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Time and Space

1. How does Chronicle offer insight into Columbian culture? Consider what we've learned about with machismo, marianismo, honor and the impact of colonialism.

Chronicle offers insight into Columbian culture by portraying the importance of machismo, marianismo, and honor within the community by showing how those cultural expectations seemed to be valued over other people's lives.

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Readers, Writers, Texts
1. Why and how do we study literature? Why do we study TTTC?

We study literature by analyzing the author's literary choices and style to interpret the message they are trying to convey.

2. How are we affected by literary texts in various ways? How are we impacted by TTTC?
We are affected by literary texts in the way they challenge or add to our thinking. By reading TTTC, I have learned more about the how one handles loss, the effects of expectations from a community, and the trauma caused by war.

3. In what ways is meaning constructed, negotiated, expressed and interpreted in TTTC?
Meaning is constructed in TTTC through O'Brien's choice of literary devices. By analyzing why O'Brien chose to use the literary device in his writing, his purpose, or meaning, is also constructed.

4. How does the structure of style of TTTC affect its meaning?
The structure of style of TTTC affects its meaning as since it is composed of vignettes and not a story that is presently playing out, many of the themes revolve around self-reflection or how it affected O'Brien himself.

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1. Readers, Writers, Texts

1. Why and how do we study literature?

2. How are we affected by literary texts in various ways?

3. In what ways is meaning constructed, negotiated, expressed and interpreted?

4. How does language use vary among literary forms?

5. How does the structure or style of a literary text affect meaning?

6. How do literary texts offer insights and challenges?

2. Time and Space

1. How important is cultural or historical context to the production and reception of a literary text?

2. How do we approach literary texts from different times and cultures to our own?

3. To what extent do literary texts offer insight into another culture?

4. How does the meaning and impact of a literary text change over time?

5. How do literary texts reflect, represent or form a part of cultural practices?

6. How does language represent social distinctions and identities?

3. Intertextuality

1. How do literary texts adhere to and deviate from conventions associated with literary forms?

2. How do conventions and systems of reference evolve over time?

3. In what ways can diverse literary texts share points of similarity?

4. How valid is the notion of a “classic” literary text?

5. How can literary texts offer multiple perspectives of a single issue, topic or theme?

6. In what ways can comparison and interpretation be transformative?

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Attach the 8 extracts from the Group IOs that you annotated here.

Link to Kami

Attach the two extracts you used for your Final IO here

Extracts

Attach any other extracts you might want to use for your real IO.

Pages 77-79
"I found Maria Alejandra Cervantes awake… was like being awake twice over."
Pages 73-74

"The body had been exposed...and the house was silent again."

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Extract 1 (From “How to Tell a True War Story”)

Rat shrugged.

He stepped back and shot it through the right front knee.

The animal did not make a sound. It went down hard, then

got up again, and Rat took careful aim and shot off an ear.

He shot it in the hindquarters and in the little hump at its             5

back. He shot it twice in the flanks. It wasn't to kill; it was

to hurt. He put the rifle muzzle up against the mouth and

shot the mouth away. Nobody said much. The whole pla-

toon stood there watching, feeling all kinds of things, but

there wasn't a great deal of pity for the baby water buffalo.             10

Curt Lemon was dead. Rat Kiley had lost his best friend in

the world. Later in the week he would write a long personal

letter to the guy's sister, who would not write back, but for

now it was a question of pain. He shot off the tail. He shot

away chunks of meat below the ribs. All around us there was         15

the smell of smoke and filth and deep greenery, and the eve-

ning was humid and very hot. Rat went to automatic. He

shot randomly, almost casually, quick little spurts in the

belly and butt. Then he reloaded, squatted down, and shot

it in the left front knee. Again the animal fell hard and tried         20

to get up, but this time it couldn't quite make it. It wob-

bled and went down sideways. Rat shot it in the nose.

He bent forward and whispered something, as if talking to a pet,

then he shot it in the throat. All the while the baby buffalo

was silent, or almost silent, just a light bubbling sound where         25

the nose had been. It lay very still. Nothing moved except

the eyes, which were enormous, the pupils shiny black and

dumb.

