Adlai E. Stevenson High School Course Description Division: Course Number: Course Title: Course Description: World Languages SPA611 / SPA612 AP Spanish Literature-­‐(Honors) The AP Spanish Literature course will prepare students for the College Board AP Spanish Literature Exam. The course will study the required works in chronological order but will also consider the broader thematic connections that can be made in the works across the many literary periods studied. These themes will include: identity, the role of women, carpe diem, romantic and familial relationships, meta-­‐literature, social criticism, the border between fiction and reality, coming-­‐of-­‐age, and the meeting of different cultures. Works will be presented within a cultural context that may include history, geography, art, music, and contemporary pop-­‐culture. All readings will be done in Spanish in non-­‐abridged texts. Course Objectives Students will learn about a wide range of literary periods/movements and key works related to those movements (list below). Students will be expected to read each work with a level of comprehension that will allow them not only to identify the plot and the characters, but also to recognize and to interpret unique linguistic and literary aspects of the work. Students will be expected to place the works within a historical and literary context, however they will also be asked to compare and to contrast works across literary movements and genre by identifying common themes, structures, techniques, etc. Students will also learn the vocabulary and literary terminology needed to analyze and to discuss the works with precision. 1. The Middle Ages • “Romance de la pérdida de Alhama” (Anonymous) • “Romance del conde Arnaldos” (Anonymous) • Don Juan Manuel, El libro del conde Lucanor (“Ejemplo XXX”) 2. The Golden Age • Álvar Núñez Cabeza de Vaca, Naufragios • Lazarillo de Tormes (Anonymous) • Miguel de Cervantes Saavedra, El ingenioso hidalgo don Quijote de la Mancha • Garcilaso de la Vega, “Soneto XXIII” (“En tanto que de rosa y de azucena”), • Luis de Góngora y Argote, “Soneto CLXVI” (“Mientras por competir con tu cabello”) • Francisco de Quevedo y Villegas, “Salmo XVII” (“Miré los muros de la patria mía”) • Sor Juana Inés de la Cruz o “En perseguirme, Mundo, ¿qué interesas?” o “Hombres necios que acusáis” • Tirso de Molina, El burlador de Sevilla y convidado de piedra 3. Romanticismo • José María Heredia, “En una tempestad” • José de Espronceda, “Canción del pirata” • Gustavo Adolfo Bécquer o “Rimas, IV” o “Rimas, XI” o “Rimas, LIII” • Mariano José Larra, “Vuelva usted mañana” • Ricardo Palma, “El alacrán de fray Gómez” 4. Realism • Leopoldo Alas (“Clarín”), “Adiós, Cordera” • Emilia Pardo Bazán, “Las medias rojas” 5. Modernismo • José Martí o “Yo soy un hombre sincero” o “Dos patrias” • Rubén Darío o “Canción de otoño en primavera” o “A Roosevelt” o “Lo fatal” 6. The Generation of 1898 • Antonio Machado, o “Caminante, son tus huellas” o “La primavera besaba” o “He andado muchos caminos” • Miguel de Unamuno y Jugo, San Manuel Bueno, mártir 7. The Generation of 1927 • Federico García Lorca o La casa de Bernarda Alba o “Romance sonámbulo” o “Romance de la pena negra” o “Prendamiento de Antoñito el Camborio” o “Muerte de Antoñito el Camborio” 8. The Generation of 1950 • Carmen Martín Gaite, Las ataduras 9. The Latin American Short Story, Part I • Horacio Quiroga o “El hijo” • Jorge Luis Borges o “El sur” o “La muerte y la brújula” • Julio Cortázar o “Continuidad de los parques” o “La noche boca arriba” • Juan Rulfo o “No oyes ladrar los perros” • Carlos Fuentes o “Chac Mool” 10. The Latin America Short Story, Part II Gabriel García Márquez o “Un día de éstos” o “La siesta del martes” o “La prodigosa tarde de Baltasar” o “La viuda de Montiel” o “Un señor muy grande con unas alas enormes” o “El ahogado más hermoso del mundo” • Isabel Allende, “Dos palabras” • Sabine Ulibarrí, “Mi caballo blanco” 11. Poetry of la Vanguardia • Alfonsina Storni o “Tú me quieres blanca” o “Peso ancestral” • Julia de Burgos, “A Julia de Burgos” • Rosario Castellanos, “Autorretrato” • Nicolás Guillén o “Sensemayá” o “Balada de los dos abuelos” • Pablo Neruda o “Poema XV” (“Me gustas cuando callas”) o “Walking around” o “Oda a la alcachofa” 12. Theater of the Absurd • Sergio Vodanovic, El delantal blanco •
Learning Targets The Middle Ages: Romances I can: • Define the structure and characteristics of a romance and explain the genre within a historical/social context. • Identify the meter and rhyme of a poem. • Narrate the plot of two romances: o “Romance del conde Arnaldos” o “Romance de la pérdida de Alhama” • Identify a romance fronterizo and a romance lírico/novelesco. • Explain the romance fronterizo within a historical context. • Apply my knowledge to unknown romances. The Middle Ages: El libro del conde Lucanor I can: • Explain what a didactic book is and explain the importance of El libro del conde Lucanor from a literary perspective. • Narrate the plot of “Ejemplo XXX.” • Describe the structure of the work. • Explain why El libro del conde Lucanor is a “book for everyone” and how the structure and tone of the book support that goal. •
