In which John Green examines JD Salinger's novel The Catcher in the Rye. John pulls out the old-school literary criticism by examining the text itself rather than paying attention to the biographical or historical context of the novel (that's for next week). Listen, words matter. The Catcher in the Rye has managed to endure without a movie adaptation because a lot of its quality arises from the book's language. Find out how Holden's voice, his language, and his narrative technique combine to make the novel work. Also, Thought Bubble gives us a quick rundown of the plot, in which Ikea Monkey may or may not appear.

Étienne Le Roy, l'un des pères de l'anthropologie du droit dont le creuset a été la connaissance des formes de partage de la terre dans les cultures africaines, nous propose dans cet ouvrage de mettre ce savoir au service d'une compréhension des communs émergents dans nos sociétés modernes. Déroulant le fil de la juridicité des communs, l’auteur nous amène à distinguer les néo-communs, ceux qui sont produits par la société capitaliste elle-même pour en comprendre toute la complexité et dégager les implications autant politiques et juridiques que scientifiques de leur émergence. Ouvrage posthume, La révolution des communs et le droit nous transmet toute l'énergie que son auteur n'a cessé de puiser dans le dialogue interculturel et la conviction que le pluralisme normatif nous apporte des outils pour nous projeter dans la postmodernité.

Che cosa è un saggio.Il saggio (dal latino tardo exagium = prova, assaggio di sapere) è un’esposizione scritta in cui l’autore approfondisce una tematica o un problema, esponendo un punto di vista critico e personale. Fanno parte della saggistica sia testi molto vasti e complessi con taglio argomentativo e linguaggio specialistico, destinati a un pubblico ristretto di lettori competenti (saggio critico), sia composizioni brevi di carattere divulgativo per informare un pubblico di lettori di medio livello culturale (saggio breve).Scrittura documentata e criteri predeterminati. In ambito scolastico il saggio breve si distingue dal tema in quanto l’insegnante lo propone per sondare le capacità dell’alunno di interpretare e rielaborare in modo personale, sulla base di criteri predeterminati, materiali documentali (cioè testi scritti, immagini, dati quantitativi…) che offrono informazioni o punti di vista su un dato argomento. Il saggio ha quindi in sé contemporaneamente le caratteristiche del testo espositivo e argomentativo. La consegna è solitamente piuttosto ampia e offre indicazioni precise sul testo che deve essere prodotto: ● indica l’argomento e l’ambito tematico nel quale muoversi (artistico-letterario: poesia, narrativa, opera d’arte; storico-politico: guerre mondiali, federalismo, Onu, Unione europea, mafia, pena di morte; socio-economico: società multietnica, disagio giovanile, riforma della scuola, lavoro e occupazione; tecnico-scientifico: scoperte scientifiche, tecnologia, bioetica);● ipotizza la situazione comunicativa, cioè il tipo di pubblicazione per cui il saggio viene scritto (un giornalino scolastico, una rivista divulgativa, un giornale specialistico...), il destinatario e la lunghezza massima (quattro o cinque colonne di foglio protocollo);● prevede l’utilizzo di materiali di documentazione (brani di manuali scolastici, di testi critici, di articoli di giornale; dati statistici, grafici, fotografie) che vanno rielaborati, organizzati e confrontati (per esempio nel caso di tabelle non bisogna limitarsi a una elencazione delle cifre). Le fasi del lavoro. Per svolgere il lavoro in modo efficace occorre procedere con ordine compiendo in successione le seguenti operazioni:● riflettere con attenzione sul titolo per individuare e circoscrivere l’argomento-problema che viene proposto nella consegna;● leggere attentamente i documenti, coglierne il significato, selezionare le informazioni principali e sintetizzarle in appunti o in schemi logici;● verificare eventuali altre conoscenze sull’argomento in proprio possesso;● organizzare la scaletta con la successione degli argomenti da considerare;● sviluppare la scaletta in modo coerente e coeso, costruendo il testo con capoversi ben definiti e in successione logica;● effettuare la revisione finale.La stesura del saggio. Il testo, per rispettare criteri di chiarezza espositiva, deve essere articolato in tre sezioni: introduzione, esposizione, conclusione.Introduzione - Si presenta l’argomento o il problema, chiarendone le linee essenziali e delineando l’arco cronologico, l’ambito geografico o tematico che si considera.Esposizione -  È la parte più significativa per il destinatario, poiché vengono illustrati i vari aspetti del tema, si analizzano cause e conseguenze, si interpreta la documentazione fornita alla luce delle proprie conoscenze ed esperienze personali. È questo il luogo per esprimere il proprio punto di vista.Conclusione -  È lo spazio riservato a considerazioni e commenti finali.Lessico e sintassi. Mentre si procede nella stesura, occorre adeguare il lessico all’argomento e alla destinazione editoriale ipotizzata nella consegna; per esempio, se viene specificato che il testo deve essere pubblicato su un quotidiano occorre fornire al lettore le informazioni di base senza dare nulla per scontato; il lessico sarà semplice, comprensibile ai lettori comuni interessati all’argomento e la struttura sintattica lineare, con periodi brevi, in prevalenza coordinati; nel caso di un dossier di documentazione destinato alla biblioteca scolastica, invece, le informazioni di base possono essere date per scontate perché già note al lettore e il lessico è più settoriale.(tratto da Panebianco, Pisoni, Reggiani, Varani LE REGOLE E L’IMMAGINAZIONE versione essenziale - © Zanichelli 2010)

