English IV: 2323, Readings in
British Literature
Mrs. Buffy Rattan
e-mail: [email protected]
** In addition to the information provided here, students are required to read and abide by the policies in the
FHS Student Handbook**
Course Syllabus and Expectations
I.
Textbooks:
a. Heaney, Seamus. Beowulf: A New Verse Translation. New York: Farrar, Straus, and Giroux,
2000. Print.
b. Shakespeare, William. Hamlet: Folger Library Shakespeare. Ed. Barbara A. Mowat and
Paul Werstine. New York: Simon and Schuster, 2003. Print
c. You can buy or rent these books from area bookstores or order them from an online retailer. I have a
limited number available for students to check out, but you must see me as soon as possible as they
will be checked out on a first come, first serve basis. In addition, our reading list will include selections
provided in school-purchased textbooks.
II.
Grading Policy:
A.
B.
C.
D.
III.
Essays are 40% of your overall grade. (responses, critiques, critical analysis essays, etc.).
Quiz grades are 20% of the overall grade and include pop quizzes.
Exams are 25% (We will have four major exams, including the final).
Daily work is 15% of your grade (class discussion, participation, homework).
Course Description and Objectives:
A. Prerequisites: ENGL 1301 and 1302. This course is a study of selected literary
masterpieces of British literature. Because I believe that our understanding of literature
deepens significantly when we examine it within its historical and cultural contexts, the
course will also include background material on the many social, technological, and cultural
transformations taking place throughout Great Britain to which literary artists were
responding during their respective time periods. Please note: this is a college sophomorelevel course, so some readings contain adult language and subject matter. Students who
are not prepared for college-level content should think carefully before continuing with this
course.
B. Upon completion of this course, English 2323 students should be able to
1. closely read and critically evaluate masterpieces of literature, taking time to
understand a work’s complexity, to absorb its richness of meaning, and to analyze
how that meaning is embodied in literary form;
2. understand and assess the distinguishing elements of non-fiction, fiction, poetry,
and drama, including structure, style, and themes as well as such elements as
figurative language, imagery, symbolism, and tone;
3. discuss analytically and in depth the characteristics of British literature;
4. write deliberately and thoughtfully about literature in a variety of modes in a way that
sequentially and cumulatively builds upon the writing skills developed in the writing
sequence;
5. understand and demonstrate personal and academic responsibility and integrity.
IV.
ASU Core Curriculum Objectives for Sophomore Literature
and Related Course Assessments:
Students in sophomore literature will practice the following core curriculum learning objectives in
critical thinking, communication, social responsibility, and personal responsibility. Students will
then demonstrate their capabilities in these objectives through quizzes, projects, written
analyses, reflections, or examinations.
A. Communications skills—to include effective written, oral, and visual communication.
Students will develop, interpret, and express ideas through effective written, oral and visual
communication
B. Critical thinking skills—to include creative thinking, innovation, inquiry, and analysis,
evaluation and synthesis of information. Students will gather, analyze, evaluate, and
synthesize information relevant to a question or issue by mastering a series of assigned
literary works in terms of generic conventions and content.
C. Social responsibility—to include intercultural competence, knowledge of civic
responsibility, and the ability to engage effectively in regional, national, and global
communities. Students will demonstrate ability to engage with locally, regionally, nationally,
or internationally known literary artists and the texts they create, and to reflect upon the
shared traditions of literary expression, the debates that help shape literature, and the
conflicts, cultural differences, and shared experiences.
D. Personal responsibility—to include the ability to connect choices, actions, and
consequences to ethical decision-making. Students will demonstrate the ability to evaluate
choices, actions, and consequences by identifying, analyzing, and evaluating ethical
decision-making in literary examples.
V.
Class Assignments:
A. General Note: Each assignment is a tool to reinforce skills and material taught in the
classroom. The amount of homework is carefully considered. Homework is not assigned
busy work, but rather it is assigned because of its vital importance to the learning process.
Therefore, students are expected to complete all assignments by the due date. Homework
will be posted at the beginning of class. Please note, assignments are subject to change if
the instructor deems it necessary.
B. Methods of Evaluation: In order to successfully achieve these objectives, students are
required to write frequently and rewrite frequently, both formal, extended analyses, and
shorter, in-class responses. Likewise, the instructor will offer on-going advice, before,
during, and after students write.
