the language spoken at Valmonde in those days.
"I knew you would be astonished," laughed Desiree, "at the way he has grown. The little cochon de lait! Look at his legs, mamma, and his hands and fingernails,--real finger-nails. Zandrine had to cut them this morning. Isn't it true, Zandrine?"
The woman bowed her turbaned head majestically, "Mais si, Madame."
"And the way he cries," went on Desiree, "is deafening. Armand heard him the other day as far away as La Blanche's cabin."
Madame Valmonde had never removed her eyes from the child. She lifted it and walked with it over to the window that was lightest. She scanned the baby narrowly, then looked as searchingly at Zandrine, whose face was turned to gaze across the fields.
"Yes, the child has grown, has changed," said Madame Valmonde, slowly, as she replaced it beside its mother. "What does Armand say?"
Desiree's face became suffused with a glow that was happiness itself.
"Oh, Armand is the proudest father in the parish, I believe, chiefly because it is a boy, to bear his name; though he says not,--that he would have loved a girl as well. But I know it isn't true. I know he says that to please me. And mamma," she added, drawing Madame Valmonde's head down to her, and speaking in a whisper, "he hasn't punished one of them--not one of them--since baby is born. Even Negrillon, who pretended to have burnt his leg that he might rest from work--he only laughed, and said Negrillon was a great scamp. oh, mamma, I'm so happy; it frightens me."
What Desiree said was true. Marriage, and later the birth of his son had softened Armand Aubigny's imperious and exacting nature greatly. This was what made the gentle Desiree so happy, for she loved him desperately. When he frowned she trembled, but loved him. When he smiled, she asked no greater blessing of God. But Armand's dark, handsome face had not often been disfigured by frowns since the day he fell in love with her.
When the baby was about three months old, Desiree awoke one day to the conviction that there was something in the air menacing her peace. It was at first too subtle to grasp. It had only been a disquieting suggestion; an air of mystery among the blacks; unexpected visits from far-off neighbors who could hardly account for their coming. Then a strange, an awful change in her husband's manner, which she dared not ask him to explain. When he spoke to her, it was with averted eyes, from which the old love-light seemed to have gone out. He absented himself from home; and when there, avoided her presence and that of her child, without excuse. And the very spirit of Satan seemed suddenly to take hold of him in his dealings with the slaves. Desiree was miserable enough to die.
She sat in her room, one hot afternoon, in her peignoir, listlessly drawing through her fingers the strands of her long, silky brown hair that hung about her shoulders. The baby, half naked, lay asleep upon her own great mahogany bed, that was like a sumptuous throne, with its satin-lined half-canopy. One of La Blanche's little quadroon boys--half naked too--stood fanning the child slowly with a fan of peacock feathers. Desiree's eyes had been fixed absently and sadly upon the baby, while she was striving to penetrate the threatening mist that she felt closing about her. She looked from her child to the boy who stood beside him, and back again; over and over. "Ah!" It was a cry that she could not help; which she was not conscious of having uttered. The blood turned like ice in her veins, and a clammy moisture gathered upon her face.
She tried to speak to the little quadroon boy; but no sound would come, at first. When he heard his name uttered, he looked up, and his mistress was pointing to the door. He laid aside the great, soft fan, and obediently stole away, over the polished floor, on his bare tiptoes.
She stayed motionless, with gaze riveted upon her child, and her face the picture of fright.
Presently her husband entered the room, and without noticing her, went to a table and began to search among some papers which covered it.
"Armand," she called to him, in a voice which must have stabbed him, if he was human. But he did not notice. "Armand," she said again. Then she rose and tottered towards him. "Armand," she panted once more, clutching his arm, "look at our child. What does it mean? tell me."