Rat Kiley was crying. He tried to say something, but then

cradled his rifle and went off by himself.                     30

The rest of us stood in a ragged circle around the baby

buffalo. For a time no one spoke. We had witnessed some-

thing essential, something brand-new and profound, a piece

of the world so startling there was not yet a name for it.

Somebody kicked the baby buffalo.                     35

It was still alive, though just barely, just in the eyes.

"Amazing," Dave Jensen said. "My whole life, I never seen

anything like it."

"Never?"

"Not hardly. Not once."                             40

(O’Brien 75-76)

Extract 3 (From “Sweetheart of the Song Tra Bong”)

"You just don't know," she said. "You hide in this lit-

tle fortress, behind wire and sandbags, and you don't know

Sometimes I want to eat this place. The whole country

—the dirt, the death—I just want to eat it and have

it there inside me. That's how I feel. It's like this appetite. I                 5

get scared sometimes—lots of times— but it's not bad. You

know? I feel close to myself. When I'm out there at night,

I feel close to my own body, I can feel my blood moving,

my skin and my fingernails, everything, it's like I'm full of

electricity and I'm glowing in the dark—I'm on fire almost                10

—I'm burning away into nothing—but it doesn't matter be-

cause I know exactly who I am. You can't feel like that any-

where else."

All this was said without drama, as if to herself, her

voice slow and impassive. She was not trying to persuade.                 15

For a few moments she looked at Mark Fossie, who seemed

to shrink away, then she turned and moved back into the

gloom.

There was nothing to be done.

Rat took Fossie's arm, helped him up, and led him out-            20

side. In the darkness there was that weird tribal music,

which seemed to come from the earth itself, from the deep

rain forest, and a woman's voice rising up in a language be-

yond translation.

Mark Fossie stood rigid.                            25

"Do something," he whispered. "I can't just let her go like

that."

Rat listened for a time, then shook his head.

"Man, you must be deaf. She's already gone."

Rat Kiley stopped there, almost in midsentence, which             30

drove Mitchell Sanders crazy.

"What next?" he said.

"Next?"

"The girl. What happened to her?"

Rat made a small, tired motion with his shoulders. "Hard             35

to tell for sure. Maybe three, four days later I got orders to report

here to Alpha Company. Jumped the first chopper out, that's

the last I ever seen of the place. Mary Anne, too."

Mitchell Sanders stared at him.

"You can't do that."                                 40

(O’Brien 106-107)

Extract 2 (From “On the Rainy River”)

I could've done it. I could've jumped and

started swimming for my life. Inside me, in my chest, I felt

a terrible squeezing pressure. Even now, as I write this, I

can still feel that tightness. And I want you to feel it—the wind

coming off the river, the waves, the silence, the wooded frontier.             5

You're at the bow of a boat on the Rainy River. You're

twenty-one years old, you're scared, and there's a hard

squeezing pressure in your chest.

What would you do?

Would you jump? Would you feel pity for yourself?                 10

Would you think about your family and your childhood and

your dreams and all you're leaving behind? Would it hurt?

Would it feel like dying? Would you cry, as I did?

I tried to swallow it back. I tried to smile, except I was

crying.                                     15

Now, perhaps, you can understand why I've never told

this story before. It's not just the embarrassment of tears.

That's part of it, no doubt, but what embarrasses me much

more, and always will, is the paralysis that took my heart.

A moral freeze: I couldn't decide, I couldn't act, I couldn't                 20

comport myself with even a pretense of modest human dig-

nity.

All I could do was cry. Quietly, not bawling, just the

chestchokes.

At the rear of the boat Elroy Berdahl pretended not to             25

notice. He held a fishing rod in his hands, his head bowed

to hide his eyes. He kept humming a soft, monotonous lit-

tle tune. Everywhere, it seemed, in the trees and water and

sky, a great worldwide sadness came pressing down on me,

a crushing sorrow, sorrow like I had never known it before.                 30

And what was so sad, I realized, was that Canada had be-

come a pitiful fantasy. Silly and hopeless. It was no lon-

ger a possibility. Right then, with the shore so close, I un-

derstood that I would not do what I should do. I would not

swim away from my hometown and my country and my life.            35

I would not be brave. That old image of myself as a hero, as

a man of conscience and courage, all that was just a thread-

bare pipe dream. Bobbing there on the Rainy River, looking

back at the Minnesota shore, I felt a sudden swell of help-

lessness come over me, a drowning sensation, as if I had...                 40

(O’Brien 54-55)

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1. Culture, Identity, and Community

1. family, class, race, ethnicity, nationality, religion, gender and sexuality, and the way these impact on individuals and societies. migration, colonialism and nationalism.