1. Therefore, among those elements that will receive particular attention in
students’ writing are the following emphases:
a. building a wider-ranging vocabulary, used appropriately and effectively;
b. practicing a variety of sentence structures, beginning with basic
coordination and subordination and including verbals and absolutes and other
more complex types of syntax;
c. employing logical organization made coherent with the techniques of
repetition, transitions, and emphasis;
d. balancing the general and the specific, with particular attention to
illustrative detail;
e. controlling tone, establishing and maintaining voice, and achieving emphasis
through diction, and sentence structure, all key rhetorical concerns;
f. making connections among their observations and from these connections
drawing inferences leading to appropriate conclusions about meaning.
2. As a prerequisite for this course, students should already understand and use
standard English grammar. This course should enhance student ability to use
grammatical conventions both appropriately and with sophistication as well as to
develop stylistic maturity in their own prose.
C. Due Dates and Late Penalties: This is a college sophomore level class, so shoddy or
inferior work is unacceptable. To avoid late penalties, submit your work when I request it in
class. I will consider essays that you do not have ready to submit at the time I request it in
class as one day late. You can submit essays up to three calendar days (not blue/gold
days) beyond their due date. However, I will deduct 15 points for each day that it remains
late. After three calendar days, you will forfeit all possible points for the assignment. Unless
I say otherwise, I will only accept printed essays handed to me in class. I will not accept
emailed essays. I will not accept daily assignments late. Make sure you turn these in on
the specified date and time.
D. Lost Work: You will need to devise a strategy for securely storing digital files. I highly
recommend that you incorporate a backup file system into your storage strategy. We all
know that hard drives can fail and flash drives can disappear. Backup all your work in
multiple locations. I will not accept technological breakdowns or lost files as valid excuses
for missing assignment deadlines.
VI.
Absentee Work:
A. Since students will know in advance when an essay or assignment is due and will have
ample time to complete it, the assignment MUST be turned in the date it is due. If a student
is absent the day an essay is due, for any reason, he or she needs to make sure his/her
paper is sent to school and handed to Mrs. Rattan. Late daily work will NOT be accepted
and will receive a 0 in the grade book. If a student will be absent for an in-class essay,
he/she needs to make arrangements to complete the assignment prior to the scheduled
absence.
B. Due to the nature of the assignment, presentations will NOT be accepted late.
C. Each student is personally responsible to request information and assignments that he or
she missed while absent. The rules for late assignments still apply if the student fails to
request the missed work.
D. If a student will be absent from school for a school sponsored trip (for example, ag or
athletics), the student must turn in any work which will be due during his/her absence or
complete any tests scheduled for when he/she is absent BEFORE leaving on the trip.
E. I will not discuss absentee work with you during instructional time (either your class or
another class.) I will not discuss it in the hallway between classes. I am happy to work with
you during AP or by appointment after school.
VII.
Email:
A. When questions about course content occur to you outside of AP or our scheduled class
sessions, I encourage you to email me for assistance. I am happy to answer your questions.
However, please understand that I receive a lot of email on any given day, so it is important
that your email messages attend to some basic conventions of electronic communication.
For example, your emails to me should contain a helpful subject line. They should begin
with a salutation, such as “Dear Mrs. Rattan” or “Hi, Mrs. Rattan.” They should also contain
your full name along with the name and class period of our course. Finally, I ask that you
attempt to use properly punctuated and complete sentences in your emails to me. They
don’t have to be perfectly edited, but I will not respond to carelessly written messages
littered with typographical errors. Also, please understand that it may take up to 24 hours for
me to respond to an email during the week and that I may not check my school email on
weekends or holidays.
B. I also request that students limit the use of email to quick questions and requests. The
activity period (AP) in the morning or after school appointments are the best way for us to
address more complex questions and concerns about the course.
VIII.
Supplies:
A. BE PREPARED FOR CLASS. Always bring the following to class:
1. Text Book or other required books we are using at the time
2. Paper
3. Binder
4. One highlighter, any color.
5. Pen
6. Pencil
IX.
Classroom Expectations and Procedures:
A. You are to always exhibit integrity. Any action should reflect this idea.
B. Having integrity includes adhering to the following standards:
1. Be prompt. Class begins precisely on time. After I have closed the classroom door, it
will stay locked until the end of class. After the door has been closed, no student will
be allowed inside the classroom without a tardy pass. Please, get everything from
your locker or car and go to the restroom before coming to class.
