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English 4CP & Honors Distance LearningApril 1st to End of the Year (JUST IN CASE)Dear student,Though we will not be meeting face-to-face, we will continue working towards the SDE requirements for English 4. To that end, you will be responsible for completing the five attached readings and all questions associated with the readings as well as the poetry project. You are required to work on the assignments during our time away from school, as you will not be given class time to complete the assignments when face-to-face classes resume. Students will complete 2 reading assignments which involve reading, analyzing, and synthesizing their information in written form through TDA’s (text dependent analyses). The readings required are:“Dwellings”“Living Like Weasels” *These assignments should be submitted electronically (if possible) by April 10thTest Grade: Poetry project:For this project, you will be researching a poet, reading and analyzing one of his poems, and creating a poster about your poet. The required elements for the project are as follows:Task #1: Biography section: Choose one of the Romantic poets to research: William Blake, William Wordsworth, Samuel Coleridge, John Keats, Lord Byron, Percy Shelley. Read about the life of this poet, select the most important and/or interesting information about his life, and write a one page report. Cite your source(s). Task #2: The Poem: Read the title, the poem, and point out any poetic devices used. (see attached) Give examples of anything you identify. Explain in a well-written paragraph. The poem must be on the poster.Task #3: Identify and discuss the theme of the poem—what does the poem teach us? What is its message? Incorporate one or more quotations from the poem that support this theme. Also identify any elements of Romanticism in the poem. Explain in a well-written paragraph. (see attached)Task #4: Select a piece of music from the 1960’s until present day that your poet would relate to. In a well-written paragraph, explain why you chose this piece of music.Task #5: Poster: Your poster should feature:the poet’s full name at the top, along with a picture of the poet the poem that you analyzed. the theme(s) should be evidentthe title of the song you chose and a picture of the artist Time Frame: The poster will be due on April 24. Please submit electronically, if possible.(Standards: RI1-6, RI 8.2, W2.1a, W2.1L, W5, RL 5.1, RL6.1, RL10) Complete quarter recovery work, if applicable.*Mrs. Smith’s Honors Classes: Follow your 1st packet of work through the due date noted—April 8th. Then, pick up with these assignments and check Edmodo for adjusted deadlines based on student needs. **NOTE: Part of whether or not we have to make up this time depends on students’ participation, so we strongly encourage all of you who receive this to share these assignments with your friends and neighbors and encourage them to reach out to us through Remind/E-mail/Edmodo (depending on class) if they have questions or concerns. LIVING LIKE WEASELSBy Annie DillardA weasel is wild. Who knows what he thinks? He sleeps in his underground den, his tail draped over his nose. Sometimes he lives in his den for two days without leaving. Outside, he stalks rabbits, mice, muskrats, and birds, killing more bodies than he can eat warm, and often dragging the carcasses home. Obedient to instinct, he bites his prey at the neck, either splitting the jugular vein at the throat or crunching the brain at the base of the skull, and he does not let go. One naturalist refused to kill a weasel who was socketed into his hand deeply as a rattlesnake. (10) The man could in no way pry the tiny weasel off, and he had to walk half a mile to water, the weasel dangling from his palm, and soak him off like a stubborn label. And once, says Ernest Thompson Seton--once, a man shot an eagle out of the sky. He examined the eagle and found the dry skull of a weasel fixed by the jaws to his throat. The supposition is that the eagle had pounced on the weasel and the weasel swiveled and bit as instinct taught him, tooth to neck, and nearly won. I would like to have seen that eagle from the air a few weeks or months before he was shot: was the whole weasel still attached to his feathered throat, a fur pendant? (20) Or did the eagle eat what he could reach, gutting the living weasel with his talons before his breast, bending his beak, cleaning the beautiful airborne bones? I have been reading about weasels because I saw one last week. I startled a weasel who startled me, and we exchanged a long glance. Twenty minutes from my house, through the woods by the quarry and across the highway, is