Today you will work on the preparation of your oral analysis. You will have the whole period of class to start and finish arranging your ideas in a power point or prezi so that you are ready to present next class (Thursday 20).
Use the same format that you followed for the written analysis. Add images, visuals or extract from the same poem to enhance your presentation. Highlight ideas, poetic devices and verses. Make you presentation unique!
Remember that you have to speak for about 10 – 12 minutes. You can work in pairs only if you share the same poem.
The order of presentations is as it follows:
- Martín Ljubetic
- Juan Pablo Ferreira
- Sebastián Bustos
- Pablo Murrillo
- Sebastián Salazar
- Agustín Salazar
- Joaquín Ruiz
- Ignacio Ruiz
- Carlos Jiménez
- Rodrigo Yañez
- Patricio Strube
- Tomás Santelices
- Martín Whittle
- Ángelo Menchise
If there are not enough computers, take turns using them. Make sure everybody uses computers. You can also request I-Pads in the English Lab.
PS: I can´t make today since I am in a meeting with the Headmaster. Marcelo Peña will help me monitor your work. Behave properly as usual. Remember that in the library you should keep your voice volume low.
Have a great day.
Christian Vergara P.
Objective: to create music based on poetry by Alfred, Lord Tennyson
Grouping: 3 bands
1. Read the poems, choose one of them to start creating music.
2. To create or compose the lyrics of the song you can:
A. Use the poem entirely
B. Paraphrase the poem
C. Create new lyrics based on the poem
3. Choose the instruments, players and singers.
4. Create the music to accompany the lyrics. For this, you have the following options:
A. Compose music of your own.
B. Use music from another song and replace the lyrics.
5. Rehearse / Practise the song with your group.
July: 30th /31st: Introduce poetry
August: 4th / 6th / 7th: Blog tasks (Poem analysis)
August: 11th/ 13th/14th: Oral presentations
August: 18th/ 20TH / 21st: Music Project (Have the lyrics done)
August: 25th / 27th/ 28th: Music Project Deadline (Club House)
Add assessment rubric
WHERE WERE GREAT BOOKS WERE BORN
Built out of a wooden toolshed, the small writing room in which Virginia Woolf penned many of her most famous novels stood in the garden of a house she bought with her husband Leonard in 1919. An important rural gathering place for the Bloomsbury Group, Monk’s House in Sussex attracted famous guests like TS Eliot and EM Forster. Although the modernist author described the importance of having a space for writing in her 1929 essay A Room of One’s Own, this was not an ideal spot for concentration. According to The Guardian: “She was always being distracted – by Leonard sorting the apples over her head in the loft, or the church bells at the bottom of the garden, or the noise of the children in the school next door, or the dog sitting next to her and scratching itself and leaving paw marks on her manuscript pages. In winter it was often so bitterly cold and damp that she couldn’t hold her pen and had to retreat indoors.” Despite that, Woolf wrote parts of novels like Mrs Dalloway and The Waves here. It was also the place where Woolf wrote her final words in 1941: a farewell letter to Leonard, shortly before she waded into the river Ouse and drowned.
Entre el 6 y el 10 de julio, el Departamento de Inglés llevará a cabo una serie de actividades para celebrar la tradición británica de nuestro colegio y entregar oportunidades de aprendizaje que involucran la música, la expresión gráfica, la cocina y, por supuesto, la cultura. A continuación les presentamos las actividades que se realizarán cada día. Los invitamos a escoger la actividad que les parece más atractiva y podrán ganar un premio sorpresa (se sorteará entre los participantes). Para mayor información, por favor consulten con sus profesores de inglés. Lunes 6: Public Speaking Martes 7: Intervención musical “The Beatles”, Postres en Dining Hall Miércoles 8: Valparaíso Tour, British Snapshots at Mackay (fotos), Charla para padres ¿Cómo motivar el aprendizaje del inglés en casa? Jueves 9: Exhibición “Iconos Británicos a través de la Historia”, Fish and Chips en Dining Hall Viernes 10: Charla Sr. Andrés Ferrada, Doctor en Literatura, “Virgina…
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Learning from the media and talking to older people, we pick up a lot of stereotypes about other nations. In every country there are plenty of stereotypes about residents but most of them are untrue and very wrongful.
What are the first three things which come into your mind when you hear the words ‘England’ or ‘the English?
Fish and chips, rolling hills and sarcasm?
Review the following images on BRITISHNESS and explain what feelings they are trying to convey:
Some quotes to analise:
‘Beer, honesty, Bulldog-type, Royal Family, Cricket, the Weather’
– Dickie Bird (Famous English cricket umpire)
‘Long shadows on county cricket grounds, warm beer,
invincible green suburbs, dog lovers and
old maids bicycling through the morning mist’
– John Major (Ex Prime Minister )
‘Men wearing bowler hats, pin striped suite,
a newspaper under the arm and
carrying a long unopen umbrella.’