2. Beliefs, Values and Education

1.  beliefs and values nurtured in particular societies and the ways they shape individuals, communities and educational systems. They might also explore the tensions that arise when there are conflicts of beliefs and values, and ethics.

3. Politics, Power, and Justice

1.  explore aspects of rights and responsibilities, the workings and structures of governments and institutions. They might also investigate hierarchies of power, the distribution of wealth and resources, the limits of justice and the law, equality and inequality, human rights, and peace and conflict

4. Art, Creativity, and the Imagination

1.  explore aspects of aesthetic inspiration, creation, craft, and beauty. They might also focus on the shaping and challenging of perceptions through art, and the function, value and effects of art in society.

5. Science, technology and the environment

1.  explore the relationship between humans and the environment and the implications of technology and media for society. They might also consider the idea of scientific development and progress.

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What were some global issues you explored in Chronicle? Consider honor, morality, perspective, fate, gender norms etc. The more detailed you are, the more useful this will be for your IO.

I explored the impact of death in a community, and how societal expectations lessen that impact.
And then how honor is being put over morals.

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Brainstorm some global issues developed from TTTC.
*Loss of innocence
*Nothing good can come from war
*Experiences are a part of someone they can't remove
*The persistence of the idea of their character that allows the dead to survive

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Attach any of your Harkness notes here.
1. What is the reason for juxtaposing Santiago's feelings in his dreams with the way he felt when he woke up from his dream?
2 What kind of narrator is employed in this novel?
Show the mother's bias with juxtaposition with reality, how Nazar felt, and the mother's perception of reality, with her positive dream interpretations. Sets the tone with how every story will have bias, and hidden intentions.
Narrator is contradicting with what he is saying. Acts like a detective.

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Reflection
How did you do during the Harkness discussions?
I don't think I did too well, my mic cut out very often when I was sharing ideas. I thought my ideas, however, contributed to the topic.
Notes
Ideas discussed I want to remember:
*War can be addicting

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How does TTTC connect to other works we've read?

How does TTTC connect to our world today?

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How does Chronicle connect to other works we've read? Be detailed in how it connects with global issues and thematic and stylistic ideas to other works.
I think Chronicle connects to Beloved with how the community seems to betray a character and lead to consequential deaths.

How does Chronicle connect to our world today?
Chronicle connects to our world today with how some societies still prioritize their culture over the peoples' lives.

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Summer Assignment (Link Here)
Reflection
Link
Vietnam Slides (Link Here)
Link
"On the Rainy River" Analysis Paragraph (Link Here)
Link

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Group IO PPT (Link Here)
Link
Best Quick Write (Link Here)
Link
Artistic One-Pager (Link Here)
Link
Final/Revised IO (Link Here)
Link

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Time and Space
Choose 3 out of these 6 questions to answer and reflect on how it relates to our reading and understanding of Hughes' work.

1. How important is cultural or historical context to the production and reception of a literary text?

2. How do we approach literary texts from different times and cultures to our own? We approach literary texts from different times and cultures to our own with the idea that segregation has been solved and that there is no more. However, the more we read and compare to modern society, the more we realize not much has changed over the years.

3. To what extent do literary texts offer insight into another culture?

4. How does the meaning and impact of a literary text change over time? The meaning and impact changes over time, as although segregation was addressed years ago, it is still prevalent today, encouraging more drastic action.

5. How do literary texts reflect, represent or form a part of cultural practices? Literary texts represent a part of cultural practices like slavery with the use of symbolism like rivers, being applied in the present day problem of segregation. Hughes compares the actions needed to free themselves from segregation as needing to be as drastic as escaping from slavery,

6. How does language represent social distinctions and identities?

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What were some global issues you explored in Hughes' poetry?