2. Be kind and respectful. All actions and words should reflect kindness and respect
for both the instructor and all other students. I will not tolerate rude or disrespectful
behavior directed at any member of this class. Anyone exhibiting disrespectful or
vulgar language and/or behavior will be subject to the school’s discipline policy.
3. Be honest. Honesty is an important part of integrity. Cheating will not be tolerated.
Cheating includes sharing homework answers, looking at another student’s test or
quiz, and talking (even whispering) during a test or quiz. Plagiarism is another form of
cheating and will be addressed in more detail in the next section of the syllabus. If
the student has a doubt as to what constitutes cheating, the instructor will gladly
answer any questions.
4. Be mentally present. Use of electronic devices during class will not be tolerated
unless the instructor has specifically directed that they be used for instructional
purposes. If you are using your phone for something other than teacher-directed
purposes, it will be confiscated and turned in to the principal’s office. A student can
pick up the phone from the office for a fee of $15. Laptop computers may not be used
in class unless prior permission has been obtained from the instructor.
5. Be on task. All materials from other classes must be put away during class time.
X.
Academic Integrity and Plagiarism
1. In my classes, I want to foster a spirit of complete honesty and a high standard of
integrity. The attempt of students to present as their own any work that they have not
honestly performed is regarded as a serious offense and renders the offenders liable
to serious consequences.
2. “All ASU students are expected to understand and to comply with the University’s
policy on Academic Honesty as stated in the ASU Bulletin and in the ASU Student
Handbook. Students who violate the Policy on Academic Honesty will be subject to
disciplinary action including a failing grade in the course.”
3. Although the school broadly defines the types of "dishonesty" that compromise
academic integrity, the most common offense for this course is plagiarism. Plagiarism
includes, but is not limited to, the appropriation of, buying, receiving as a gift, or
obtaining by any means material that is attributable in whole or in part to another
source, including words, ideas, illustrations, structure, computer code, other
expression and media, and presenting that material as one's own academic work
being offered for credit.
XI.
Students with Disabilities: Students with disabilities, including but not limited to
physical, psychiatric or learning disabilities, who wish to request accommodations in this class need to
have done so with the counselor’s office at the high school. If your accommodations are already on file,
then I already have the paper work, but would love to talk with you, privately, about which
accommodations help you the most.
XII.
Statement of Nondiscrimination: It is the policy of this instructor not to
discriminate on the basis of age, color, disability, ethnicity, gender, national origin, race, religion, sexual
orientation, or veteran status.
XIII.
Statement of Diversity: By its very design, this course engages texts that some students
might find difficult and/or controversial. It is my intention, nevertheless, to establish and support an
environment that values and nurtures individual and group differences and encourages student
engagement and interaction both with the assigned texts and each other. Understanding and respecting
multiple experiences and perspectives will serve to challenge and stimulate each of us to examine the
world in which we live. By promoting diversity and intellectual exchange, we aim not only to mirror society
as it is, but also model society as it should and can be.
Course Plan
This course schedule is subject to change at the instructor’s discretion and does not include all daily assignments. As
this is a college-level course, students are responsible for their own time and course management strategies.
Unit One
Time Frame: August -September (approximately 6 weeks)
Unit Theme: The Search for Meaning and the Outcast
Unit Quote: “There is something at work in my soul, which I do not understand.” –Mary Shelley
Focus: understanding Speaker, Tone, and Structure
Major Works of Study:
Rime of the Ancient Mariner –Samuel Taylor Coleridge
Frankenstein –Mary Shelley
Supplemental Works:
Genesis – Chapters 1-4
“A Very Old Man with Enormous Wings” –Gabriel Garcia Marquez
“The Parable of the Prodigal Son” –St. Luke
Selected poetry
Reading Overview: For the first weeks of class, I am intent on reviewing important reading lessons from my students’
last year in either 1301/1302 Dual Credit or AP Language and Composition and laying the foundation for this year’s
work in carefully reading and critically analyzing imaginative literature. Through the close reading of selected texts,
students should deepen their understanding of the ways writers use language to provide both meaning and pleasure
for their readers. Students are expected to read every assignment on time, and as they read, consider each work’s
speaker, tone, theme, and structure, as well as note smaller-scale elements as the use of figurative language,
imagery, and symbolism.