Hollins Pond, a remarkable piece of shallowness, where I like to go at sunset and sit on a tree trunk. Hollins Pond is also called Murray's Pond; it covers two acres of bottomland near Tinker Creek with six inches of water and six thousand lily pads. (30) In winter, brown-and-white steers stand in the middle of it, merely dampening their hooves; from the distant shore they look like miracle itself, complete with miracle's nonchalance. Now, in summer, the steers are gone. The water lilies have blossomed and spread to a green horizontal plane that is terra firma to plodding blackbirds, and tremulous ceiling to black leeches, crayfish, and carp. This is, mind you, suburbia. It is a five-minute walk in three directions to rows of houses, though none is visible here. There's a 55-mph highway at one end of the pond, and a nesting pair of wood ducks at the other. Under every bush is a muskrat hole or a beer can. (40) The far end is an alternating series of fields and woods, fields and woods, threaded everywhere with motorcycle tracks--in whose bare clay wild turtles lay eggs. So, I had crossed the highway, stepped over two low barbed-wire fences, and traced the motorcycle path in all gratitude through the wild rose and poison ivy of the pond's shoreline up into high grassy fields. Then I cut down through the woods to the mossy fallen tree where I sit. This tree is excellent. It makes a dry, upholstered bench at the upper, marshy end of the pond, a plush jetty raised from the thorny shore between a shallow blue body of water and a deep blue body of sky. (50) The sun had just set. I was relaxed on the tree trunk, ensconced in the lap of lichen, watching the lily pads at my feet tremble and part dreamily over the thrusting path of a carp. A yellow bird appeared to my right and flew behind me. It caught my eye; I swiveled around—and the next instant, inexplicably, I was looking down at a weasel, who was looking up at me. Weasel! I'd never seen one wild before. He was ten inches long, thin as a curve, a muscled ribbon, brown as fruitwood, soft-furred, alert. His face was fierce, small and pointed as a lizard's; he would have made a good arrowhead. There was just a dot of chin, (60) maybe two brown hairs' worth, and then the pure white fur began that spread down his underside. He had two black eyes I didn't see, any more than you see a window. The weasel was stunned into stillness as he was emerging from beneath an enormous shaggy wild rose bush four feet away. I was stunned into stillness twisted backward on the tree trunk. Our eyes locked, and someone threw away the key. (70) Our look was as if two lovers, or deadly enemies, met unexpectedly on an overgrown path when each had been thinking of something else: a clearing blow to the gut. It was also a bright blow to the brain, or a sudden beating of brains, with all the charge and intimate grate of rubbed balloons. It emptied our lungs. It felled the forest, moved the fields, and drained the pond; the world dismantled and tumbled into that black hole of eyes. If you and I looked at each other that way, our skulls would split and drop to our shoulders. But we don't. We keep our skulls. So. He disappeared. This was only last week, and already I don't remember what shattered the enchantment. I think I blinked, I think I (80) retrieved my brain from the weasel's brain, and tried to memorize what I was seeing, and the weasel felt the yank of separation, the careening splash-down into real life and the urgent current of instinct. He vanished under the wild rose. I waited motionless, my mind suddenly full of data and my spirit with pleadings, but he didn't return. Please do not tell me about "approach-avoidance conflicts." I tell you I've been in that weasel's brain for sixty seconds, and he was in mine. Brains are private places, muttering through unique and secret tapesbut the weasel and I both plugged into another tape simultaneously, for a sweet and shocking time. Can I help it if it was a blank? (90) What goes on in his brain the rest of the time? What does a weasel think about? He won't say. His journal is tracks in clay, a spray of feathers, mouse blood and bone: uncollected, unconnected, loose leaf, and blown. I would like to learn, or remember, how to live. I come to Hollins Pond not so much to learn how to live as, frankly, to forget about it. That is, I don't think I can learn from a wild animal how to live in particular-shall I suck warm blood, hold my tail high, walk with my footprints precisely over the prints of my hands?