Discuss the role of the woman in the work and why “Ejemplo XXX” has relevance today. The Golden Age: Naufragios I can: • Narrate the plot of the reading. • Define the characteristics of a “crónica.” • Discuss how the author presents the indigenous peoples he encounters in contrast to the Spanish. • Indentify and discuss how the author mixes what appear to be factual and fictional elements. The Golden Age: Lazarillo de Tormes • Define the chivalric and the picaresque genres and explain how the picaresque is a reaction to the chivalric. • Narrate the plot of the required sections of the work. • Discuss the structure of the work as an “autobiography” and its division into different tratados. • Use specific examples from the text to discuss the author’s criticism of society, especially the nobility and the Church. • Identify how the author uses ambiguity, humor and double-­‐entendre to situate the hero within a specific cultural context and to express social criticism. • Use my knowledge of the genre to predict what might happen in Lazarillo’s future. • Apply my knowledge to an unknown picaresque work. The Golden Age: El ingenioso hidalgo don Quijote de la Mancha I can: • Explain how the work is a reaction to the chivalric genre. • Narrate the plot of the required sections of the work and put them into a historical context where appropriate. • Discuss the themes of: o Fiction vs. reality and explain with specific examples of how the author, the implied author, and Don Quijote himself blur the lines between fiction and reality. o Identity and consider how and when society or the individual defines a person’s identity o Optimism vs. realism o Metaliterature • Explain why the work is considered by many to be the first modern novel. The Golden Age: Poetry and literary language I can: • Define the structure and historical context of a sonnet and a redondilla (rhyme, meter, etc.) and explain how the structure of the poem reflects the poem’s message. • Define and identify examples of literary language in a poem and discuss the literary effect. • Identify the themes of the poems read in class and explain them within the cultural context of the Golden Age (the Renaissance and the Baroque periods). • Compare the theme of carpe diem in two poems. •
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Compare the portrayal women in several poems. Define the terms “conceptismo”, “culteranismo” (“gongorismo”), apología, momento mori and “descriptio puellae” and use them when discussing poems. Apply my knowledge to unknown poems. •
The Golden Age: “El burlador de Sevilla y convidado de piedra” I can: • Narrate the plot of the play. •
Identify why the work is “baroque” (theme and structure) with specific examples from the text. •
Identify the rhyme and the strophe of various sections of work. •
Identify the central theme and explain it with specific examples from the text. •
Discuss the sub-­‐themes of honor, the role of women, and the role of the sidekick, and connect those themes with other works using specific examples. •
Compare the play to other works from the Golden Age with specific examples. •
Use precise terminology (literary and theatrical terms) when discussing the work. Romanticism I can: •
Narrate the plot of the works read in class. •
Explain the cultural movement in relation to neoclassicism and explain the characteristics of the movement. •
Identify themes, structures, and literary language in the required poems and relate them to the values of the romantic movement. •
Explain what is a silva and why it is a popular poetic structure with romantic poets. •
Discuss themes and rhetorical figures in the required poems and stories and how these reflect the romantic ideals. •
Articulate why the poem “Habrá poesía” as an example of metaliterature. •
Discuss the texts within a historical and literary context and compare them to other works. •