I chose Shelley’s Frankenstein and Coleridge’s Rime of the Ancient Mariner as the major works of study for this unit
because they provide an interesting bridge between the nonfiction voices of the exposition and persuasion essays from
students’ junior year and the imaginative personas students encounter in the poetry, stories, and novels of their senior
year. Each work possesses all the qualities of a college-level text, depicts an isolated or outcast narrator, and
presents a story in an interesting, yet relatively simple narrative.
The supplemental texts include works from several different genres and time periods encouraging students to perceive
the thematic and structural ties between central and supplemental works and understand how speakers, motifs, and
allusions yield multiple meanings.
At this point of the year, I will introduce students to beginning Literary Theory. The idea is to begin leading students to
the process of understanding what the relation of text is to author, to reader, to language, to society, to history. We will
discuss the basics of Traditional Theory, New Criticism, Feminist Theory, Psychological Theory, Marxist Theory,
Structuralism, and Deconstruction. The purpose of the study is to open students’ thinking to where personal and
cultural values should be placed in literature. Discussion of theory continues throughout the year when it is relevant
to supplementing understanding and enjoyment of a work.
Writing Activities: Dual credit students are required to do many types of writing, including composing literary analysis
essays, close reading journals, timed writings, and creative poems and stories.
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During the first weeks, students will compose three short expository/analytical essays on the speaker
(voice, persona, narrator, perspective) of the following poems: Edgar Allan Poe’s “The Bells,” Philip Larkin’s
“First Sight,” and Wilfred Owen’s “Dulce et Decorum est.” Each essay should demonstrate the students’ ability
to use embedded quotations accurately and sufficiently and provide sound evidence to support thesis
statements. Students also demonstrate their understanding of tone and tone shift (antithesis), being careful
to explain what affect that shift has on the meaning of the poem.
In order to demonstrate evidence of preparation for classroom discussion and composition, students are
expected to practice annotation as an informal and explanatory type of writing. Students are also
expected to keep a reading journal detailing their responses to the assigned literature.
For reading quizzes, students must draw upon textual details to explain and interpret the meaning of
characters, events, quotes, details, objects, images, and motifs from assigned literature. Quality answers
demonstrate effective word choice, appropriate sentence structure, and effective organization. Answers should
also suggest that the student understands the work on a concrete, abstract, and super abstract level.
In small groups, students will compile a list of excellent theme statements derived from their reading of
Frankenstein. Each group will turn in one list. These thematic statements will be copied, and groups must
determine which statements are strong and which are weak, listing their defenses and evidences in their
notebooks.
For the culminating argumentative/analytical essay, students draw upon textual details to explain the artistry
and quality and social and cultural values of works from this unit. Students will write on one of the following
topics:
o Singer and humanitarian Bob Geldof once asked the question, “Must it always be that we of necessity
acquire understanding and with that knowledge must we gain all the mental pain of comprehension?”
Using evidence from Frankenstein and Rime of the Ancient Mariner, as well as your own observations
and/or experiences, answer Geldof’s question.
o Choose two seemingly unrelated motifs repeated throughout Frankenstein. Next, explain how the
motifs are actually connected at a deeper level of meaning and discuss how they support a major
theme of the novel.
o Mary Shelley had ample reason to see birth and death as two sides of the same coin: her own birth
was the cause of her mother’s death, and her first child, born premature, died only a few days after its
birth. Analyzing two or three scenes from the novel, note specifically how Frankenstein promotes the
idea that life and death are indeed “two sides of the same coin.”
Unit Two
Time Frame: October-November (approximately 5 weeks)
Unit Theme: Wild at Heart/Pure at Heart—Innocence and Experience
Unit Quote: “I wanta introduce myself. I’m Arnold Friend and that’s my real name and I’m gonna be your friend,
honey…” – Joyce Carol Oates
Focus: Setting, Voice, Allusion, Theme, and Irony
Major Works of Study:
Paradise Lost, Books I-IV, IX – John Milton
Beowulf – Unknown, translated by Seamus Heaney
Supplemental Works:
Selected poems from Songs of Innocence and Experience – William Blake
“Young Goodman Brown” – Nathaniel Hawthorne
“The Man in the Black Suit” – Stephen King
“Where Are You Going? Where Have You Been?” – Joyce Carol Oates
“A Good Man is Hard to Find” – Flannery O’Connor
Selected poetry
Reading Overview: The new unit brings works more complex in scope and theme. The motifs, settings, and
characters are central to the overall meanings of the works and understanding paradoxical and antithetical elements
are the bridge to thematic elements.