--but I might learn something of mindlessness, something of the purity of (100) living in the physical sense and the dignity of living without bias or motive. The weasel lives in necessity and we live in choice, hating necessity and dying at the last ignobly in its talons. I would like to live as I should, as the weasel lives as he should. And I suspect that for me the way is like the weasel's: open to time and death painlessly, noticing everything, remembering nothing, choosing the given with a fierce and pointed will. I missed my chance. I should have gone for the throat. I should have lunged for that streak of white under the weasel's chin and (110) held on, held on through mud and into the wild rose, held on for a dearer life. We could live under the wild rose wild as weasels, mute and uncomprehending. I could very calmly go wild. I could live two days in the den, curled, leaning on mouse fur, sniffing bird bones, blinking, licking, breathing musk, my hair tangled in the roots of grasses. Down is a good place to go, where the mind is single. Down is out, out of your ever-loving mind and back to your careless senses. I remember muteness as a prolonged and giddy fast, where every moment is a feast of utterance received. Time and events are merely poured, unremarked, (120) and ingested directly, like blood pulsed into my gut through a jugular vein. Could two live that way? Could two live under the wild rose, and explore by the pond, so that the smooth mind of each is as everywhere present to the other, and as received and as unchallenged, as falling snow? We could, you know. We can live any way we want. People take vows of poverty, chastity, and obedience--even of silence--by choice. The thing is to stalk your calling in a certain skilled and supple way, to locate the most tender and live spot and plug into that pulse. This is yielding, not fighting. A weasel doesn't "attack" anything; a weasel lives as he's meant to, yielding at every moment to the perfect freedom of single necessity. (130)I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Then even death, where you're going no matter how you live, cannot you part. Seize it and let it seize you up aloft even, till your eyes burn out and drop; let your musky flesh fall off in shreds, and let your very bones unhinge and scatter, loosened over fields, over fields and woods, lightly, thoughtless, from any height at all, from as high as eagles. Read the essay “Living Like Weasels” by Annie Dillard. Then, reread the lines indicated with each question below. Answer each question, citing text evidence.Lines 1–7: Describe the varied syntax and its effects in these lines.Lines 19–21: Identify Dillard’s use of alliteration and consonance and describe their effect on the text’s overall meaning.Lines 32–49: What instances of juxtaposition are in these lines? Explain how the images suggest a contrast between broader ideas.Lines 67–75: What examples of hyperbole are in these lines? Describe their overall effect. Lines 84–93: Identify the rhetorical questions in this passage and describe their effect.Lines 123–129: Describe Dillard’s tone in this paragraph and throughout the essay.Lines 123–129: Identify the use of alliteration and consonance in these lines and explain the ideas these sound devices help emphasize. Dwellings (this is also in your textbook page 493)By Linda HoganNot far from where I live is a hill that was cut into by the moving water of a creek. Eroded this way, all that’s left of it is a broken wall of earth that contains old roots and pebbles woven together and exposed. Seen from a distance, it is only a rise of raw earth. But up close it is something wonderful, a small cliff dwelling that looks almost as intricate and well-made as those the Anasazi left behind when they vanished mysteriously centuries ago. This hill is a place that could be the starry skies of night turned inward into the thousand round holes where solitary bees have lived and died. It is a hill of tunneling rooms. (10) At the mouths of some of the excavations, half-circles of clay beetle out like awnings shading a doorway. It is earth that was turned to clay in the mouths of the bees and spit out as they mined deeper into their dwelling places.This place where the bees reside is at an angle safe from rain. It faces the southern sun. It is a warm and intelligent architecture of memory, learned by whatever memory lives in the blood. Many of the holes still contain the gold husks of dead bees, their faces (20) dry and gone, their flat eyes gazing out from death’s land toward the other uninhabited half of the hill that is across the creek from these catacombs.The first time I found the residence of the bees, it was dusty summer. The sun was hot and land was the dry color of rust. Now and then a car rumbled along the dirt road and dust rose up behind it before