Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
Reading Maketh a Man Full, Writing a Man Exact, and Conference a Man Ready
From “Of Studies” by Francis Bacon
Levels of Questions
2004 AP Free Response Prompt – Critic Roland Barthes has said, “Literature is the
question minus the answer.” Choose a novel or play and, considering Barthes’
observation, write an essay in which you analyze a central question the work raises and
the extent to which it offers any answers. Explain how the author’s treatment of this
question affects your understanding of the work as a whole. Avoid mere plot summary.
Level One Questions: These questions can be answered definitely with facts found in
the text or by information readily available in outside sources.
Example: Name the feuding families in Romeo and Juliet.
Example: Where in Italy is Verona located?
Example: What is an apothecary?
Notice that level one questions have one correct answer and lend themselves to matching,
multiple choice, or fill-in-the-blank tests. They are important because they require the
student to read the work and provide support for levels two and three questions. Students
do need to be attentive to details.
Level Two Questions: The answers to these questions are implied rather than stated
directly in the text. Asking these types of questions requires students to draw inferences
based on specific information they can cite to back up their conclusions.
Example: What is Romeo’s concept of love at the start of the play?
Example: Is Friar Lawrence or the Nurse more to blame for the tragedy?
Example: How do you explain Tybalt’s anger toward Romeo?
Level Three Questions: These questions are more abstract. They go outside the text
and present issues for discussion that bring in the students; frame of reference.
Example: Are girls Juliet’s age ready to be married?
Example: Is love at first sight really love?
Example: Should parents arrange marriages for their children?
Notice that while level three questions will probably promote the most discussion, they
may not necessarily require that the students have carefully read the text.
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
If we want students to think about what they have read, we should ask level two and three
questions. Even better, we should get the students themselves to think up questions on all
three levels.
Seminar
Purposes:
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Guidelines:
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To generate ideas for later exploration
To practice reflective and critical thinking
To refine conversation skills (conference)
To improve listening skills
To focus on textual evidence
Everyone should speak at least once.
No one person or persons should dominate. If you have spoken three
times, wait at least five minutes before talking.
Please address your peers by surnames.
Grades are determined by student and teacher.
Your grade is based on a healthy balance among 1) listening to others 2)
speaking 3) questioning and clarifying points made by others 4)
familiarity with the text 4) ability to draw parallels and make connections.
Be aware of people who are trying to jump in, but are having a difficult
time.
Ask thoughtful questions that clarify and expand ideas.
Be willing to qualify or abandon your initial opinions if you are persuaded
by others that you need to do so.
When drawing parallels and making connections refer to the text.
Be comfortable with silence.
Make eye contact with your peers, not the teacher.
The teacher will act as facilitator not as the authority.
Remember, this is a discovery and critical thinking activity. Most
comments are welcome. Evaluation of those comments is encouraged.
Linear thinkers need to be comfortable with ambiguity. Answers and
direction come later.
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Strategies
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Rebecca McFarlan
mcfarlan@ih.k12.oh.us
It’s fine to return to a previous topic in the conversation. Just
acknowledge that you would like to shift the discussion or to return to a
point that Mr. Jones made earlier.
Seminars raise more questions than they answer. Refinement of thought
comes through other activities.
Student Observation Sheet—Socratic Discussions
(Outer Circle)
Please record statements made during the discussion in the appropriate column.
General Comments
Textually Supported
Questions
Any silence? Why?
Please rate the following components of the discussion on a scale of 1-5, with 5 being the
highest. Briefly defend your ranking.
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
Participation
1 2 3 4 5
Content
1 2 3 4 5
Listening
1 2 3 4 5
Cooperation
1 2 3 4 5
Overall
1 2 3 4 5
On the back, write a paragraph analyzing the discussion you just witnessed.
Seminar Evaluation
Name: __________________
Work Discussed: _________________
Level 1:
____ Contributes to the Discussion
____ Listens Actively
____ Is Considerate
Level 2:
____ Does Not Digress Unproductively
____ Is Neither Impulsive Nor Overly Hesitant
Level 3:
Extends and Expands Discussion by:
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Questioning
Involving Others in a Meaningful Way
Offering Analogies
Alluding to Previously Shared Readings
Clarifying the Contribution of Others
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
____ Comprehending and Contributing at the Universal Level
____ Examining Critically and Logically the Ideas of Others
Grade: ____
A. What were the main points made during the discussion? Which if any were
confusing or unclear?