As we wrestle with Paradise Lost, Beowulf, and our supplemental works, students will come to realize through their
own discussion and writings the differences between the authors, the characters, the genres, the themes, and the
cultural and societal values.
Both Paradise Lost and Beowulf require careful close reading. Students are encouraged to keep track of unfamiliar
vocabulary so that they may build upon their personal diction in writing.
Writing Activities:
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Students will compose a metacognition, evaluating their first grading period in this class and predicting or
“foreshadowing” the better choices they will make in the remainder of the semester, both in reading and
writing. This self-evaluation must include a close reading of their own writing, both formal and informal.
In keeping with the theme of introspection and self-evaluation, students will write a letter to a future
grandchild to be opened on the child’s 18th birthday. The purpose of this letter is to allow students to evaluate
and discover the principles that affect their lives as well as develop a sense of audience and a sense of self.
The letter must be neatly handwritten with much thought and effort. Inferior or “shoddy” work will not be
accepted. A student must carefully consider how he or she wants to be seen by his or her future grandchild.
Letters must be creative and include a brief description of the student, an overview of goals, a portrait of the
world in which he or she lives, and any advice he or she wishes to give.
In order to demonstrate evidence of preparation for classroom discussion and composition, students are
expected to practice annotation as an informal and explanatory type of writing. Students are also
expected to keep a reading journal detailing their responses to the assigned literature.
For reading quizzes, students must draw upon textual details to explain and interpret the meaning of
characters, events, quotes, details, objects, images, and motifs from assigned literature. Quality answers
demonstrate effective world choice, appropriate sentence structure, and effective organization. Answers
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should also suggest that the students understands the work on the concrete, abstract, and super abstract
level.
In discussing rhetoric, students review speeches of Satan from Book 1 of Paradise Lost. For each passage,
they will answer the following questions:
o What is the situation?
o What is the purpose of the speaker?
o Who is the audience?
o What is the literal meaning of the passage?
o What lines seem to be the most effectively written?
o Why are they effective?
o What does the passage tell the reader about the positive and negative qualities of Satan?
In small groups, students compile a list of excellent theme statements derived from their reading of Beowulf.
Each group will turn in one list. These thematic statements will be copied, and groups must determine which
statements are strong and which are weak, listing their defenses and evidences in their notebooks.
Inspired by Michael Gelb’s How to Think Like Leonardo DaVinci, the next assignment requires students to use
all parts of their brains. For the “Hope You Guess My Name” Mind Map, students will use Nathaniel
Hawthorne’s “Young Goodman Brown,” Stephen King’s “The Man in the Black Suit,” Flannery O’’Connor’s “A
Good Man is Hard to Find,” and Joyce Carol Oates’ “Where Are You Going? Where Have You Been?” After
carefully reading each story, students will complete the following assignment:
o Using poster board or art paper, begin your map with a central SYMBOL or IMAGE, representing ALL
of the stories. Draw as vividly as you can, using several colors.
o Dedicate each corner of the poster to a specific story. Choose a central symbol or image for each
story, placing it in the appropriate corner. Once again, draw a vivid image, using more than one color.
o Now print a series of Key WORDS or PHRASES or draw IMAGES on lines radiating out from each
central image.
o Continue following the logic of your developing ideas/”branches,” WORD by WORD, working in
“layers” of outward logic.
o Connect the related parts of your mind map with arrows, codes, and colors.
o Use COLORS and PICTURES throughout your map for greater associations and emphasis.
o Create at the top a clearly visible TITLE for your map, one immediately identifying the purpose of your
work.
o Include on the front of your map QUOTATIONS (at least one from each story) which best exhibit the
essence of the work. These quotes may appear on branches or in a list out to the side.
o Finally, on the front of the map, compose 150-200 words, explaining the PARALLEL relationship
among the stories.
For the unit exam, students will choose one of the following prompts to analyze and develop into a welldeveloped essay. Each essay should be logically argued, grammatically correct, and intelligently written using
a high level of literary and personal vocabulary. Textual evidence must support answers.
o Note Milton’s treatment of Adam and Eve, particularly his opinions concerning marriage and gender
roles appropriate to each sex. Based on the depictions of Eve, can one call Milton a misogynist?