The influential elites of society often oppress the minorities.

Governments for the people are only for the interests of the majority.

By working together, they can overpower a stronger enemy.

Everyone is part of a whole, and one must not reject them but learn to understand them.

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1. Shut up, says Gerald L.K. Smith.

2. Shut up, says the Governor of South Carolina.

3. Shut up, says the Governor of Singapore.

4. Shut up, says Strydom.

5. Hell no shut up! say the people

6. with no titles in front of their names.

7. Hell no! It’s time to talk back now!

8. History says it’s time,

9. And the radio, too, foggy with propaganda

10. that says a mouthful

11. and don’t mean half it says–

12. but is true anyhow:

13. LIBERTY!

14. FREEDOM!

15. DEMOCRACY!

16. True anyhow no matter how many

17. Liars use those words.

18. The people with no titles in front of their names

19. hear these words and shout them back

20. at the Misters, Lords, Generals, Viceroys,

21. Governors of South Carolina, Gerald L. K. Strydoms.

22. Shut up, people!

23. Shut up! Shut up!

24. Shut up, George!

25. Shut up, Sallie!

26. Shut up, Coolie!

27. Shut up, Indian!

28. Shut up, Boy!

29. George Sallie Coolie Indian Boy

30. black brown yellow bent down working

31. earning riches for the whole world

32. with no title in front of name

33. just man woman tired says:

34. No shut up!

35. Hell no shut up!

36. So naturally, there’s trouble

37. in these our times

38. because of people with no titles

39. in front of their names.

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Reflection
How did you do during the Harkness discussions? What feedback did you receive?

I did well in the eyes of my peers. I was told to remember to address the poem to the entire poem collection.

Notes
Ideas discussed in Harkness I want to remember:
Outline can include line numbers.
Outline should have a thought flow.
Take it slow, don't rush

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What connections can you make between some of Hughes' poems?
Rivers were used alot through Hughes' poems. They often symbolized freedom from slavery or segregation, with the exception of the bitter river, representing segregation.
How does Hughes' poems connect to other works we've read?
Hughes' poems connect to The Things They Carried, with the idea of experiences being a part of someone they cannot remove, as in A New Skyline by Langston Hughes, the speaker reminds himself of where he had come from, and reminds himself to not forgot his fellow brethren in the same position.
How does Hughes' poetry connect to our world today?
Hughes' poetry connects to our world today by inspiring action against oppression. That by grouping together, one can overcome a difficult obstacle.

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Hughes Writing Portfolio Week 1 (Link Here)

Hughes Writing Portfolio Week 2 (Link Here)

Hughes Pastiche (Link Here)

IO Outline Form (Link Here)

Hughes' Written Assignment (Link Here)

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What insights did the poetry of Langston Hughes offer about the African-American community in Harlem?
The poetry of Langston Hughes offered the insight about the African-American community having hope for an end to segregation, but segregation continues to persist still holding the community back from their bright future, and the frustration caused by it.
How does art reflect the community from which it comes?
Art reflects the ideas and emotions within the community. Hughes' poems convey a message of hope, protest, and remembering slavery and the victims of racial injustice through symbolism and authorial choices through the messages he decided to convey.

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Readers, Writers, and Texts

1. How does the structure or style of a literary text affect meaning? Consider how Morrison's stream-of-consciousness, shifting points of view, and use of analepsis and prolepsis impact the meaning of the novel.

Morrison's use of a stream of consciousness reveals the natures the relationships of the women of 124, which helps bring clarity to Sethe's convoluted actions of love and help develop the reasoning behind their actions. The reasoning behind their actions is then tested when facing the consequences of their actions, thus developing more on the meaning of how the past intertwines with the future. The shifting points of view also impact the meaning by developing the community in the story, and show how side characters feel about the main characters.  The side character's past opinions about the main character's change throughout the book due to the actions they take, and by describing what they see through their eyes, the reader is put into a fleshed out world rather than simply peering through a looking glass. The use of

of analepsis and prolepsis also impact the meaning that the past is intertwined with the future, by quickly transitioning to a flashback or a flashforward between chapters.
Time and Space

1. How important is cultural or historical context to the production and reception of a literary text? Consider the story of Margaret Garner, the Fugitive Slave Act, and other historical and cultural phenomena and how that has impacted the creation and reception of Beloved.