settling back down on older dust. In the silence, the bees made a soft droning hum. They were alive then, and working the hill, going out and returning with pollen, in and out through the holes, back and forth between daylight and the cooler, darker regions of inner earth. (30) They were flying an invisible map through air, a map charted by landmarks, the slant of light, and a circling story they told one another about the direction of food held inside the center of yellow flowers.Sitting in the hot sun, watching the small bees fly in and out around the hill, hearing the summer birds, the light breeze, I felt right in the world. I belonged there. I thought of my own dwelling places, those real and those imagined. Once I lives in a town called Manitou, which means Great Spirit, and where hot mineral spring water gurgled beneath the streets and rose up into open wells.(40) I felt safe there. With the underground movement of water and heat a constant reminder of other life, of what lives beneath us, it seemed to be the center of the world.A few years after that, I wanted silence. My daydreams were full of places I longed to be, shelters and solitudes. I wanted a room apart from others, a hidden cabin to rest in. I wanted to be in a redwood forest with trees so tall the owls called out in the daytime. I daydreamed of living in a vapor cave a few hours away from here. Underground, warm, and moist, I thought it would be the perfect world for staying out of cold winter, for escaping the noise of living.And how often I’ve wanted to escape to a wilderness where a human hand has not been in everything. (50)But those were only dreams of peace, of comfort, of a nest inside stone or woods, a sanctuary where a dream or life wouldn’t be invaded.Years ago, in the next canyon west of here, there was a man who followed one of those dreams and moved into a cave that could only be reached by climbing down a rope. For years he lived there in comfort, like a troglodyte. The inner weather was stable, never too hot, too cold, too wet, or too dry. But then he felt lonely. His utopia needed a woman. He went to town until he found a wife. For a while after the marriage, his wife climbed down the rope along with him, but before long she didn’t want the mice scurrying about I the cave, or the untidy bats that wanted to hang from stones of the ceiling. So they built a door. (60) Because of the closed entryway, the temperature changed. They had to put in heat. Then the inner moisture of earth warped the door, so they had to have air conditioning, and after that the earth wanted to go about life in its own way and it didn’t give in to the people.In other days and places, people paid more attention to the strong-headed will of earth. Once homes were built of wood that had been felled from a single region in a forest. That way, it was thought, the house would hold together more harmoniously, and the family of walls would not fall or lend themselves to the unhappiness or arguments of the inhabitants.(70) An Italian emigrant to Chicago, Aldo Piacenzi, built birdhouses that were dwellings of harmony and peace. They were the incredible spired shapes of cathedrals in Italy. They housed not only the birds, but his memories, his own past. He painted them the watery blue of his Mediterranean, the wild rose of flowers in a summer field. Inside them was straw and the droppings of lives that layed eggs, fledglings who grew there. What places to inhabit, the bright and sunny birdhouses in dreary alleyways of the city.One beautiful afternoon, cool and moist, with the kind of yellow light that falls on earth in these arid regions, I waited for barn (80) swallows to return from their daily work of food-gathering. Inside the tunnel where they lives, hundreds of swallows had mixed their saliva with mud and clay, much like the solitary bees, and formed nests that were perfect as a potter’s bowl. At five in the evening, they returned all at once, a dark, flying shadow. Despite their enormous numbers and the crowding together of nests, they didn’t pause for even a moment before entering the nests, nor did they crowd one another. Instantly they vanished into the nests. The tunnel went silent. It held no outward signs of life.(90) But I knew they were there, filled with the fire of living. And what a marriage of elements was in those nests. Not only mud’s earth and water, the fire of sun and dry air, but even the elements contained one another. The bodies of prophets and crazy men were broken down in that soil.I’ve noticed often how when a house is abandoned, it begins to sag. Without a tenant, it has no need to go on. If it were a person, we’d say it is depressed or lonely. The roof settles in, the paint cracks, the walls and floorboards warp and slope downward in their own natural ways, telling us that life must stay in everything as the world whirls and tilts and moves through boundless space.