B. What did I hear that I already knew or thought?
C. What interesting new point(s) did I hear? Who made it (them)?
SOAPStones: A Device to Unlock Meaning in Texts
S = Subject: What is the topic of the piece?
O = Occasion: What called the creator of the piece to put pen to paper? What was
the immediate cause? Is there a later occasion that gives the piece a different or
larger meaning?
A = Audience: To whom is the piece intended? Can there be more than one?
P = Purpose: What is the creator’s message to the audience. What does s/he hope to
accomplish? Purpose and theme are closely related.
S = Speaker: What conclusions can you draw about the speaker?
Tone = Creator’s Attitude to the Subject? The Audience? The Occasion?
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
SOAPSTONE
S ubject: _______________________________________________________________
________________________________________________________________________
________________________________________________________________________
O ccasion: ______________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
A udience: ______________________________________________________________
________________________________________________________________________
________________________________________________________________________
P urpose: ______________________________________________________________
________________________________________________________________________
________________________________________________________________________
S peaker and S hift: _____________________________________________________
________________________________________________________________________
________________________________________________________________________
TONE: ________________________________________________________________
________________________________________________________________________
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
________________________________________________________________________
HISTORY OF CALYPSO
In the 18th century, in the French colonial islands, slaves were barred from taking
part in Carnival celebrations. They celebrated secretly in their backyards. African
drumming, dance and song depicting their African Culture vibrated from their
backyards. "Le vrai"- (singing the truth) was the slaves' hilarious way of mocking
their masters in song.
FROM BENNA 1834 to CALYPSO 1985
Benna derives from a West African word for song-dance that the slaves brought
to the West Indies. It was a lively melody set to simple repetitive lyrics that dealt
with a specific topic. Introduced during post slavery life, which was little different
from that which existed before, emancipated slaves had to find an outlet, other
than through religious song, to express themselves and to forget about the social
ills that existed. Music that was simple and free, entertaining yet functional, was
an obvious vehicle.
Benna dealt with the bawdy, the scandalous, the cruel and occasionally the
humorous. Benna provided slaves with a common voice. In the 1900's, benna
evolved to becoming the newspaper of the people and provided an often illiterate
population with rapid transmission of information. The earliest traceable record of
Benna song states - "Emancipation day is past, massa done cut naygra ass.
In the 1940's and 1950's, a fearless character, John Thomas called "Quarkoo",
sang "Benna". He composed and sang on the spot. His songs gave details of
events ranging from the gruesome murders and courthouse trials to scandalous
husband/wife infidelities of the upper and middle classes in the society. Some of
the lyrics to his songs landed him in prison.
Today, calypsos are used as a basis for critique and open commentary, mainly
political and social. The use of double language, metaphors and folklore has
protected the performer from censorship. In the 1960's, tourism and the influx of
North American visitors to our shores recognised the need for organised
entertainment in the new hotels.
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
The first calypsonians performing in hotels were Dadian, Black Shirt, and
Skeetch. Accompanied by a string band consisting of two guitars and a bass
made from an empty oil drum with a string attached, they sang about "Slap in
han"- a song about a woman being slapped by an unseen hand. Many persons
thought that this was a sign of obeah.
1957 saw the first Carnival in Antigua, and Styler won the first annual Calypso
King competition.
The mid-fifties heralded the emerging national consciousness expressed in
calypso. A series of political and union victories against the colonial
administration and sugar syndicate were expressed in calypso as patriotism, love
of beauty of country.
The 1967 Calypso competition reflected this with "Beautiful lovely Antigua" by
Swallow, "Prosperity" by Lord Lee and "Antigua where land and sea make
beauty".
1957 -1965. Lord Canary and Zemaki performed the best music of this period,
whose rivalry laid the foundation for the Swallow/ Short Shirt confrontations
fifteen years later.