Explain the sub-­‐genre of costumbrismo and how it is used for different purposes in works by Larra and Palma. Realism I can: • Explain how Realism is a reaction to Romanticism. • Define the difference between Realism and Naturalism. • Narrate the plot of the works read in class. • Identify and discuss with examples from the text key themes in each work, such as rural life, the encroachment of modernization, and the role of women. • Identify examples of literary language in the works and explain how this language amplifies the message of the author. • Discuss the texts within a historical and literary context and compare them to other works. Modernismo I can: Explain the themes, literary language and poetic structure used in the works of Martí and Darío. • Define the characteristics of Modernismo and explain how Martí and Darío spearheaded the renovation of poetic language and imagery in their works. • Explain how, in contrast to other modernists, Martí and Darío did not only create “art of art’s sake,” but in fact had political agenda. • Compare the messages/tone of Martí’s poems with Darío’s “A Roosevelt.” • Compare “Canción de otoño en primavera” to other poems with the same themes (carpe diem and failed romance). The Generation of 1898 I can: • Discuss the social conditions in Spain that influenced the Generation of 1898. • Explain the philosophical perspective of this generation of writers and how it influenced their literary creation. • Identify and interpret the themes, literary language, and poetic structure used in Machado’s poems: “Caminante, son tus huellas,” “La primavera besaba” and “He andado muchos caminos” • Explain why the form of Machado’s poems (the romance) reflect the poet’s philosophical message. • Compare the theme of carpe diem in “La primavera besaba” to other poems with the same theme. • Narrate the plot of San Manuel Bueno, mártir. • Identify and explain the use of religious symbolism in San Manuel Bueno, mártir. • Define existentialism and the unamunian concepts of intrahistoria and nivola and relate them to the text. • Relate the themes of religion, faith, reality (“la vida es sueño”), and immortality in San Manuel Bueno, mártir to the philosophical perspective of the author. Explain how the structure of the work and the use of symbolism support the exploration of these themes. La Generación de 1927: Federico García Lorca I can: • Narrate the plot of La casa de Bernarda Alba. • Identify and describe the main characters of the work. • Narrate the plot of several poems from Romanero gitano. • Explain why Lorca uses the romance form. • Discuss author’s interest in marginalized members of society and give examples of their presence in his works. • Identify and discuss symbolism within the work of the Lorca, specifically the images of the horse, the moon, water and colors and explain how Lorca manipulates these symbols to heighten the drama of his works. • Discuss the following themes in the dramatic and poetic works of Lorca: o the societal roles of men and women o honor, morality, and sexual purity o oppression, personal liberty and free will o frustrated love o gypsy/Andalusian culture • Compare the works thematically and structurally to other works in the course. •
• Apply my knowledge to unknown works. La Generación de 1950: Carmen Martín Gaite I can: • Narrate the plot of Las ataduras and identify the main characters. • Identify and explain the symbol of the river. • Identify elements of costumbrismo in the work and consider why they are included. • Discuss the themes of family relations, the lack of communication between family members, and coming of age/becoming an adult. • Discuss the author’s feminist point-­‐of-­‐view and how it relates to the work. • Consider how people form family connections and how these connections change over time. • Compare the work thematically to other works in the course. The Latin American Short Story, Part I I can: • Narrate the plot of the following stories: Horacio Quiroga, “El hijo;” Jorge Luis Borges, “El sur” and “La muerte y la brújula;” Julio Cortázar, “Continuidad de los parques” and “La noche boca arriba;” Juan Rulfo, “No oyes ladrar los perros,” Carlos Fuentes, “Chac Mool.” • Describe the literary characteristics of the “Vanguardia” and the “Boom.” • Identify the characteristics of the “Fantastic” genre and explain why this genre emerged. • Explain how and why the theme of dual identity (European/Latin American) is explored in several works (“El sur,” “Chac Mool”). • Explain how the theme of family relationships is explored in several works (“El hijo,” “No oyes ladrar los perros”) and compare the treatment of this theme to other works read (Las ataduras, “Las medias rojas”). • Discuss how language is used by the author to heighten the readers awareness of tension/drama in various works. • Explain how and why authors explore paradoxical concepts such as fiction/dreams vs. reality and linear vs. non-­‐linear time (“El sur,” “La muerte y la brújula,” “Continuidad de los parques,” and “La noche boca arriba”). The Latin America Short Story, Part II I can: • Narrate the plot of the following stories: Gabriel García Márquez, “Un día de éstos,” “La siesta del martes,” “La prodigosa tarde de Baltasar,” “La viuda de Montiel,” “Un señor muy grande con unas alas enormes,” “El ahogado más hermoso del mundo;” Isabel Allende, “Dos palabras” and Sabine Ulibarrí, “Mi caballo blanco” • Define “magical realism” as a literary technique. • Explain the evolution of the writing of Gabriel García Márquez including works with and without magical realism. • Consider how the technique of magical realism relates to writings by other authors (both before and after García Márquez), such as Palma, Allende, Cabeza de Vaca and the “Romance del conde Arnaldos.” • Explain the historical context for the works of Gabriel García Márquez and Isabel Allende. •