Cultural and historical context is very important to the production and reception of a literary text. With the story of Margaret Garner, a slave who killed her own children because slave catchers were following the fugitive slave law, had been portrayed as an animal and a reason as to why slaves should stay slaves. However, the story develops the idea that she did it out of love for her children and fear of how slaves were treated. Although some people push away slavery, the book reminds them to confront the past, as running away from the past can lead to impacting consequences.

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Attach your two 40 lined extracts you used for your Mock IO as well as any other 40 line extracts you might want to use for your real IO in the future.
TTTC
Beloved

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What were some global issues you explored in Beloved? Consider memory, trauma, importance of community, etc. The more detailed you are, the more useful this will be for your IO.

Some global issues I explored was how the idea of masculinity pushes away a community. That due to the stigmatism a man should keep their emotions to themselves, they distance themselves from the community in times of weakness, despite the community being willing to help them.

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Attach your Google Slide and notes for your Hexagonal Harkness here.

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How does Beloved connect to other works we've read? Be detailed in how it connects with global issues and thematic and stylistic ideas to other works.
Beloved connects to Langston Hughes's A New Hope for Harlem in acknowledging the past to build a better future. Beloved also shares the same theme with TTTC of how trauma from  the past can influence our future.
How does Beloved connect to our world today?
Beloved connects to our world today to remind us that in order to put the past to rest, we have to acknowledge it, no matter how terrible it is.

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Denver or Paul D One-Pager (Link Here)

IO Outline Form (Link Here)

Optional Mastery Opportunity Essay (Link Here)

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Linda Krumholz claims (in "The Ghosts of Slavery: Historical Recovery in Toni Morrison’s Beloved") that finding a voice for the thoughts and experiences of women is central to the "healing," historical recovery theme and structure of the book. According to Krumholz, Morrison’s novel "adapts techniques from modernist novels, such as the fragmentation of the plot and shifting narrative voice, to compel the reader to actively construct an interpretive framework" (109). How does the novel specifically address issues of gender, writing and power? How does the structure and style of the novel give voice to "the thoughts of the women of 124, unspeakable thoughts, unspoken" (Beloved 199)?
The novel addresses issues of gender, as with Paul D isolating himself in an attempt to uphold his masculinity. The novel also shows Sethe who, in her eyes, has the community judging her from loving her children to the point of ensuring that they will never have to experience what she had to. The novel addresses issues about writing with the newspaper clipping of Sethe being portrayed as an animal for killing her children. Although her ways were animalistic, her reason was to keep her children out of slavery, no matter the consequences. This means that although Sethe was portrayed as an animal, the one teaching her that animalistic behavior would be the institution of slavery. Power is also addressed in the novel, where in chapter 16, when the point of view shifted to the white's, they had condescending views on the black community, referencing them as mere animals. The structure of the novel gives voice to the unspeakable thoughts of the women in 124 through sudden flashbacks, as if the repressed memories of the past are resurfacing. This resurfacing teaches readers that trying to escape from the past will not succeed, and the past's consequences will continue to haunt one until confrontation.

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Readers, Writers, Texts
How are we affected by Delbo's memoir and her imperative for us to "Try to look. Try to see"? How were you affected by Auschwitz and After?

We were affected by Delbo's memoir as not only were we exposed to the horrifying events that occurred in Auschwitz, but Delbo also relates these horrifying events we could have never have imagined to relatable real life objects and events. This imperative for us to try and understand what she is seeing, and understand her story, made me see not imagine the horrifying sights she saw, but also see how Aushcwitz had transformed Delbo. I was affected by Auschwitz and After with more understanding that, as Delbo phrased it, no one is coming back after they arrive.

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Attach the extracts you annotated (Some are on Kami) during our Harkness discussions.

Days and Memory

One Day
The Dummies
The Farewell
Morning
Thirst

Attach the two extracts you used for your Final IO here.