1964-1988 King Short Shirt and Swallow battled for the Calypso King of Antigua
honour. King Short Shirt had won the crown fourteen times including three hat
tricks.
Jamaica Kincaid Resources
http://www.english.emory.edu/Bahri/Kincaid.html
http://www.npr.org/templates/story/story.php?storyId=5292754
http://www.salon.com/05/features/kincaid.html
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
Reading Strategies
Remember that none of these strategies are ends to complete understanding, but rather
starting points.
A. DIDLS – You have a handout on this strategy. A great way to unlock the author’s
tone.
B. SIFT :
S = symbol. Examine the title and text for symbolism. Refer to the symbol
books.
I = images. Identify and analyze images and sensory detail. Chart according to
the senses: Olfactory, Visual, Auditory, Tactile, Taste, Kinesthetics
F = figures of speech (synonym – trope). Analyze figurative language and other
devices.
T = Tone and Theme. Discuss how all devices reveal tone and theme.
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
Using Short Fiction to Teach the Basics: Point of View
Rebecca McFarlan
The AP Literature and Composition exam is a skills based exam that demands a
traditional, formal approach to interpreting texts and responding to them through timed
essays. While students might have been exposed to the elements of formalist criticism in
earlier grades, I have found they need practice to deepen their ability to apply literary
components to understanding texts and fashioning their essay responses. In particular, I
concentrate heavily on point of view. Five times over the past seven years, the free
responses prompts on the AP Literature exam have suggested that students consider
“elements such as point of view.” Many of the prompts provide a generic request to
analyze “how the author/poet uses literary devices.” In most, if not all, of these cases
students would have been well served to have practiced applying point of view
techniques to both poetry and prose. Short fiction provides a medium for teachers to
guide students through deep analysis.
Direct Instruction and Guided Practice: To help students apply concepts of point of
view to theme and tone, we start by reviewing first and third person narrators. I add the
term of focalization. I define focalization as the perspective from which the audience
receives the narrative. Adding this concept allows me to draw parallels between written
texts and film. We discuss the similarities between a landscape shot and the third person
narrator; we connect head shots with first person subjective narration. I then give then the
chart below to expand their understanding of narrative voices. Students apply these
narrative stances to video clips by filling in the “Examples” column. Movie trailers and
sites such as Youtube provide ready access to a variety of films.
Application: On the AP Literature exam students will encounter texts they have most
likely will not have read and studied. The “Remarkable Short-Stories” section of the
Bedford Introduction to Literature: Reading, Thinking, Writing provides excellent
literature for students to focus on analyze point of view. In addition, “Roselily” by Alice
Walker (pg.) and “Girl” by Jamaica Kincaid (pg.) are excellent short selections with
interesting narrative stances. It is important for students to understand that all definitions
on the chart are starting places and that interesting narratives will experiment with
shifting perspectives. I find that the anthology with its many selections offers students
the opportunity to choose works that engage them. I ask students to choose three of the
short story selections to analyze using the worksheet. I model the process using
“Roselily” and “Girl.”
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
rd
“Roselily” offers a shifting 3 person focalization. While technically the point of
view is 3rd person omniscient, the italicized fragments from the marriage ceremony
punctuate Roselily’s thought with the effect of a 3rd person observer. They are factual
and ground her thoughts in reality. Within the paragraphs that comprise her reflections,
the narrator layers the thoughts of the groom through Roselily’s perspective: “She knows
he blames Mississippi for the respectful way the men turn their heads up to the yard, the
women stand waiting and knowledgeable, their children held from mischief by teachings
from the wrong God.” Thus, we have the views of two major characters on the confining
southern society. The focus, however, remains on Roselily, as the narrator occasionally
breaks from the authoritative 3rd person omniscient diction and syntax to free indirect
discourse that mirrors her thought patterns: “Yes, open house. That is what country
black folks like,” or “Proposal. Promises. A new life? Respectable, reclaimed, renewed.
Free! In robe and veil.” Because of this intimate focalization, we feel the most sympathy
for Roselily, some for her husband, but none for the people “in the yard.”