‘Gardening, warm beer, stiff upper lip, double-decker buses, Morris dancing’
In pairs: Choose one of the quotes above and do some research on how these elements have become cultural symbols of BRITISHNESS.
Read the article from The Guardian below:
Choose one British citizen and caricaturize him/her.
WHAT DO IMMIGRANTS THINK OF BRITISHNESS?
Read the article and watch the following video from the BBC:
BRITISHNESS ON NME!
Over the course of McEwan’s perspective- shifting narrative, we find characters, again and again, realizing that they are bounded by otherness, by other minds with their own plans, their own interiori- ties, their own ways of perceiving the world. Early in the novel, thirteen-year-old Briony Tallis, while alone in her room, wonders whether everyone else could in fact be as “alive” as she:
If the answer was yes, then the world, the social world, was unbearably com- plicated, with two billion voices, and everyone’s thoughts striving in equal importance and everyone’s claim on life as intense, and everyone thinking they were unique, when no one was. One could drown in irrelevance. (36)
MILESTONES OF THE STORY
The action of the first part of Atonement, running nearly half the novel’s length, is almost entirely confined to one of the hottest summer days of 1935, before the World War II.
Briony Tallis and the line between her creations and the world around her is a rather fine one. If the vignettes she writes and performs fulfill her own obsessive “passion for tidiness,” it appears they can also help her to assuage the complexities of an as yet unfathomable world (Atonement 7).
The description of an event as unassuming as children preparing a Mans- field Park-ish family play is a subtle tactic on McEwan’s part as it ironically foreshadows far more consequential self–Other confrontations to come in the novel…
By reducing others to the status of artificial things, she can take the mystery out of alterity, she can accommodate chaotic reality with a tidy narrative of her own design. In fact, Briony’s aesthetic management of others very nearly parodies the more formal aspects of Fascism, which is itself looming on the horizon of the Tallis’s world. Susan Sontag has expressed how the Fascist aesthetic was predicated on “the turning of people into things [: : : and] the ideal of life as art” (91, 96). “We who shape German policy,” stated Goebbels in 1933, “feel ourselves to be artists [: : : ] the task of art and the artist [being] to form, to give shape, to remove the diseased and create freedom for the healthy” (qtd. in Sontag, 92). Cynthia Ozick goes right to the inhuman core of the matter, explaining, “the German Final Solution was an aesthetic solution; it was a job of editing, it was the artist’s finger removing a smudge; it simply annihilated what was considered not harmonious” (165). While Briony Tallis should hardly be seen as a proto-fascist, her artful brand of solipsism can at least be seen as symptomatic of a shared urge (of which Nazism is possibly one of the more extreme examples), that is, the need to simplify any confrontation with otherness by objectifying the Other; in effect, to say that other minds are not as real as one’s own.
The narrative she fashions around her life and imposes on others, as we shall see, works to dismiss anything unknown by carefully obscuring the mystery of otherness.
The true culprit, the future chocolate tycoon, Paul Marshall, is never suspected. It would seem far more acceptable to put this sort of thing down to the son of a cleaner than to confront the rather more scandalous proposition that it was committed by a someone of higher stature.3 Here, in McEwan’s dark world of “believing is seeing,” certainty is led by preconceived notions, habits of interpretation (McEwan, Interview by John Sutherland).
Taking into consideration the self–Other dynamics being discussed, all these surprise reassessments of characters in the novel can be seen to hinge on the realization of what Emmanuel Lévinas calls the face of the Other. In Lévinas’s terms, the face is “the way in which the Other presents himself, exceeding the idea of the Other in me” (Totality and Infinity, 50). Put another way, the face is that which transcends the self’s preconception of the Other.
The epiphany of the Other bears its own significance, independent of the signification received from the world. The Other not only comes to us from a context but signifies by itself, without mediation [: : : ] The epiphany of the face is visitation [: : : ] The epiphany of the face is alive. Its life consists in undoing form where every being [étant], when it enters into immanence— that is, when it exposes itself as a theme—is already dissimulated. (Human- ism of the Other, 31)
Briony Tallis comes to a similar understanding in Part III of Atonement. Having signed on as a VAD nurse, she quickly learns that uncertainty is the order of the day in pre-Blitz London. Her naïve solipsism, so easily maintained in the sheltered world of the Tallis estate, is undermined by a selfless regime in the hospital. In fact, the new convent-cum-military structure of her existence could be seen as a self-incriminating reversal of the very limits she once imposed upon others: it is now her identity that is inculcated by a stock role. She subsumes herself in her work and gives herself over to a procedural life in which she has “no will, no freedom to leave [: : : ] no identity beyond her badge” (Atonement 276). Her controlling demon, we find, has metamorphosed itself into guilty self-effacement.