Final IO Extracts

Attach any other extracts you might want to use for your real IO.

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What were some global issues you explored in Auschwitz and After? Consider the Hexagonal Harkness we had and some of the global issues you came up with during that discussion.

Some global issues we explored in Auschwitz and After was the impact of dehumanization on the individual, the importance of community during a traumatic event, and how people process grief during traumatic events.

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Attach any of your Harkness notes here.

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How does Auschwitz connect to other works we've read? Be detailed in how it connects with global issues and thematic and stylistic ideas to other works.

Auschwitz connects to Beloved and The Things They Carried with its portrayal of how trauma can affect and individual, whether that be through grief, a drastic change in psyche, and inability to be like one's past self again.

How does Auschwitz connect to our world today?

Today, Auschwitz is a reminder that the past should not be ignored and should be learned from, as nothing like Auschwitz should ever have to exist in the future.

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Upload your favorite Quick Record (Arrivals and Departures, Olere/Delbo, or Using Language)

Olere/Delbo

Upload your Final Delbo IO

Final Delbo IO

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Intertextuality
How valid is the notion of a "classic" literary text? What makes Persepolis "literary" even though it is a graphic novel?

The notion of a "classic" literary text is not very valid, as their are literary pieces that are not text that have classic elements. Persepolis is "literary" because the book as a whole because uses literary devices like symbolism and irony with its graphics.

Time and Space
What insight did Persepolis give you into Iranian life during and after the revolution?

Persepolis gave me insight of how Iranian life was suppressive of other people's lives, as it discouraged certain beliefs and aspects. However, despite certain behaviours being restricted, some people continue to do them.

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Attach the panels you found most fascinating and that  you discussed during our final Harkness here

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What were some global issues you explored in Persepolis? Consider the Harkness discussion and other ideas that came up during class discussion.

Significance of social classes on an individual's beliefs and values

Significance of governments on ideals and an individual's beliefs

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Attach any of your Harkness notes here.

The most important act of rebellion in the graphic novel  is when Marji corrects her teacher when talking about the Islamic Republic, as the consequences shows the global issue of unjust governments enforcing their unjust ideals through restriction of people's ability to challenge those ideals.

So Marji rebels against her teacher by challenging the teacher's statement that the Republic has no political prisoners, when in reality the new regime has more political prisoners compared to the previous regime.

And when her mother hears about her act of rebellion, she confronts her with the consequences on page 145, with Marji possibly endangering herself because of her actions.

This first-time exposure to the possibility of being killed by her actions, as so far in the book Marji has only been expelled or threatened to be sent to the Committee, and the tension that was created during the explanation of what the government might do to Marji makes this the most act of rebellion.

Through panels 4-7, the perspective closes in on Marji and her mother with each moment to moment transition. Typically, when an object is zoomed in, it is for the purpose to bring attention to the object. Thus, Satrapi is emphasizing what her mother is explaining to her, which was what could happen to her because she had challenged the government's ideals.

Additionally, the rhetorical questions  her mother uses through panels 4-5 also builds tension. Her mother asks Marji if she knows what happens to the young girls they arrest, and what happened to Niloufar, whom the reader knows was executed. These rhetorical questions create tension by engaging the reader's curiosity while also creating a foreboding sense of dread, as the reader does not know what specifically happens to the girls, but has the general idea that what occurs is not good.

On panel 8, all the tension is released with the perspective zooming out and the rhetorical questions being answered, highlighting the conclusion Marji's mother makes about the dangers of rebelling.

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How does Persepolis connect to other works we've read? Be detailed in how it connects with global issues and thematic and stylistic ideas to other works.

Persepolis connects to The Things They Carried with the theme of maturity. Persepolis also connects to Langston Hughes with how the government can oppress its people to follow unjust rules, but that means that the people should be willing to rise up and fight against those rules. Persepolis also connects to Beloved and None Will Return with the importance of community in healing.

How does Persepolis connect to our world today?

Persepolis connects to our world today to provide an insight to Iran's history and people, as many people stereotype Iran as a dangerous country of terrorists, when that is not the case.