Kincaid’s story “Girl” provides an interesting example of a 1st person, stream of
consciousness stance. The narrator replays in her mind advice that she has received from
an older female authority figure, perhaps her mother or grandmother. The speaker
catalogues strings of domestic advice such as “this is how you set a table for dinner” or
rules of etiquette “on Sundays try to walk like a lady.” While most of this short story
consists of the adult’s advice, twice the narrator interjects her rejoinders. Kincaid
indicates this shift by italicizing the girl’s response. While technically the story is told
from the 1st person objective point of view, this shift from what the girl remembers the
adult saying to her own thoughts gives the reader a glimpse at the girl’s spirit. I remind
students of the film clips we have watched. When a camera moves from a full body shot
to a head shot, the audience knows it will be privy to the character’s reflections. When
the stream of conscious narration moves from the adult’s advice to the girl’s responses,
we see her processing the edicts being thrown at her.
Assessment: Finally, I give students a list of previous AP free response prompts from
the prose free response question. These are available at
http://apcentral.collegeboard.com/apc/Controller.jpf. To help familiarize students with
the types of prompts they will encounter on the exam, I have them rewrite the instruction
to reflect the stories they analyzed. They then write an essay in response to one of the
prompts.
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Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
Point of View or Focalization – Beyond 1st and 3rd Person Terms
Term
1st Person Subjective
1st Person Objective
3rd Person
Omniscient
3rd Person Limited
Omniscient
3rd Person Objective
Direct Discourse
How to Recognize
Possible Impact on
Theme and Tone (Other
possibilities exist)
Participant in the story;
May intensify action and
uses “I” or “We”; narrates
suspense, but might be
during or close to the time unreliable as s/he has not
of action; therefore, present had time to reflect on the
tense predominates
conflict.
Participant in the story;
May lose some of the
uses “I” or “We.”; narrates excitement associated with
the story after the action
a 1st person subjective
has concluded; therefore,
narrative, but the narrator
past tense predominates
often gains some reliability
over subjective narrators
Nonparticipant; Knows
Reliable speaker knows
thoughts of all characters;
thoughts of characters;
can move locations within therefore, knows
seconds; has God-like
motivations and agendas;
abilities; usually
Less opportunity or need
summarizes not in the
for reader to draw
diction and syntax of the
inferences; can slow
characters, but of the
narrative pace; can distant
narrator
the readers from the
characters.
Nonparticipant;
Reliable speaker, but less
Knows thoughts of one
so than a 3rd person
character; reports dialogue omniscient; reader distance
and actions of remaining
is lessened for the chosen
characters but not their
character.
thoughts.
Nonparticipant; observes
Cannot report thoughts so
the action or retells a it
loses some reliability
from accounts of others
associated with omniscient
narrators; more objective
than a 1st person narrator,
but often not as passionate;
style may be journalistic
Identified by quotation
Allows reader to draw
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Examples
Strategies
Rebecca McFarlan
mcfarlan@ih.k12.oh.us
marks; reproduces actual
speech
Indirect Discourse
Free Indirect
Discourse
Stream of Conscious
or Interior
Monologue
Grammatical structure of
reported speech; narrator
reports what was said, not
how it was said.
3rd person narrator, but a
stylistic departure from
pure 3rd person omniscient
or limited omniscient
narrators. Instead of
reporting thoughts of
characters solely in the
style of the narrator, the
narrator reports the
thoughts in the style of the
character.
Can be either a 1st or 3rd
person narrator, but the
characters’ thoughts are
replicated using 1st person
pronouns; resembles
natural thought patterns
that do not follow spoken
or written syntax; often
dependent on symbols and
motifs
inferences about
characters; supports or
refutes narrative
commentary; often
quickens the narrative pace
Interposes the narrator’s
voice with the characters; a
good place to analyze tone
Mixes in to the 3rd person
narrative a degree of
intimacy found in a first
person narration or stream
of conscious monologue.
Passages of free indirect
discourse are good spots to
look for tone and theme.
. If the overall point of
view is 3rd person, the
stream of conscious
portions resemble a 1st
person narrative; reflects
the order or chaos of the
character’s state of mind;
demands more
involvement of the reader
in discerning character’s
traits and motivation
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