He coldly but gently loosened her fingers from about his arm and thrust the hand away from him. "Tell me what it means!" she cried despairingly.
"It means," he answered lightly, "that the child is not white; it means that you are not white."
A quick conception of all that this accusation meant for her nerved her with unwonted courage to deny it. "It is a lie; it is not true, I am white! Look at my hair, it is brown; and my eyes are gray, Armand, you know they are gray. And my skin is fair," seizing his wrist. "Look at my hand; whiter than yours, Armand," she laughed hysterically.
"As white as La Blanche's," he returned cruelly; and went away leaving her alone with their child.
When she could hold a pen in her hand, she sent a despairing letter to Madame Valmonde.
"My mother, they tell me I am not white. Armand has told me I am not white. For God's sake tell them it is not true. You must know it is not true. I shall die. I must die. I cannot be so unhappy, and live."
The answer that came was brief:
"My own Desiree: Come home to Valmonde; back to your mother who loves you. Come with your child."
When the letter reached Desiree she went with it to her husband's study, and laid it open upon the desk before which he sat. She was like a stone image: silent, white, motionless after she placed it there.
In silence he ran his cold eyes over the written words.
He said nothing. "Shall I go, Armand?" she asked in tones sharp with agonized suspense.
"Yes, go."
"Do you want me to go?"
"Yes, I want you to go."
He thought Almighty God had dealt cruelly and unjustly with him; and felt, somehow, that he was paying Him back in kind when he stabbed thus into his wife's soul. Moreover he no longer loved her, because of the unconscious injury she had brought upon his home and his name.
She turned away like one stunned by a blow, and walked slowly towards the door, hoping he would call her back.
"Good-by, Armand," she moaned.
He did not answer her. That was his last blow at fate.
Desiree went in search of her child. Zandrine was pacing the sombre gallery with it. She took the little one from the nurse's arms with no word of explanation, and descending the steps, walked away, under the live-oak branches.
It was an October afternoon; the sun was just sinking. Out in the still fields the negroes were picking cotton.
Desiree had not changed the thin white garment nor the slippers which she wore. Her hair was uncovered and the sun's rays brought a golden gleam from its brown meshes. She did not take the broad, beaten road which led to the far-off plantation of Valmonde. She walked across a deserted field, where the stubble bruised her tender feet, so delicately shod, and tore her thin gown to shreds.
She disappeared among the reeds and willows that grew thick along the banks of the deep, sluggish bayou; and she did not come back again.
Some weeks later there was a curious scene enacted at L'Abri. In the centre of the smoothly swept back yard was a great bonfire. Armand Aubigny sat in the wide hallway that commanded a view of the spectacle; and it was he who dealt out to a half dozen negroes the material which kept this fire ablaze.
A graceful cradle of willow, with all its dainty furbishings, was laid upon the pyre, which had already been fed with the richness of a priceless layette. Then there were silk gowns, and velvet and satin ones added to these; laces, too, and embroideries; bonnets and gloves; for the corbeille had been of rare quality.
The last thing to go was a tiny bundle of letters; innocent little scribblings that Desiree had sent to him during the days of their espousal. There was the remnant of one back in the drawer from which he took them. But it was not Desiree's; it was part of an old letter from his mother to his father. He read it. She was thanking God for the blessing of her husband's love:--
"But above all," she wrote, "night and day, I thank the good God for having so arranged our lives that our dear Armand will never know that his mother, who adores him, belongs to the race that is cursed with the brand of slavery."

