Answers to GE Multiple Choice (#23-30)

23. B
24. E
25. C
26. A
27. C
28. C
29. D
30. B

Questions from 12/18

After reading pages 129-133, answer the following questions.  Add these answers to your notes from yesterday's homework.  (See below).

1. What is the extent of Oedipus' knowledge in this scene? (What does he know for sure? Sort of know? Definitely not know?

2. Is he actively trying to seek out the truth?


3. Could he be trying harder to learn the truth? Explain.

Homework Due 12/18

Homework

If possible, complete your questions on a big piece of paper that you can use as a "timeline" to track the change in Oedipus.  Leave room for two to three more conversations.  You do not need to be super-neat - more important to take complete and thorough notes for your future reference.

1. Read through page 129, when Creon exits.

2. Answer the following two questions for each of Oedipus' conversations so far (Teiresias and Creon).

a. How much knowledge does Oedipus have at this point? How can you tell?
b. What mood is he in? How can you tell?
c. What does that tell us about his character?

December 3 Read20 w/ Bonus Question

Key Details:  What two settings dominate the first stage?  The second stage?

Vocabulary:  Choose two words Stoehr uses to connect evidence and analysis.  Create your own sentences about GE using these words.

Connections and Inferences:  Stoehr says that the two “strands of action” reflect “the inner conflict of his character”?  How is that true in the first stage?  The second stage?

Point and Purpose:  What does Stoehr mean by “This is discovery and reversal…” Use evidence from the article as well as your own analysis. 

BONUS:  Does Chopin use setting to reflect Edna's changing character in The Awakening?  Use evidence to support your answer. 

The Right Word, Not the Biggest or Most Obscure Word

This book review from this week's NYTimes does a good job explaining the pitfalls of choosing words to impress rather than to inform.

http://www.nytimes.com/2013/11/10/books/review/double-down-by-mark-halperin-and-john-heilemann.html?ref=books&_r=0

Read20 Questions for "Guilt in Great Expectations"

Read20:
Box 1: What is the topic sentence of the first paragraph about?
What theme does the topic sentence of the last paragraph
introduce?
Box 2: How does Dickens use the word “penitential”? Is this a
straightforward or ironic use of the word? Explain.
Box 3: Summarize each of the topic sentences. What trend or
pattern do you notice about how the topic sentences change
from the beginning to the end?
Box 4: What is the “main idea” in the article and in which
paragraph does it appear? Describe another paragraph and
explain why it does not contain the main idea.

Work for 10/10: "The Flea" by John Donne

The Prompt:  How does Donne use a conceit to develop his ideas about sex?

The poem: http://www.poetryfoundation.org/poem/175764

To begin,  answer these questions to acquaint yourself with your poem:

1.     What can you predict about the poem based on the title?

2.     For every pronoun, draw a line back and circle the antecedent.

3.     What does Donne describe the flea doing in the first stanza?  What does he compare the flea to?

4.     Why doesn’t Donne want his audience to kill the flea?  Use textual evidence.

5.     Interpret the twist at the end. 

Here is an example of the type of paragraph I expect, using your new poem, "The Flea":

Cowley compares himself to a picture. At first, the picture represents a younger version of himself. In the second stanza, he explains how her presence brings the picture to life, making it a "substance," and he becomes a "shadow" due to her absence. However, in the final stanza we learn that the love interest does not like "substance" in a romantic partner, so she will prefer the speaker, who has become "less than" the picture - "a picture's picture." Cowley uses the conceit of a picture to show how a lover's absence will drain life out of a person, but that women who prefer less lively men will find this attractive.