Restaurant Speaker Promotion

Marissa Krekeler
Ms. Wilson

AP Brit & World Lit
December 3, 2013

The Dance of Food

I have a big house. This is because there are many people to fill my house; but every day they depart for work or tuck themselves away in their rooms, and leave this big house to be quiet and lonely. Diner is our big meal together, where everyone crowded around the table and discussed their day, while shoveling food in their mouths. In the morning, everyone leaves at different times; from 6 am to noon people are running around the house trying to get ready. For lunch, no one is home. Dinner was our “communion”, as Thomas C. Foster said in How to Read Literature Like a Professor, “‘I’m with you, I like you, we form a community together.’ And that is a form of communion,” (Foster).  However, dinner also seemed to be over too fast, except when we made lasagna.

Every light in the house is on, shining on my mother as she dances around the stove listening to Peter Gabriel and Annie Lennox. Before I even step foot in the room, she’s telling me to grab some pasta and add it to the fuming pot of water. While the noodles soften she takes out a big bowl and asks me, “Do you want to help make the cheese filling?”

Together, we make a concoction of ricotta cheese and mozzarella, when my sisters come bolting down the stairs hollering, “I wanna help!! Let me do it!” Now the big kitchen is crammed tight with people cooking, running around the fridge and stove. My sisters fighting over the most miniscule things, my brother sneaking downstairs occasionally to steal some food, and my mother laughing and dancing. This big house is now filled with noise, food, people, and life.

Everyone helps prepare the meal, and everyone helps eat it. Cutting the dish into large squares, my mother divvies the meal to each plate. After the fork is plunged into the food, it instantly falls apart into a messy pile of sauce, noodles, and cheese. We all laugh as my sister manages to spill the meal all over her face.

I grew up knowing food brought people together. Katheryn Twiss in The Archaeology of Food and Identity explains, “We are what we eat. We also are where we eat, how we eat, and with whom we eat,” (Twiss). When the oven started beeping, my siblings would rush into the kitchen, my father would come home from work, drinks would be poured, dishes and silverware passed out and we would be together for the first time all day. There was no such thing as discomfort or anything inappropriate at our dinner table, if you wanted to sing and dance while you ate, the rest of the family would probably join you.

If I’m ever upset or lonely I’d remember these silly times I spent with my friends and family. When I ate lasagna, all the times we sat around the table talking and laughing would rush back to me. Marjorie Halford stated, “Familiar foods can put them in touch with a crystalline memory of their past. It brings them comfort when very little else does,” (Halford). I shaped my life around this concept, knowing food could establish new and old friendships and make people happy. Every day I come home, turn on every light in the house and dance around the kitchen cooking.

"The Rainbow" Blog Post

Part I:

D.H. Lawrence’s novel, The Rainbow, uses repetition, imagery, and diction to characterize the woman as a knowledge-seeking, feministic housewife who is questioning the lack of equality between man and woman.

Throughout the passage, Lawrence repeats “men”, “the men”, almost spitting it at the reader, separating the two genders immediately. “Her husband” is repeated twice, referring to Tom Branguen, the Branguen woman’s husband. By not calling him Tom, but instead “her husband” he becomes anonymous, another of “the men”.

The passage uses a large amount of imagery at the beginning, describing the work of “the men”, drying the wheat, harvesting corn, ferreting rats, killing rabbits, and helping a cow in labor. Killing the rabbit was described, “…so much warmth and generating and pain and death…” (Line 7-8). The men are “surcharged” while the woman watches farm-buildings and fields, wishing for a “not blood-intimacy” life, (Line 11-16).

Lawrence’s use of diction also separates the men and the women, describing the men as “dominant”, “beyond…freedom…” (Line 24-27). “The men” have “power”, “money”, “position”, that women don’t; which raises a feministic approach from the woman.  

The main argument about the woman’s characteristics and situation, however, arises from the last paragraph of the passage: her question, “…makes a man strong even if he be little and frail in body, just as any man is little and frail beside a bull, and yet stronger than the bull, what was it?” (Line 58-61). Her trait of curiosity is pulled from her “question of knowledge”, (Line 66).

