A puzzle to keep your minds active over Christmas

See if, as a class, you can find the answers to all of these. Use the comments section to post answers as you work them out.

Answers in class during the first week back.

1. 26=L of the A
2. 7=W of the AW
3. 1001 = A N
4. 12= S of the Z
5. 54=C in the D[with the J]
6. 9=P in the SS
7. 88=P K
8. 13=S on the A F
9. 32= D F at which W F
10. 6= S on a H
11. 18= H on a G C
12. 90= D in a R A
13. 200= P for P G in M
14. 3= B M [S H T R]
15. 24= H in a D
16. 1= W on a U
17. 57= H V
18. 11= P on a F T
19. 1000= W that a P is W
20. 29=D in F in a L Y
21. 64= S on a C

Good luck.

Animal Farm essay due Tuesday

Just to reiterate that your essays are due in on Tuesday. I am very aware that you have the Junior Dance on Monday evening, so it's up to you to get the work done in advance. You will have the double period on Monday to get it finished if you are hand writing it. If you are typing it up, you may be able to go to the library to finish it off on Monday, so bring in the work on a flashdrive.

Animal Farm Critical Essay

Here are the instructions which I gave you for the main paragraphs of your essay:

1. Look at the sheet with the class’s ideas for contemporary relevance. Find one way in which you think that Animal Farm is relevant today.

2. Make a clear statement about how a modern reader would relate the issue to Animal Farm.

3. Discuss, using evidence, how Orwell develops the theme or idea in the text. Make sure that you analyse Orwell’s techniques to show how the idea is effectively developed.

4. Pick out aspects, referring to techniques where possible, that make it relevant to the modern reader.

See below a sample paragraph. Try to work out which bits apply to which point above.


Contemporary readers of Animal Farm, aware as we are of the techniques of advertisers and government spin doctors, would immediately respond to the theme of propaganda. Orwell develops the theme mainly through the character of Squealer, who acts as Napoleon’s mouthpiece, persuading, placating and hoodwinking the animals into supporting Napoleon and subjecting themselves to his will. When explaining to the animals, following the destruction of the first windmill, that rations would be cut, Squealer claims that "A too rigid equality in rations...would be contrary to the principles of Animalism". Orwell creates an ironic tone in the phrase "too rigid", making it clear that the principles of fairness are now being subverted by clever language. The narrator goes on: “it had been found necessary to make a readjustment of rations (Squealer always spoke of it as a ‘readjustment’, never as a ‘reduction’)”. Here, the manipulation of language becomes more flagrant. The basic fact, known to all, that less food is being made available is being covered up through Squealer's propaganda, and is being referred to as a 'readjustment'. Contemporary readers, used to budget statements which require specialist knowedge to work out whether we're paying more or less tax, and advertisers who convince us that we can have everything, will recognise the murky intent of Squealer's language. Earlier in the novel, when faced with doubts about the state of the Rebellion, Squealer quashes them with threats of the return of Jones:

"Surely, comrades,’ cried Squealer almost pleadingly, skipping from side to side and whisking his tail, ‘surely there is no one among you who wants to see Jones come back?’...When it was put to them in this light, they had no more to say."

This cynical manipulation might put a modern reader in mind of George Bush's claim, early in the 'War on Terror', that "You're either with us or against us." In both cases, a simple choice is being posed, either complete support for the leadership, or subjection to the opposition.


Clearly, this is a very detailed paragraph, running to over 300 words and containing three separate pieces of evidence and analysis. If you were to write something this detailed, then three paragraphs would be plenty. The important thing is that you pick out Orwell's techniques to show how he develops the themes.

You will notice that I have not indented the longer quote, as I should have done. This is because I can't work out how to do this on Blogger.

For further, general advice on writing critical essays, see this page on the English section of the school website, currently in development.

You may also find it useful to see the assessment criteria which we use to assess your critical essays.

I hope you find this post useful. Please comment.

RPR - final note

RPR writing seems to be going well. Some people's notes have served better than others, I note.

As we will miss English on Friday, your last period working on this will be Monday, period 1. Make sure that you think about what you have achieved so far and plan carefully how you will spend your final 35 minutes. If you are working slowly, make sure that your notes will enable you to write smoothly and quickly. If you have time to spare, find some extra pieces of evidence to back up your points and add these in at the end, making it clear where they fit.