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Explain the terms “fábula” and “parábola” in relation to “Un señor muy grande con unas alas enormes” and “El ahogado más hermoso del mundo.” Discuss the themes of coming-­‐of-­‐age and man’s relationship with nature in “Mi caballo mago” and compare it to other works in the course. Consider how Ulibarrí uses language (poetic imagery, verb tenses) to heighten the drama of his work. Modern Poetry I can: • Explain the themes in the following works: Alfonsina Storni, “Tú me quieres blanca” and “Peso ancestral;” Nicolás Guillén, “Sensemayá” and “Balada de los dos abuelos;” Pablo Neruda, “Poema XV” (“Me gustas cuando callas”), “Walking around” and “Oda a la alcachofa;” Julia de Burgos, “A Julia de Burgos” and Rosario Castellanos, “Autorretrato.” • Define the literary movement “la vanguardia” and the terms “afro-­‐cubanismo” and “surrealismo.” • Apply previously studied literary/poetic terms (pertaining to literary language as well as poetic structure) and explain and identify “jitanjáfora.” • Relate the theme of European/African identity to other works in which dual cultural identities are explored (“El sur” and “Chac Mool”). • Compare the female voice in Storni, de Burgos and Castellanos to other works I have read, such as the poems of Sor Juana and prose by Pardo Bazán, Martín Gaite and Allende) • Compare the role of women in Storni, de Burgos and Castellanos to works by both female and male authors (such as Tirso de Molina, don Juan Manuel) • Apply my knowledge to unknown poems. Theater of the Absurd I can: • Narrate the plot of the play, “El delantal blanco.” • Explain the characteristics of the “theater of the absurd.” • Explain the social commentary in the work. • Identify elements of “the absurd” in the work. • Compare this play to other works I have read both thematically (social criticism) and structurally (as a play). College Readiness Standards for Reading By the end of this course, the students will be able to: A. Main Ideas and Author’s Approach. B. Supporting Details. C. Sequential, Comparative, and Cause-­‐Effect Relationships. D. Meanings of Words. E. Generalizations and Conclusions. A. Main Ideas and Author’s Approach 1. Locate details in a literary text that suggest the author’s or narrator intent. 2. Speculate about an author’s or narrator’s beliefs, motives, or thinking. 3. Recognize a clear intent of an author or narrator in uncomplicated literary narratives. 4. Identify a clear main ideas or purpose of straightforward paragraphs in uncomplicated literary narratives. 5. Analyze techniques used by the author of a text to reveal or conceal his or her point of view. 6. Infer the mail ideas or purpose of straightforward paragraphs in uncomplicated literary narratives. 7. Understand the overall approach taken by an author or narrator (e.g., point of view, kids of evidence used) in uncomplicated passages. 8. Determine how an inference might change based on the inclusion of additional information. 9. Synthesize information from challenging text to clarify understanding of important concepts and ideas. 10. Distinguish between key concepts and subordinate ideas in a text and write a concise summary. 11. Search for clues that suggest the viewpoint from which a literary text is written or told and determine whether the author’s or narrator’s point of view is valid or biased. 12. Analyze the relationship between an author’s or narrator’s intended message and the rhetorical devices used to convey that message (e.g., language used, evidence provided) 13. Identify a clear main idea or purpose of any paragraph or paragraphs in uncomplicated passages. 14. Infer the main idea or purpose of straightforward paragraphs in more challenging passages. 15. Summarize basic events and ideas in more challenging passages. 16. Understand the overall approach taken by an author or narrator (e.g., point of view, kinds of evidence used) in more challenging passages. 17. Develop a reasonable interpretation of the central theme(s) or main point(s) of a challenging text. 18. Divide challenging texts into sections, determining what the key points are for each section. 19. Determine the primary purpose of specific sections of a text as a whole. 