All she wanted to do was work, then bathe and sleep until it was time to work again. But it was all useless, she knew. Whatever skivvying or humble nursing she did, and however well or hard she did it [: : : ] she would never undo the damage. She was unforgivable. (285)
Some of the ideas above were taken from: Briony’s Being-For: Metafictional Narrative Ethics in Ian McEwan’s Atonement by DAVID K. O’HARA
In the last part of the novel, and the adaptation, it is revealed that Atonement, in fact, is Briony’s “twenty-first novel”. Due to this revelation everything that the reader has read up to that point has to be questioned; all the events in the novel, Briony’s novel rather than McEwan’s, are told by Briony; she has thus “taken a novelist’s license to alter the facts to suit her artistic purposes” (Finney 69). It is, therefore, not the real Robbie and Cecilia who are present within the pages of Briony’s Atonement but character versions of the two, drawn from Briony’s memory. Thus, the events and the characters including Briony herself, both as a character and as the revealed author of the novel, have been altered by surrounding factors to suit the plot of the author Briony’s attempt to achieve atonement.
Written task 1 Here is a summary of what you will want to look for in each criterion at both SL and HL. A handy print out for assessing student work is also provided. For the actual descriptors, we refer you to the IB Language A: Language and Literature guide. Criterion A – Rationale – 2 marks It is essential that students include a rationale before the actual task. The rationale must be no fewer than 200 words and no longer than 300 words. The rationale should shed light on the thought process behind the task. Furthermore, it should explain how the task aims to meet one or more learning outcomes of the syllabus. Remember: If the word count of the rationale exceeds 300 words, 1 mark will be deducted. Criterion B – Task and content – 8 marks The content of a task should lend itself well to the type of text that one chooses. The task should demonstrate an understanding of the course work and topics studied. Finally, there should be evidence that the student has understood the conventions of writing a particular text type. Criterion C – Organization – 5 marks Each type of text has a different structure. Nevertheless, all types of texts have conventions and organizing principles. Students must organize their tasks effectively and appropriately. There must be a sense of coherence. Criterion D – Language and style – 5 marks The language of the task must be appropriate to the nature of the task. This means that students use an appropriate and effective register and style. Whatever the nature of the task, ideas must be communicated effectively. Written task 2 (HL only) The following criteria apply to the criticial response that HL students write on one of the six prescribed questions. Criterion A – Outline – 2 marks For the critical response, students are asked to write a brief outline of the task that includes the following: The prescribed question to which the task refers The title of the text, or texts, that the student analyzes The part of the course to which the task corresponds (Parts 1-4) Four or more bullet-points that explain the content of the task Criterion B – Response to question – 8 marks To achieve top marks for this criterion, students must explore all of the implications of the prescribed question chosen. The critical response must be focused on and relevant to the prescribed question. Furthermore, the response is supported by well chosen examples from the text(s). Criterion C – Organization and argument – 5 marks The response must be well organized and effectively structured in order to score top marks for this criterion. The response should make a case and develop it thoroughly. Remember: The critical response must be 800 -1,000 words. If this is not the case 2 marks will be deducted for Criterion C. Criterion D – Language and style – 5 marks The response must be written effectively and accurately. Students should use an academic register and strong style.
ARE YOU READY FOR ANOTHER WRITTEN TASK?
READ THIS SOURCE TEXT PLUS THRE FILM THE SOCIAL NETWORK AND GET READY TO CREATE YOUR OWN PIECE OF WRITING!
The Language A: Language and Literature guide suggests we study a range of text types. ‘Deconstructing texts’, as we call it, is one way of exploring the structural conventions of various text types. In this section we ask ourselves: “What kinds of features contribute to the text’s structure?
If you are preparing a written task 1, consult these pages to ensure that your text contains many of the defining characteristics BELOW:
Analysis and discussion
Did he break any laws?
He intentionally breached security, violated copyrights, violated indivisual privacy by creating facemash.com by taking the pictures off the profiles of random Harvard students from their blog site.
Charged with violation of the university policy, on distribution of digitalized images.
Crashed the Harvard Network for his own website, Facemash.com
Were there any bad choices made between right and wrong?
He made a promise to the Winklevoss twins to join them into improving the Harvard website but broke the promise and made his own social networking site.
He wrote inappropriate false information about his ex girlfriend, Erica Albright for the public to read.
Explicit or implied sexism, homophobia, cultural/racial bias?
Ranking the girls on Facemash.com was a very offensive and innapropriate for women of Harvard. No guys were rated, it was only girls.
At first, the website was only made for Harvard students, then Stanford students, then Cambridge, and other university students that left out other students who couldn’t make it to Harvard/Standford/Cambridge or the top universities in the world.
When people were getting “interviewed” to get hired for Facebook (drinking a shot every five minuties with a group of other computer programers competing for the job while making codes) there were no female workers or female computer programers who were competing for the job.