RPR - advice

As you know, you will be writing your RPR in class next week. You will get four periods of writing in total, finishing it off on Monday 12th, period 1.

The sheet handed out in class gives you the full instructions. For extra advice, I have copied below some advice that Mrs Muir has written (many thanks Mrs Muir).


S2 RPR Notes



It is important to have a plan to work from when writing a critical piece. The thinking should be done at this stage so that when you write the full RPR, it shows logical development in the ideas. This can be lost if the emphasis is on producing a huge volume of words from the first. You should spend a long time on the plan although you will produce relatively brief notes. It is worth it!

The character study
You are now starting to shift towards an essay style RPR and away from the junior “chunked up” work. Consider these points when planning the crucial character points.

Show development.
You should not present a random selection of characteristics, however true individually. Pursue character development. Establish what the character is like at the beginning and at the end. Consider the points of transition along the way. You have a plan!

Order carefully.
Often it is simplest to follow the order of the plot: it was designed with development in mind. This has the added advantage of allowing the story to emerge without having to explain how bits fit in. (Of course, the plot will emerge almost accidentally. Never just fall into relating the narrative.) Write links which show how the points relate to each other.

Consider complexity.
The best authors often focus on a complex character who struggles with dilemmas and opposing characteristics. Acknowledge this by linking the characteristics: “Although he was shy with girls, Colin was bold amongst the lads…” This naturally invites you to analyse why the contradiction exists and how it is resolved.

Acknowledge the theme.
You must take account of the central concerns of the book. The main character is always linked to theme. For example, in a book where the theme is racism, we could expect to meet a racist character or a victim of racism (or both in one). The development might be about the character learning to hate then oppose racism. You see, the character is tied to the theme. It should come into your analysis of character. If it does not, your points may too trivial.

Plan your paragraphs
P
Point. This should be specific and analytical but it should not include details. It should never be an episode of the plot.

Q
Offer evidence to support your point. Keep quotes brief. Never repeat the wording of the quote. Introduce carefully. Double indent.

D
Development. Now bring in all the detail necessary. Go into the plot to see how the author explored this aspect of character. Offer analysis – no lengthy narrative!

Focus on the author, rather than the character.
Do not speak about characters as if they are real.
Begin with expressions such as:
· Smith establishes Bob as a man of principle in the opening pages of his thriller…
· The author portrays Ethel as...
· Jones makes it clear that Bertie is … when he…
· Scott demonstrates that Killer Jim is actually timid…
· The writer introduces complexity in his main character when he shows that as well as being ... , he is ...
· Tolkien has transformed his character. He has gone from being… to being…

Contrast these mini pieces on “The Hobbit”. Which is better? Why? Try writing down some points of advice on those which you consider to be weak.

· Bilbo is hospitable. We see this when…

· Bilbo is quiet. He can creep about….

· Bilbo is always hungry. He likes to eat two breakfasts.

· Tolkien introduces his main character as a typical hobbit. Like all of his kind, he is homely and has no time for adventures.

· Although the dwarfs are contemptuous of Bilbo’s burgling skills, the author demonstrates to them and to us that he can be quiet and crafty enough to save them from danger. This becomes clear when…

· By the end, Tolkien has demonstrated a transformation in Bilbo, or perhaps he has exposed the potential he always had to be an adventurer. He will no longer be satisfied with the homely life of a typical hobbit.


You may want to copy out the following on to a sheet to help you to structure your notes:


Character Study Plan

Title:
Author:
Task:

Point 1
Quote
Development

Point 2
Quote
Development

Point 3
Quote
Development

Point 4
Quote
Development

Point 5
Quote
Development


Finally, don't worry too much about this. Although it's natural that you want to do well, it is just a book review after all, and nothing to lose sleep over. It's an opportunity to begin to develop your skills in critical analysis, and a good learning opportunity.

The Smurfs - Internasjonalen

As promised, here are the Smurfs, or, I suspect, someone impersonating the real Smurfs, with their version of The Internationale. I can think of no particular educational value of sticking this on here, but what the heck?

While we're at it, here's a stirring one:

and here are a couple of videos telling the story of the song, for anyone with any enthusiasm for it left:

Congratulations Joseph

Congratulations Joseph, on your election as the class's best speaker. Your Heroism talk was truly inspirational.