Where would you place Milton in the spectrum of attitudes toward women encountered in literature so
far this year?
o Explore how two themes or motifs in Beowulf become interconnected or interlaced throughout the
narrative. Themes are motifs include violence, heroism, revenge/feuding, gold, the gifstol (throne), the
mead-hall, women, marriage, and so on. Focus on how particular passages from the text suggest this
interconnection.
o How is Beowulf elegiac (sorrowful; mourning of past greatness) in tone and theme? What
characteristics contribute to this? What outlook on life does this suggest?
Unit Three
Time Frame: November-December (approximately 6 weeks)
Unit Theme: Nice Guys Finish Dead
Unit Quote: “To be or not to be, that is the question.” – William Shakespeare
Focus: Allusion, Tone, Theme, Text and Subtext
Major Works of Study:
Hamlet – William Shakespeare
Selected poetry
Reading Overview: Hamlet challenges students to deal with setting and speaker and structure and tone in general
and irony in particular as well as many other literary elements. This drama deserves especially careful close reading.
Students will demonstrate their ability to understand the text through performance, analyzing Shakespeare’s use of
double entendre, allusion, and pun. They are not only asked to closely read a scene, but also perform it as a tool to
discovering the pleasures of the language. Performance should allow students to see the textual and subtextual
signals in the dense language of the play.
In addition, we will review Aristotle’s dramatic conventions including the Classical Unities of time, place, and action
as well as the criteria for a tragic hero, discuss the nuances of characterization, especially in the extreme similarities
between Ophelia and Hamlet, and trace the central allusion of the play, the ancient tale of the fall of Troy since the
main actor recites a lengthy passage describing the appearance of the Trojan horse, the violence of Pyrrhus, the death
of Priam, and the collapse of an entire culture. The allusion sets up the perfect analogy between the Trojan and Danish
cultures, the earlier foreshadowing the latter. Students must also consider the social and historical circumstances of
the writing of the play, especially focusing on Shakespeare’s attitude toward the Elizabethan monarchy and its effect
on the Danish monarchy of the play.
Writing assignments:
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In order to demonstrate evidence of preparation for classroom discussion and composition, students are
expected to practice annotation as an informal and explanatory type of writing. Students are also
expected to keep a reading journal detailing their responses to the assigned literature. While reading,
students should find and copy carefully in their notebooks the single most important quotations from each of
the five or six most important characters. In addition, students should look for thematic similarities or
dissimilarities or antitheses, finding and cataloguing at least two important motifs appearing at least three to
five times in the drama.
For reading quizzes, students must draw upon textual details to explain and interpret the meaning of
characters, events, quotes, details, objects, images, and motifs from assigned literature. Quality answers
demonstrate effective word choice, appropriate sentence structure, and effective organization. Answers should
also suggest that the students understands the work on the concrete, abstract, and super abstract level.
Students will read a critical essay on Hamlet and write an analysis essay in which they
o identify and explain the author’s thesis. In other words, students will restate his or her thesis as written
and then put it in their own words with more explanation as needed. This information will be included
in the opening paragraph which will also give the title of the essay and the author.
o show how the author supported this thesis. This will be the longest part of the analysis. A good way to
organize these paragraphs is to give the author’s main supporting points and how she/he supported
them in some logical order, perhaps giving each main point its own paragraph.
o explain whether or not the student agrees with the author’s thesis and give solid, text-based reasons
for the opinion, OR explain how reading this essay gave the student new insight into the work,
explaining clearly how and in what ways.
Students will compose an in-class formal expository/analytical essay demonstrating how, with each
successive soliloquy, Hamlet moves from incredulity to anger to determination to resignation, paying special
attention to the fact that all his soliloquies occur in the first four acts with absolutely none in the fifth act. In
order to really examine Hamlet’s words, students will have to deal constantly with tone and tone shifts within
each speech. Students will:
o Silently read the prompt and write the essay;
o Receive back the graded essay with my advice and remarks, including my concerns about
 Level of personal as well as literary vocabulary,
 Use of a variety of sentences, especially complex sentences,
 Use of a mature thesis and appropriate related topic sentences,
 Use of mature transitions, not just first, second, third…,
 Use of artfully embedded quotations, which maintain a student’s writing voice and tone
consistently;
o Participate in a long, detailed discussion of the drama;
o Rewrite the essay and resubmit it;
o Receive back a second time my advice and remarks;
o Record in English notebook in a list the strengths (to be repeated) and the weaknesses (to be
avoided) in future compositions.
Final Exam
 December 13-14