20. Use two different mediums (e.g., sculpture, poetry, photography, music) to present a synopsis of the main idea(s) of a text, thereby expanding understanding of the text’s meaning. 21. Identify subtle evidence that conveys the author’s or narrator’s point of view in challenging texts. 22. Infer the main idea or purpose of more challenging passages or their paragraphs. 23. Summarize events and ideas in virtually any passage. 24. Understand the overall approach taken by an author or narrator (e.g., point of view, kinds of evidence used) in virtually any passage. 25. Locate and analyze ideas in a complex text and write a reasoned synopsis of the text. 26. Determine the author’s or narrator’s position toward a specific topic, issue, or idea by noting key facts, claims, and details from the text. 27. Identify clear main ideas or purposes of complex passages or their paragraphs. B. Supporting Details 1. Locate and discuss details presented in a text (e.g., who, what, where). 2. Locate basic facts (e.g., names, dates, events) clearly stated in a passage. 3. Determine which details in a text are essential to understanding the author’s or narrator’s intended message. 4. Scan a text in order to locate specific details (e.g., dates, specialized terms, facts). 5. Identify the author’s or narrator’s reasons for including specific information in the text. 6. Locate simple details at the sentence and paragraph level in uncomplicated passages. 7. Recognize a clear function of a part of an uncomplicated passage. 8. Explain in their own words the significance of specific information in written or nonprint sources. 9. Distinguish between what is most and least important in a text. 10. Locate important details in uncomplicated passages. 11. Make simple inferences about how details are used in passages. 12. Gather and interpret details presented in a text, determining the contributions of each to the author’s or narrator’s intended message. 13. Identify details that clearly support the key point(s) of written or nonprint sources. 14. Check inferences against information provided in a text, identifying what is and is not sufficiently supported by the text. 15. Locate important details in more challenging passages. 16. Locate and interpret minor or subtly stated details in uncomplicated passage. 17. Discern which details, though they may appear in different sections throughout a passage, support important points in more challenging passages 18. Enumerate aspects or characteristics of people, objects, events, or ideas. 19. Interpret and integrate details in a text in order to verify or contradict a specific point or claim made by the author or narrator. 20. Recognize and study the evolution of an author’s argument(s) as presented in a complex informational text. 21. Locate and interpret minor or subtly stated details in more challenging passages. 22. Use details from different sections of some complex informational passages to support a specific point or argument. 23. Identify facts embedded in complex informational texts. 24. Locate and interpret details in complex passages. 25. Understand the function of a part of a passages when the function is subtle or complex. C. Sequential, Comparative, and Cause-­‐Effect Relationships 1. Use various strategies (e.g., timelines, event chains, discussion) to determine whether an event occurred and, if so, when it occurred. 2. Discuss an issue of interest, determining how past events affected the present. 3. Locate evidence in a text that explicitly states why an event or a series of events occurred. 4. Search for patterns or clues (e.g. signal words) that indicate cause-­‐effect relationships. 5. Determine when (e.g., first, last, before, after) or if an event occurred in uncomplicated passages. 6. Recognize clear cause-­‐effect relationships described within a single sentence in a passage 7. Analyze how an author pr narrator uses description, dialogue, and action to suggest relationships between characters in written or nonprint sources (e.g., films, ads). 8. Select phrases or statements from a literary text that illustrate how a specific character feels toward others in the text 9. Read portion of literary text, predicting how a person’s actions or words would likely impact a specific situation. 10. Use various strategies (e.g., questioning, role-­‐playing) to determine plausible cause-­‐effect relationships. 11. Identify relationships between main characters in uncomplicated literary narratives. 12. Recognize clear cause-­‐effect relationships within a single paragraph in uncomplicated literary narratives. 13. Place events from a literary text in chronological order by locating substantial evidence from the text. 14. Identify similarities and differences between people, objects, events, or ideas, drawing accurate conclusions. 