A decent video drawing the simple parallels between Animal Farm and the Russian Revolution

'The Internationale'

As discussed in class, here are many of the international versions of 'The Internationale'. Of particular interest are probably the original Russian version and the English version, sung by Billy Bragg. Compare that with the 1933 recording.

I have to say, I do like the Chinese rock version, by the Tang Dynasty band.

Perhaps you can draw some similarities with 'Beasts of England'.

http://www.hymn.ru/internationale/index-en.html

Also check out the Wikipedia page:
http://en.wikipedia.org/wiki/The_Internationale

The speeches are going very well indeed. Well done to everyone who has spoken so far. I feel that the 'antiques raodshow' moment of the grade revelation at the end has detracted somewhat from the appreciation of the effort and thought that people have put in. Perhaps we should re-think this.

I haven't set any extra homework this week, as the speeches are ongoing, but please take some time to click through the links on the blog and read up a little on the Russian Revolution and on George Orwell. You will enjoy finding out some facts, and it will enhance your enjoyment of Animal Farm considerably.

Enjoy your break.

Persuasive speech

Remember that we're beginning the speeches on Monday 8th. Your aim is to persuade the class that your 'ism', if adopted and successful, would change the world.

You want their vote, and you need to use whatever techniques will persuade them to vote for you. Be manipulative, be smart, tug on their heartstrings, show them what the new world would be like, show them how vital it is that things change.

While listening to speeches, think about how skilfully the techniques are being used and how you will respond. Take notes and score the speeches.

Any questions or concerns, please ask.

RPR

Your review of personal reading will be completed in class time during the week beginning 5th November. You should have completed your book in time to give you at least a week to prepare notes and ideas, so that gives you around four more weeks of reading.

We will have time in class next week to discuss this, and if you still haven't settled on a book, you should talk to me. Try to stretch yourself a little in your choices; although this is meant to be an enjoyable task based on a text of your choice, you should also be pushing yourself somewhat.

Tips, ideas and inspiration for speechmaking

Some rough and ready tips for making a great persuasive speech

As well as the basics (have a clear message and articulate it clearly) the following ideas may be of some interest.

Make them cry; make them think; make them laugh
Give the audience an emotional roller coaster ride.

The track for the ride is your facts, information and practical suggestions for action.
The humps and dips are provided by:

• lots of personalisation such as, "all of us in this room..." or "those of us who..." or "each and every one of you..." or "go back to Bearsden; go back to Milngavie..."
• careful word choice: pick words which will arouse strong feelings. Emotive language might refer to children, death, birth, suffering, dreams, courage etc.
• powerful metaphors which carry meaningful connotations and suggest movement or action

The "rule of three".

I'm not quite sure why, but speakers have often found that by clumping things together in threes they can hammer home their message.
General Charles De Gaulle put the rule to particularly good use. Instead of calling on men who have served in "any of France's armed forces" he issued his summons in sequence to men of the army, navy and air forces ("de terre, de mer et de l'air"). The rhythm reinforces the entreaty for everyone to do their bit.

Look to the old school
Here is a rather daunting list of rhetorical devices. Flick through a few and see if there are any which grab your interest. Don’t worry about the Greek and Latin names; you will be familiar with many of the techniques from having heard them already. http://en.wikipedia.org/wiki/Rhetorical_device

Use soundbites Turning a phrase that encapsulates a message has always been an essential part of crafting a great speech. Even the best soundbites rely on very old tricks. One is phrase reversal - John F Kennedy's "ask not what your country can do for you, but what you can do for your country". Another is taking an established cliche and adapting it. Margaret Thatcher, for example, wheeled out the then well-worn phrase about Labour's "winter of discontent" but then held out promise in its place of "an autumn of understanding" and "a winter of common sense".

The eyes have it Cicero said that the eyes are “the window to the soul.” They make the most eloquent gestures of all. Think about those soulful orbs, and your facial expressions will follow. This works even before a large audience that can’t actually see your eyes; for one thing, doing the windows-to-the-soul thing makes you less likely to do silly gestures with your hands or wave your arms around.

Sell sell sell

Use the expertise of marketing people. They’re trained in the ancient art of parting people from their money, and generally know what they’re about. http://en.wikipedia.org/wiki/AIDA


Be inspired
Have a look at The Guardian's great speeches site. Find your inspiration.
http://www.guardian.co.uk/greatspeeches