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Monday, February 12, 2007

Works Cited Entries and Parenthetical (or In-Text Documentation) Citations

1. Book – general format and example:

Author – last name first. Title of Book. Place of Publication: Publishing Company, Year of Publication.
Fitzgerald, F. Scott. The Great Gatsby. 1925. New York: Scribner, 1995.
Note: If a book is old and has more than one copyright date, put the original copyright date after the title / before the book’s publishing information.

Citation: (Author’s Last Name Page Number).
(Fitzgerald 63).

2. Web Site – general format and example:

Author – last name first. “Title of article or page.” Title of project or database. Date of publication or last updated. Any sponsoring organization. Date you viewed document. .
Bruccoli, Matthew J. “A Brief Life of Fitzgerald.” F. Scott Fitzgerald Centenary. December 4, 2003. University of South Carolina. 26 April 2005. www.sc.edu/fitzgerald/biography.html>.
Important Note: When creating a works cited entry, look for needed information all over the page and possibly on the home page. Not all of the information may be found. Include as much as possible. Author or sponsoring organization, title, date viewed, and complete URL MUST be included.

Citation: (Bruccoli 2).
*If no author, use a short form of the title: (“A Brief Life” 2).

Note: To find the page number, print your source or view it under “Print Preview.”
3. Literature Resource Center – general format and example:

Author – last name first. “Article Title.” Publication Name. Volume or Edition number. Publication Date. Page Numbers. Database Name. Service Name. Name of the library where service was accessed. Name of the city, state where service was accessed. Date of Access. URL of the service.
Wershoven, Carol. “Insatiable Girls.” Child Brides and Intruders. 1993. 92-9. Literature Resource Center. Thomson Gale. FW Buchholz High, Gainesville, Florida. 24 April 2005. http://galenet.galegroup.com/.
Citation: (Wershoven 95).

REMEMBER: THE FIRST LINE OF A WORKS CITED ENTRY IS FLUSHED TO THE RIGHT WHILE SUBSEQUENT LINES ARE INDENTED.

Thursday, February 08, 2007

Friday, September 15, 2006


The Crucible EssayPlanning Form
Topic:_____________________________
I. Introduction:______________________________________________________________________________________________________________________________________________________________________________________________________________________________
____________________________________
____________________________________
Thesis Statement:___________________
__________________________________

Body Paragraphs
l Body Paragraph 1
Topic Sentence:__________________________________________________
________________________________________________________________
Concrete Detail (CD) #1 : (transition)
______________________________________________________________
_____________________________________________________________(citation)
Commentary (CM)1.1_______________________________________________
________________________________________________________________
Commentary 1.2 __________________________________________________
________________________________________________________________
CD #2(transition)__________________________________________________
______________________________________________________________ (citation)
CM 2.1________________________________________________________
______________________________________________________________
CM 2.2 ________________________________________________________
____________________________________________________________
CD #3 (transition)_____________________________________________
______________________________________________________________(citation)
CM 3.1 _________________________________________________________
_______________________________________________________________
CM 3.2 _________________________________________________________
Concluding Sentence ___________________________________________________

III. Body Paragraph 2
Topic Sentence:_______________________________________________________
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Concrete Detail (CD) #1 : (transition)
______________________________________________________________________________ ______________________________________________(citation)
Commentary (CM)1.1___________________________________________________
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Commentary 1.2 ______________________________________________________
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CD #2(transition)______________________________________________________
____________________________________________________________ (citation)
CM 2.1______________________________________________________________
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CM 2.2 ______________________________________________________________
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CD #3 (transition)____________________________________________________
____________________________________________________________(citation)
CM 3.1 _____________________________________________________________
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CM 3.2 _____________________________________________________________
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Concluding Sentence ___________________________________________________


IV. Body Paragraph 3
Topic Sentence:______________________________________________________
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Concrete Detail (CD) #1 : (transition)
______________________________________________________________________________ ___________________________________(citation)
Commentary (CM)1.1____________________________________________________
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Commentary 1.2 ______________________________________________________
____________________________________________________________________
CD #2(transition)______________________________________________________
___________________________________________________________ (citation)
CM 2.1____________________________________________________________
_______________________________________________________________
CM 2.2 ________________________________________________________
______________________________________________________________
CD #3 (transition)__________________________________________________
____________________________________________________(citation)
CM 3.1 ___________________________________________________________
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CM 3.2 ____________________________________________________________
________________________________________________________________
Concluding Sentence ___________________________________________________



l Conclusion Paragraph
Re-state our thesis:_________________
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Sentences 2-4 (summarize)
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Sentence 5: very general statement
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