Es una presentación Power Point dedicada a los 11 laureados del Premio Nobel de Literatura del habla castellana. Contiene una información breve sobre cada uno de los autores presentados en el orden cronológico y enlaces a las páginas web donde se puede obtener más información.  La foto del título está sacada de la página https://www.poemas-del-alma.com/blog/especiales/premio-nobel-literatura-espanol 

This course explores how we use story to articulate ethical norms. The syllabus consists of short fiction, novels, plays, feature films and some non-fiction. Major topics include leadership and authority, professionalism, the nature of ethical standards, social enterprise, and questions of gender, cultural and individual identity, and work / life balance. Materials vary from year to year, but past readings have included work by Robert Bolt, Michael Frayn, Timothy Mo, Wole Soyinka, H. D. Thoreau, and others; films have included Crouching Tiger, Hidden Dragon, Hotel Rwanda, The Descendants, Motorcycle Diaries, Three Kings, and others. Draws on various professions and national cultures, and is run as a series of moderated discussions, with students centrally engaged in the teaching process.

Students examine great leads in children's literature before writing or revising a lead in their own writing.

A quick and easy handout to give students so they can include variety as they introduce quotes or evidence in their writing.

This story takes place in the 1930s in the Great Plains region of the United States devastated by a great drought. Leah had been given a pony by her father when times were good and crops were growing. Leah sells her pony to Mr. B to help her father. At the end of the story, Mr. B gives the pony back to Leah.

 This learning guide offers educators context, vocabulary, discussion questions, learning activities, printable games and templates, and other resources to support conversations about disability, accessibility, social justice, and community building. We Move Together is a bold and colourful exploration of all the ways that people navigate through the spaces around them and a celebration of the relationships we build along the way. We Move Together follows a mixed-ability group of kids as they creatively negotiate everyday barriers and find joy and connection in disability culture and community. 

