**ATTENTION 4th HAmLiT: CLASSWORK/ASSIGNMENT FOR. TUES. 3/3 *AND/OR* HW DUE COMPLETED BY CLASSTIME WED. 3/4**

4th Honors American Lit./Comp.

TUES. 3/3 CLASS WORK/*or* HW REMINDER DUE/TO BE COMPLETED BEFORE CLASS BEGINS WED. 3/4:

In the WRITING SECTION of your binder, IF YOU DID NOT COMPLETE IT TODAY TUES. 3/3 IN CLASS, BEFORE CLASS TOMORROW WED. 3/4, MAKE SURE you've completed the "PRACTICE 10: TRANSITIONAL WORDS" sheet (GIVEN TO YOU ON TUES. 3/3 **AND LINKED ON CLASSROOM as PDF) [FRONT OF SHEET ONLY!!!!]: 

--NOTE AGAIN: YOU HAVE *A MAJORITY* OF CLASS TIME TUES. 3/3 to work on this assignment after we finished some taking some new terms notes

• EVERYONE please REWRITE OR TYPE YOUR TRANSITIONS ASSIGNMENT and add effective transitions/transitional elements to PARAGRAPHS #1 or #2 (AS ASSIGNED TO YOU), and EVERYONE WILL HAVE PARAGRAPH #3 as a practice skill/application for your own graded writing assignments
• **PRO TIP: use the *TRANSITIONS/SIGNAL WORDS* LIST (back side of POWER VERBS SHEET/WRITING SECTION) given to you in class TODAY to help you complete this assignment--IT'S A VALUABLE RESOURCE!!! :)

**SO....you ALL will come to class WED. 3/4 with TWO PARAGRAPHS [either #1 or #2 as assigned/EVERYONE #3] rewritten OR **typed (**with a PRINTED hard copy--it's YOUR responsibility if you choose to go this route--YOU print *or* GET TO ME/SHARE EARLY!!) with added transitions

 

--be prepared to share in class  your improvements/additions to the x2 paragraphs you  improved WED. 3/4 for weekly CCR/participation points!!

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**ALSO PLEASE DO NOT FORGET TO BRING YOUR COPY OF F451 WITH YOU TO CLASS EVERY DAY; we're not done with it just yet!

**ATTENTION 4th HAmLiT: MAJOR F451 Ext. Para. *FINAL DRAFT/REVISION* DUE COMPLETED/READY TO SUBMIT BY CLASSTIME MON. 3/2**

4th Honors American Lit./Comp.

*MAJOR* HW/ASSIGNMENT DUE MON. 3/2:

The FINAL, REVISED, MLA-style, TYPED copy (*either ALREADY shared with me OR YOU print FOR A +1pt BONUS) of your Fahrenheit 451 Literary Analysis Extended Paragraph Response

--changes/revisions TO BE MADE/APPLIED are based upon our INDIVIDUAL REVISION CONFERENCES IN CLASS all this PAST WEEK/LAST TWO DAYS in class with your *ROUGH DRAFT COPY (*HARD COPY(ies) in WRITING SECTION of binder)

**REMEMBER: +1pt. BONUS to FINAL DRAFT for bringing YOUR OWN PRINTED COPY to class MONDAY 3/2! (*otherwise, I'll print for you/have it to you first thing Monday!)

• BELOW: CHECKLIST FOR WRITING COMPLETION (to COPY ON CHECKLIST TEMPLATE to be given to you FRIDAY 2/27 IN CLASS and to TURN IN COMPLETED BY YOU with your FINAL COPY MONDAY 3/2)

**items on checklist below with **TWO STARS** are to be included on your WRITING CHECKLIST to turn in with FINAL DRAFT

CONTENT: 
**___DID YOU ANSWER THE PROMPT QUESTION??? (audience/purpose/context)
**___ANALYSIS of Montag's CONFLICT, NOT SUMMARY/EVALUATION
**___Use of/explanation of LITERARY DEVICE(s) in text (tone/symbol/imagery/etc.)
**___Writing about literature = PRESENT TENSE VERBS
**___Response AVOIDS METADISCOURSE (and first-/second-person POV)