15. Identify interrelationships between and among people, objects, events, or ideas in written or nonprint sources. 16. Determine factors that have clearly influenced the outcome of a situation. 17. Identify statements in texts that clearly state the cause(s) and effect(s) of specific effects. 18. Order simple sequences of events in uncomplicated literary narratives. 19. Identify clear relationships between people, ideas, and so on in uncomplicated passages 20. Identify clear cause-­‐effect relationships in uncomplicated passages. 21. Analyze the sequence of events in written or nonprint sources. 22. Search for clues embedded in a text that suggest cause-­‐effect relationships. 23. Examine events in written or nonprint sources to determine the precipitating cause(s) and final outcome(s) 24. Order sequences of events in uncomplicated passages. 25. Understand relationships between people, ideas, and so on in uncomplicated passages. 26. Identify clear relationships between characters, ideas, and so on in more challenging literary narratives. 27. Understand implied or subtly stated cause-­‐effect relationships in uncomplicated passages. 28. Identify clear cause-­‐effect relationships in more challenging passages 29. Read texts containing challenging sequences (e.g., flashback, flash-­‐forward), discussing how the order of events affects understanding of the text. 30. Develop an in-­‐depth understanding of the fine distinctions between literary characters in a challenging text by closely examining the language used by the author or narrator. 31. Identify relationships between ideas and/or people in a challenging text and how those relationships develop over the course of the text. 32. Identify clues in an challenging text that suggest possible motives for and effects of a person’s actions or words. 33. Order sequences of events in more challenging passages 34. Understand the dynamics between people, ideas, and so on in more challenging passages. 35. Understand implied or subtly stated cause-­‐effect relationships in more challenging passages. 36. Determine the chronological sequence of events and the spatial relationships in complex text (e.g., Dickens, García Marquez, Morrison, Tolstoy) 37. Analyze subtle relationships between and among people, objects, events, and ideas in complex texts or films, forming accurate inferences. 38. Identify implications and possible consequences of actions in complex texts. 39. Order sequences of events in complex passages 40. Understand the subtleties in relationships between people, ideas, and so on in virtually any passage. 41. Understand implied, subtle, or complex cause-­‐effect relationships in virtually any passage. D. Meaning of Words 1. Use various resources (e.g., dictionary thesaurus) to explore connotations of familiar words or descriptive language. 2. Understand the implication of a familiar word or phrase and of simple descriptive language. 3. Examine specific language in a text and propose plausible interpretations based in part on their own viewpoints and experiences. 4. Use context to understand basic figurative language. 5. Clarify the meanings of words or descriptive phrases by searching for clues in the text (e.g., sentence structure, context, prefixes/suffixes, spelling patterns) 6. Use context to determine the appropriate meaning of some figurative and nonfigurative words, phrases, and statements in uncomplicated passages. 7. Investigate the meanings of words and their possible effect(s) on the perceptions and behavior of people. 8. Use context to determine the appropriate meaning of virtually any word, phrase, or statement in uncomplicated passages. 9. Use context to determine the appropriate meaning of some figurative and nonfigurative words, phrases, and statements in more challenging passages. 10. Develop and use strategies for deciphering the meanings of words or phrases embedded in richly figurative or technical contexts. 11. Determine the appropriate meaning of words, phrases, or statements from figurative or somewhat technical contexts. 12. Determine, even when the language is richly figurative and the vocabulary is difficult, the appropriate meaning of context-­‐dependent words, phrases, or statements in virtually any passage. E. Generalizations and Conclusions. 1. Recognize generalizations about the main character in a literary text. 2. Combine several pieces of information to make a reasonable generalization about specific character. 3. Make predictions about characters and events presented in a literary text, verifying or rejecting those predictions and making new ones as they read. 4. Draw simple generalizations and conclusions about the main characters in uncomplicated literary narratives. 5. Analyze the reasonableness of generalizations by reviewing information presented in the text and from other sources. 