Part II:

 1.  What is your initial essay score? Using the language of the rubric, why did your peer (name the individual) score your essay in this way?  Do you agree or disagree? Why? (1 chunky paragraph). 
When peer editing, my partner, Erika Busch, scored my essay a generous 5. I disagree with this score because this writing is barely worth of a 3: it has a weak thesis statement where not all of the prompt is addressed, nor is the reasoning solid with evidence; the following paragraphs do not support the thesis, often going on tangents with improper usage of quotes; as well as, poorly cited quotations. It is also a bit short but if the argument is thorough enough, length does not matter much.    

2.  After researching D.H. Lawrence, discussing his concept of "blood knowledge", reading through the "Prose Passage" chapter in 5 Steps to a 5, participating in class discussion, and norming the essays from 1-9, discuss what you would do to improve this essay. (3 chunky paragraphs)

THINK ABOUT . . .

1.  The most striking parts of the passage.
 Rewrite the thesis; the first thing an reader cares about in a paper is the argument. Connect solid claims to hard proof from the text.
2.  The contrasts between the woman and the men.
3.  Evidence of complacency in the passage? The techniques used to create characterization.

WHAT YOU SHOULD SEE:

1.  Complexity of attitude between complacency and desire.
2.  Juxtaposition
3.  Structure . . . The first part of the passage deals with dissatisfaction and longing; the second part deals with recognition.
4.  Figurative language
5.  Rhetorical devices

#18: Final Porfolio Reflection

1. Two  assignments you are most proud of, and why. (2-3 paragraphs)

For each piece, refer back to your E-portfolio. Why are these your favorite pieces? What are the strengths and weaknesses of each work? What have you learned from the work(s)?

My assignments I am most proud of are my summer reading creative assignment and my Hamlet blog post #2. These are my favorite pieces because overall I think they’re the projects I had the most success with and were the most interesting for me to work on. The creative assignment I had a lot of fun creating, and while analyzing the text for my paper and project I found myself understanding the text better. As for the blog post, I was very comfortable comparing Hamlet with a familiar film I had a strong grasp of, and I found the assignment rather amusing in regards to Shakespeare’s tragic tale vs. the humorous Princess Bride.

Each project had many strengths, the biggest being solid evidence from the text and film. In my creative assignment, there were five consistent quotes pulled from the text to back up my claims and in m blog post there were five incorporated into the argument and five more from Hamlet and the movie trailer each that analyzed the similarities and differences. Another strength was my citation; I am very accustomed to Shakespearean citation and smoothly integrating quotes into paragraphs. My major weakness for each would be my thesis statement; I understand it doesn’t delve deep enough into the analysis I should be reaching, nor does it occasionally match up directly with my final claims. I have learned some of my strengths, weaknesses, and interests from these works, as well as where my current ability lies in relation to my goals.

2. Your own participation in class. (2 paragraphs)

Much of this class rests on the assumption that you are self-motivated to participate, read, ask questions, help your classmates, and do what you need to do in order to succeed in the class. Although I have my own view of who participates and who doesn't, I would like your input here about yourself. Consider how you assess yourself in terms of class, individual papers, and collaborative group participation. Provide examples.

Honestly, I have not participated in class conversations as much as I could be; I follow along and take mental notes but don’t vocalize my opinions due to horrendous stage freight and some inability to articulate thoughts into proper claims—this is a matter I’d like to improve during second trimester. Individual papers: I put a lot of effort into, I have spent many sleepless nights trying formulate A+ papers, and devoted myself to communicating valid arguments. My collaborative group participation is not nearly as strong but I did whatever I could for my group when needed. The group I spent most of the trimester working with was complete with very intelligent members who were terribly good at thesis statements, leadership, and analysis that I was sometimes left in the dust. However, I put forth all my effort to help where help was needed; attending all google docs meetings and American drama work time, writing assigned PowerPoint slides, and researching to the best of my ability, such as author background and Foster chapters.    