(100) One summer day, cleaning up after long-eared owls where I work at the birds-of-prey rehabilitation facility, I was raking the gravel floor of a flight cage. Down on the ground, something looked like it was moving. I bent over to look into the pile of bones and pellets I’d just raked together. There, close to the ground, were two fetal mice. They were new to the planet, pink and hairless. They were so tenderly young. Their faces had swollen blue-veined eyes. They were nestled in a mound of feathers, soft as velvet, (110) each one curled up smaller than an infant’s ear, listening to the first sounds of earth. But the ants were biting them. They turned in agony, unable to pull away, not yet having the arms or legs to move, but feeling, twisting away from, the pain of the bites. I was horrified to see them bitten out of life that way. I dipped them in water, as if to take away the sting, and let the ants fall in the bucket. Then I held the tiny mice in the palm of my hand. Some of the ants were drowning in the water. I was trading one life for another, exchanging the lives of ants for those of mice, but I hated their suffering, and hated even more than they had not yet grown to a life, and already they inhabited the miserable world of pain. Death and life feed each other. I know that.(120) Inside these rooms where birds are healed, there are other lives besides those of mice. There are fine gray globes the wasps have woven together, the white cocoons of spiders in a corner, the downward tunneling ant hills. All these dwellings are inside one small walled space, but I think most about the mice. Sometimes the downy nests fall out of the walls where their mothers have placed them out of the way of their enemies. When one of the nests falls, they are so well-made and soft, woven mostly from the chest feathers of birds. Sometimes the leg of a small quail holds the nest together like a slender cornerstone with dry, bent claws. (130) The mice have adapted to life in the presence of their enemies, adapted to living in the thin wall between beak and beak, claw and claw. They move their nests often as if a new rafter or wall will protect them from the inevitable fate of all our returns home to the deeper, wider nest of earth that houses us all.One August at Zia Pueblo during the corn dance I noticed tourists picking up shards of all the old pottery that had been made and broken there. The residents of Zia know not to take the bowls and pots left behind by the older ones. They know that the fragments of those earlier lives need to be smoothed back to earth, but younger nations, travelers from continents across the world who have come to inhabit this land have little of their own to grow on. (140) The pieces of earth that were formed into bowls, even on their way home to dust, provide the new people a lifeline to an unknown land, helps them remember that they live in the old nest of earth.It was early February, during the mating season of the great horned owls. It was dusk, and I hiked up the back of a mountain to where I’d heard the owls a year before. I wanted to hear them again, the voices so tender, so deep, like a memory of comfort. I was halfway up the trail when I found a soft, round nest. It had fallen from one of the bare-branched trees. It was a delicate nest, woven together of feathers, sage, and strands of wild grass. (150) Holding it in my hand in the rosy twilight, I noticed that a blue thread was entwined with the other gatherings there. I pulled at the thread a little, and then I recognized it. It was a thread from one of my skirts. It was blue cotton. It was the unmistakable color and shape of a pattern I knew. I liked it, that a thread of my life was in an abandoned nest, one that had held eggs and new life. I took the nest home. At home, I held it to the light and looked more closely. There, to my surprise, nestled into the gray-green sage, was a gnarl of black hair. It was also unmistakable. (160) It was my daughter’s hair, cleaned from a brush and picked up out in the sun beneath the maple tree, or the pit cherry where birds eat from the overladen, fertile branches until only the seeds remain on the trees.I didn’t know what kind of nest it was, or who had lived there. It didn’t matter. I thought of the remnants of our lives carried up the hill that way and turned into shelter. That night, resting inside the walls of our home, the world outside weighed so heavily against the thin wood of the