Student Learning Objectives As a result of meeting the requirements in this course, you will be able to: 1.     Employ a variety of approaches to analyze and interpret texts.  (PLG 1) (Gen Ed Goal 1 a)2.     Respond to texts, in discussion and writing assignments, demonstrating an understanding of rhetorical strategies employed in the texts. (PLG 2) (Gen Ed Goal 1a, b; 6 a, b)3.      Incorporate the fundamentals of academic essay writing such as gathering ideas, developing and clearly stating theses, organizing, drafting, revising, and editing.  (PLG 3) (Gen Ed Goal 1 c, d)     4.      Compose essays in several rhetorical modes, such as description, comparison/contrast, and argument.   (PLG 3) (Gen Ed Goal 1c, d)5.     Move from personal responses to formal academic essays, including appropriate, properly formatted evidence from outside sources. (PLG 4, 5) (Gen Ed Goal 1 c)    6.     Accurately incorporate the ideas of others using summary, paraphrase, and direct quotation. (PLG 4, 5) (Gen Ed Goal 1 c; 6 b)7.     Incorporate the academic requirements, tools, and techniques of research through the resources of contemporary information science.  (PLG 6) (Gen Ed Goal 4 a, b, c, d)8.      Employ current MLA style for text presentation, in-text citations, and Works Cited pages for essays and research papers.  (PLG 5, 6) (Gen Ed Goal 4 a, b, c, d)9.      Write an argumentative research paper accurately incorporating material from outside sources. (PLG 4, 5, 6) (Gen Ed Goal 1 a, b, c, d; 4 a, b, c, d; 6 a, b) Course Requirements You will be required to do the following: Write at least four multi-paragraph assignments of at least 500 words.(Meets student learning objectives 1-5) Write at least one in-class essay.     (Meets student learning objectives 2-5) Complete other writing exercises such as summaries, journals, reading responses, reading comprehension questions, quizzes on reading assignments, letters, resumes, etc.      (Meets student learning objectives 1-6) Read, interpret, and analyze a variety of texts.      (Meets student learning objectives 1, 2) Conduct independent research and write a 5-7-page research paper, using MLA style.      (Meets student learning objectives 6-9) Submit papers that adhere to MLA manuscript requirements and which demonstrate effective proofreading and editing.      (Meets student learning objectives 1-9) Participate in class discussions and other in-class (individual or group) activities necessary to produce quality expository prose.      (Meets student learning objectives 2-7)

This class explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Milton and Ford. It compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing.
The primary theme of the class is to explore how England in the mid-seventeenth century became “a world turned upside down” by the new ideas and upheavals in religion, politics, and philosophy, ideas that would shape our modern world. Paying special attention to the “theatricality” of the new models and perspectives afforded by scientific experimentation, the class will read plays by Shakespeare, Tate, Brecht, Ford, Churchill, and Kushner, as well as primary and secondary texts from a wide range of disciplines. Students will also compose and perform in scenes based on that material.

In this unit, students will learn about the 4Cs (communication, collaboration, creation, and critical thinking) through literature-based engineering challenges. Each lesson focuses on one "C" and one read-aloud. This unit is geared for grades 2-3 but could be adapted to any elementary grade level.

COMMUNICATION - Click Clack Moo

COLLABORATION - Iggy Peck Architect

CRITICAL THINKING - Rosie Revere Engineer

CREATION - Galimoto

In this unit, students will learn about the 4Cs (communication, collaboration, creation, and critical thinking) through literature-based engineering challenges. Each lesson focuses on one "C" and one read-aloud. This unit is geared for grades 2-3 but could be adapted to any elementary grade level.

COMMUNICATION - Click Clack Moo

COLLABORATION - Iggy Peck Architect

CRITICAL THINKING - Rosie Revere Engineer

CREATION - Galimoto

Long Description:
Cet essai propose trente-six lectures de paysages contemporains mis en miroir. En contrepoint, ces variations cherchent à dévoiler l’imaginaire de chacun de ces lieux et à éclaircir les possibilités d’avenir qui s’y esquissent. En s’efforçant de lire les lieux que notre société engendre, ce livre interroge son devenir, ses devenirs multiples et contradictoires.

Word Count: 30956

ISBN: 9782870193013

(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)

This lesson focuses on character analysis throughout William Golding's novel Lord of the Flies. While contemplating both direct and indirect characterization techniques, students will be able to consider how characterization builds relationships among the boys in the novel.

Students learn more about Faulkner's life and the culture of the South while exploring the use of multiple voices in narration.

Published in 1929, "The Sound and the Fury" is often referred to as William Faulkner's first work of genius. Faulkner's style is characterized by frequent time shifts, narrator shifts, unconventional punctuation and sentence structure, as well as a stream-of-consciousness technique that reveals the inner thoughts of characters to the reader. This curriculum unit will examine narrative structure and time, narrative voice/point of view, and symbolism throughout "The Sound and the Fury."

Reading Emily Dickinson's letters alongside her poems helps students to better appreciate a remarkable voice in American literature, grasp how Dickinson perceived herself and her poetry, and perhaps most relevant to their own endeavors consider the ways in which a writer constructs a "supposed person."