3.   Address your time-stamped, measurable goals for future improvement. (2-3 paragraphs)

My measurable goals from the beginning of the trimester are completely revised. I intend to focus on thesis statements, focused arguments, and participating in class discussions further. To develop my ability to make a solid thesis statement I will study from my previous group presentations, and practice formulating claims based on my analysis of texte pulled from various sources, for example: working with old AP prompts listed on Edline. Somewhat going along with thesis development, is keeping a focused paper as I tend to change topics slightly, which I realize it extremely problematic, I’ll do practice papers and work on outlining and planning out arguments beforehand. The hardest goal to achieve will probably be boosting m confidence, which I hope to achieve with more group presentations and reviewing topics that are going to be discussed before class.

To measure these goals, I’ll have different methods for each. To stud m advancement in writing thesis statements, I’ll check with Ms. Wilson, and when I feel confident enough I’ll start timing myself to see how fast I can analyze a piece and articulate a valid claim. I feel 30-40 minutes is a good goal to push myself to. As for my rambling problem, I’ll have several people review my papers in advance, as well as draw up outlines before writing. Similar to my thesis goal, if I can write convincingly with evidence, 3 paragraphs in 20 minutes that relate directly to the thesis then I’ll be happy. The only way I have to measure my confidence is the amount of panic I have in front of a large group and the amount of shaking in my voice.  

#17: Hamlet Blog 6

#16: Hamlet Blog 4

1. Argument or thesis–can often be stated as a question or a statement, introduced and elaborated on. Ask yourself the following questions: Why does the author write the piece? What does s/he seek to convey?
2. Does the essay offer “clues” as to the author’s subject position, i.e., with regard to gender, race, class, intellectual orientation? Does it demonstrate how the author intended the essay to be used?
3. With regard to the author’s subject position, look for identifiable word choices or verb form choices. What assumptions does the author make? What does the author does not say?
4. Look for idea/example pairs, moments when the author introduces an idea and then offers an example that solidifies that idea.
5. Look for examples which support the primary argument; try to determine if they are effective or ineffective. Why or why not? Does the author use different examples to make the same point? If not, what does each kind of example contribute to the argument?
6. Can you mimic the author’s thinking and/or ideas by using examples not offered in their essay (reading with the grain)?
7. What textual examples can you come up with that challenge and/or critique the author’s ideas (reading against the grain)?
8. Use the ideas above to determine whether the essay is persuasive: does it support, challenge, unseat what you know about the topic? Does the argument make sense (is it logical)?
9. What rhetorical choices (concerning style or word choice, for example) does the author make? How do these choices help to convey the meaning of the text? In a play, for example you might ask how the author's attention to choice of setting relates to the theme of the play. If you are reading a critical essay about a poem, you might ask how the writer uses voice (who is speaking--the poet or someone else) helps to convey the theme. HOW ARE LITERARY DEVICES USED TO CONVEY GREATER SIGNIFICANCE?
10. What do you think are the key passages in the text? Why are they important? How do they work with the rest of the text to convey the author's meaning?

#15: Hamlet Blog 3

1. SOLILOQUY ANALYSIS:

• Locate imagery that refers to the uncertainty of death 

“To be, or not to be: that is the question: / Whether ‘tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles” (3.1.59-61)

"To sleep: perchance to dream:—ay there’s the rub; / For in that sleep of death what dreams may come” (3.1.68-69).

“But that dread of something after death, / The undiscover’d country, from whose bourn / No traveler returns—puzzles the will / And makes us rather bear those ills we have” (III.i.81-84).

• Identify imagery that refers to the negative experiences of life.

"The heart-ache and the thousand natural shocks/ That flesh is heir to, 'tis a consummation/ Devoutly to be wish'd," (3.1.64-66).