6. Draw reasonable conclusions about people and situations using evidence presented in a text. 7. Draw simple generalizations and conclusions about people, ideas, and so on in uncomplicated passages. 8. Make accurate generalizations about people and events based on evidence presented in the text. 9. Identify inaccurate generalizations (e.g., stereotypes) in written on nonprint sources. 10. Identify details in challenging text that confirm or disprove conclusions drawn by the author or narrator and by the students themselves or their peers. 11. Make reasoned judgments about ideas and events based on evidence from written or nonprint sources. 12. Draw generalizations and conclusions about people, ideas, and so on in uncomplicated passages. 13. Draw simple generalizations and conclusions using details that support the main points of more challenging passages. 14. Defend of challenge the author’s or narrator’s assertions by locating several key pieces of information in a challenging text. 15. Make accurate generalizations based on implicit information in the text. 16. Analyze specific parts of a text, drawing accurate conclusions. 17. Draw subtle generalizations and conclusions about characters, ideas, and so on in uncomplicated literary narratives. 18. Draw generalizations and conclusions about people, ideas, and so on in more challenging passages. 19. Synthesize information in challenging texts, making valid generalizations or conclusions about people and situations. 20. Use information from one or more sections of a more challenging passage to draw generalizations and conclusions about people, ideas, and so on. 21. Examine information from multiple sources and perspectives (including the author’s or narrator’s) in order to make reasonable generalizations about people, objects, ideas, and situations. 22. Evaluate the impact of literary devices (e.g., figurative language) on the meaning of a literary narrative. 23. Draw complex or subtle generalizations and conclusions about people, ideas, and so on, often by synthesizing information from different portions of passage. 24. Understand and generalize about portions of a complex literary narrative. College Readiness Standards for Writing A. Topic Development in Terms of Purpose and Focus. B. Organizations, Unity, and Coherence. C. Word Choice in Terms of Style, Tone, Clarity, and Economy. D. Sentence Structure and Formation. A. Topic Development in Terms of Purpose and Focus. 1. Read and discuss the work of favorite writers. 2. Identify the basic purpose or role of a specified phrase or sentence 3. Identify the central idea or main topic of a straightforward piece of writing. 4. Determine whether a complex essay has accomplished a specific purpose. 5. Add a phrase or sentence to accomplish a complex purpose, often expressed in terms of the main focus of the essay. B. Organization, Unity, and Coherence 1. Rearrange sentences to improve the logic and coherence of a complex paragraph 2. Add a sentence to introduce or conclude a fairly complex paragraph. 3. Consider the need for introductory sentences or transitions, basing decisions on a through understanding of both the logic and rhetorical effect of the paragraph and essay C. Word Choice in Terms of Style, Tone, Clarity, and Economy 1. Correct vague and wordy or clumsy and confusing writing containing sophisticated language. 2. Delete redundant material that involves subtle concepts or that is redundant in terms of the paragraph as a whole. D. Sentence Structure and Formation 1. Decide the appropriate verb tense and voice by considering the meaning of the entire sentence. Social and Emotional Learning Targets 1. As a member of the Stevenson High School community, I will develop my Self-­‐
Awareness skills. Strengths & Weaknesses A. I recognize that making mistakes is part of the learning process. 2. As a member of the Stevenson High School community, I will develop my Social-­‐
Awareness skills. Empathy & Perspective-­‐Taking A. I listen attentively to understand another person’s feelings and/or perspectives. B. I act responsibly with the interests of the larger community in mind. Respect for Others & Appreciating Diversity C. I can explain what it means to be respectful. Organizational Awareness D. I recognize the values and the culture of the team or the organization. 3. As a member of the Stevenson High School community, I will develop my Self-­‐
Management skills. Impulse Control & Self-­‐Discipline A. I listed to others without interrupting. Goal Setting & Organizational Skills B. I create individualized short-­‐term goals for myself. 4. As a member of the Stevenson High School community, I will develop my Relationship Skills. Teamwork A. I work cooperatively with others. Helping & Seeking help B. I consider feedback from others.