**___AVOIDS "THE ABYSS OF INCOHERENCE" in the conclusion/ends with the ORIGINAL QUESTION in mind (Montag's internal struggle)
___ONE 8-12 sentence EXTENDED PARAGRAPH response  
___Includes solid TRANSITIONS for writing coherence (at least 2-3)  

MLA FORMAT:

**___Follows all MLA STYLE 9th edition BASICS for formatting/general rules outlined in class
**___MLA PROPERLY "blended/CITED quotes" (1-2) to back up your assertions (#).

**___Follows 'THIS + NOUN' rule
**___***Within "quotations," the correct use of commas/quotes 
___'Cliche quotes' vs. "textual evidence" (proper format) 

MISC.:

**___AVOIDS USING PASSIVE VOICE (PV)/uses strong POWER VERBS instead
**___AVOID 'LETTER GRADE ERRORS' and PEDANTIC/'flowery' WORDING
**___Corrected ALL ISSUES pointed out by Mrs. Krieger
**___INCLUDES A CORRECT WORK CITED for the novella at the end of the response
___REVISED (ideas) and EDITED (typos) by self/friend before submitting/ALL ROUGH DRAFT(S) IN WRITING SECTION OF YOUR BINDER

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**ALSO PLEASE DO NOT FORGET TO KEEP BRINGING YOUR COPY OF F451 WITH YOU TO CLASS EVERY DAY--a few more things to do!

**ATTENTION 1st/2nd AP/1102: WKEND HW INTRO READING & J#16 QU's DUE COMPLETED BY CLASSTIME MON. 2/23**

1st/2nd AP LANG/ENG 1102

WKEND HW DUE MON. 2/23: 

**FIRST: After our intro/background/overview in class today FRI. 2/20, MAKE SURE you've all read the following introductory parts/sections in Arthur Miller's play The Crucible:

• "A NOTE ON THE HISTORICAL ACCURACY OF THIS PLAY" (short first page)

• ACT ONE: An Overture (**NOTE: READ JUST 'An Overture'--ends at the BOTTOM OF pp. 7 **OR** TOP OF pp. 8 with "..and did burst out in general revenge.")
• **AGAIN, in BOTH the paperback copy you either got from the library or got from me in class FRI. 2/20 and the linked PDF version below (and on the Classroom), you'll be reading through EITHER the bottom of pp. 7 OR the top of pp. 8!!!

•  **LINK HERE TO THE PDF FULL TEXT OF THE CRUCIBLE if you were absent to get a copy (*this is the SAME TEXT AS THE PAPERBACK COPIES)**

**NEXT: on POST-ITS and/or PAPER/TYPED UP ANSWER AS JOURNAL #16 PART I the following five (5) qu's while/after you read (NOTE: post-its, paper notes, pg. # references, typed/printed/LABELED J#16 PART I, jotting down the answer(s) for each is fine, so long as you have THOROUGH responses & GIVE ME YOUR BEST EFFORT); these qu's will guide our PLAY INTRO DISCUSSION MONDAY 2/23 and beyond in class!

ACT ONE, AN OVERTURE Qu's TO ANSWER for J#16 PART I

• FIRST THING, look up the definitionS (<< there are several) of CRUCIBLE and be ready share and connect these to this play, even considering what little (or much!) you may know now about its context.

• Describe with the text and your own words Reverend Parris' beliefs about himself (spiritual, moral, societal, etc.)

• After reading pp. 3-4 of the Overture, describe what seems to be most important to the townspeople of Salem. What text evidence validates your assessment?

• What is a THEOCRACY, and why did the town of Salem essentially create one?

• Based on the final pages (pp. 7-8) of the Overture, why were so many people accusing others of witchcraft? In other words, what were the accusers' motives?