"That makes calamity of so long life;/ For who would bear the whips of scorns of time,/  The oppressor's wrong, the proud man's contumely,/ The pangs of despised love, the law's delay,/ The insolence of office and the spurns/ That patient merit of the unworthy takes,/ When he himself might his quietus make/ With a bare bodkin? who would fardels bear,/ To grunt and sweat under a weary life,/ But that the dread of something after death,/ The undiscover'd country from whose bourn/ No traveller returns, puzzles the will/ And makes us rather bear those ills we have/ Than fly to others that we know not of?" (3.1.71-84)

• Appeals: Which appeal(s) does Hamlet use to convince and/or motivate his audience? Refer to specific lines.
  
  • Ethos: Appeal to the character of the speaker-"For who would bear the whips and scorns of time,/Th' oppressor’s wrong, the proud man’s contumely,/The pangs of despised love, the law’s delay," (3.1.71-73).
  • Pathos: Appeal to the emotions or interest of the audience-"The heartache and the thousand natural shocks/That flesh is heir to—’tis a consummation/Devoutly to be wished! To die, to sleep," (3.1.63-65).
  • Logos: Appeal to logic-"Whether ’tis nobler in the mind to suffer/The slings and arrows of outrageous fortune,/Or to take arms against a sea of troubles, And, by opposing, end them?" (3.1. 58-61).

• Literary Devices: Identify the significance of the following in this speech--Paradox, parallelism, the infinitive, synecdoche, tone, diction, metaphor.What are the two primary metaphors he will use in this speech?
• Identify evidence of the following comparisons: life on earth, afterlife, death, humans, thinking.
• Identify at least three oppositions present in the arguments Hamlet makes.
• What eternal philosophical questions does Hamlet ponder?
• What conclusions does Hamlet draw?

#14: Hamlet Blog 2

 

"My name is Inigo Montoya. You killed my father. Prepare to die." - Inigo Montoya

Inigo Montoya is a master swordsmen; having spent the last 20 years searching for the six-fingered man who murdered his father and plotting his revenge. When finally encountering his father’s killer, the man flees immediately. Pursuing the foul murderer, Inigo repeatedly chants the words he’s played in his mind over and over again in anticipation of this day: “My name is Inigo Montoya. You killed my father. Prepare to die!” After slaying the six-fingered man, Inigo is at a loss to what to do with the rest of his life having spent the past two decades dedicated to the “revenge business”.

 
How Inigo's plight hath moved me so! Reminiscing the lightning bolt of shock I had received upon hearing the king's true death, as Inigo's rage plagued him after playing witness to his father's murder. The bond we shared with our fathers so mirrored, having respected "so excellent a king; that was, to this" as Inigo loved his father, (1.2.139). Lady Luck's gift of the our father's killers have left these two men on a dedicated quest of revenge: in each our calls, mine "So, uncle, there you are. Now to my word; It is 'Adieu, adieu! remember me,' I have sworn't," (1.4.110). Waiting, plotting for the clock to bequeath, "Justice!"

• "My father was slaughtered by a six-fingered man. He was a great swordmaker, my father."
• "Why, what an ass am I! This is most brave,/That I, the son of a dear father murder'd,/Prompted to my revenge by heaven and hell..." (2.2.510-512).

• "Without a word, the six-fingered man slashed him through the heart. I loved my father. So naturally, I challenged his murderer to a duel."
• "And thy commandment all alone shall live within the book ad volume of my brain, unmix’d with baser matter: yes, by heaven! O villain, villain, smiling, damned villain!” (2.2.100-105)

• "I was eleven years old. And when I was strong enough, I dedicated my life to the study of fencing. So the next time we meet, I will not fail. I will go up to the six-fingered man and say, "Hello. My name is Inigo Montoya. You killed my father. Prepare to die."
• "As he is very potent with such spirits,/abuses me to damn me: I'll have grounds/More relative than this: the play's the thing/Wherein I'll catch the conscience of the king," (2.2.530-534).
• "Do you hear that, Fezzik? That is the sound of ultimate suffering. My heart made that sound when the six-fingered man killed my father. The Man in Black makes it now."
• "Tears in his eyes, distraction in 's aspect,/A broken voice, and his whole function suiting/With forms of conceit? and all for nothing!" (2.2.480-483)

 "Is very strange. I have been in the revenge business so long, now that it's over, I don't know what to do with the rest of my life."