house. The sloped roof was the only thing between us and the universe. Everything outside of our wooden boundaries seemed so large. Filled with the night’s citizens, it all came alive. The world opened in the thickets of the dark. The wild grapes would soon ripen on the vines. The burrowing ones were emerging. Horned owls sat in treetops. (170) Mice scurried here and there. Skunks, fox, the slow and holy porcupine were all passing by this way. The young of the solitary bees were feeding on pollen in the dark. The whole world was a nest on its humble tilt, in the maze of the universe, holding us.Read the essay “Dwellings” by Linda Hogan. Then, reread the lines indicated with each question below. Answer each question, citing text evidence.Lines 1–13: Examine these lines to determine Hogan’s relationship with nature. What does she share explicitly? What must readers infer?Line 13: Define the phrase “dwelling places,” using a dictionary if necessary. How does using this term to describe bee tunnels affect the reader’s view of the bees?Lines 16–30: Why does the author include this flashback to the time that the bees were alive? What do lines 24–30 reveal about her and her thoughts about life?Lines 31–50: What similarities are there between the “dwelling places”? Explain how Hogan’s Native American background may have influenced these descriptions. Lines 32–46: How has Hogan expanded the meaning of “dwelling places” in these lines? What can be inferred from her descriptions?Lines 64–93: How is the dwelling described in this paragraph different from the other specific examples that Hogan describes? What connects Piacenzi’s birdhouses to the other dwellings described in these lines? What value does this commonality reflect for the author?Lines 64–69; 94–99: Where does personification occur in lines 64–69? Where does it occur in lines 94–99? How does Hogan’s use of personification serve her purpose for writing? Lines 104–118: What does Hogan mean when she states in lines 117–118 that “Death and life feed each other”? Explain with evidence from lines 104–118.Lines 133–142: Summarize the differences in how Zia’s inhabitants and the tourists treat ancient, broken pottery. In Hogan’s view, how are the motivations of the native Zia and the non-native tourists similar?Lines 143–163: What ideas about the relationship between human culture and the natural world does Hogan express through the details in these lines? How does Hogan clarify her ideas in line 153–155?English 4 CP and Honors Distance Learning Choice BoardBegin AFTER Romanticism Unit (April 25th through Final Exams)There are three choice boards below—one for each of our grading categories. Some of them require electronic capability, and others do not. Choose your assignments based on your interests and your resources at home. Participation Grade Choices: Choose any FOUR options. Submit work electronically via email or your teacher’s platform if you are able to; if not, write your work on notebook paper and keep everything together for when we return.Museum TourTour a virtual museum of your choice or choose from the options below. Then, answer the following questions in complete sentences with specificity.Which art piece or exhibit did you especially like? Why? How did the artwork or museum exhibit you explored reflect the time period of the art? It’s okay if you need to do a little additional research for this. ?What is the value in exploring museums and other cultures different from our own?Hermitage Museum in Russia’s Galley of Artwork in Washington, DC (Click “Explore” on the upper right to choose a genre of artwork)Metropolitan Museum of Art in New York Museum of Natural History in New York Institute of Arts-Diego Rivera’s Detroit Industry Exhibit . Paul Getty Museum of Los Angeles-Food in the Middle Ages and Renaissance VocabularyWrite a short story using the ten words below. Underline or bold the vocabulary words. Pay attention to part of speech as well! adept- (adj) having knowledge or skillaesthetic- (adj.) relating to beauty or refined tastebenevolent- (adj.) kind, generousbolster- (v) to support, strengthen, or fortifyclout- (n) special advantage or powercondone- (v) to overlook, approve, or allowdeference- (n) respect, regarddisparage- (v) to belittle or speak downegregious- (adj.) extremely badenumerate- (v) to specify or countACT/SAT VocabularyWrite an ORIGINAL sentence for each word below. Underline or bold the vocabulary words. Pay attention to part of speech as well! exacerbate- (v) to make worse or increase the severity offeasibility- (n) the practicality or possibility of something foment- (v) to stir upgalvanizing- (adj.) thrilling, exciting, stimulatingignominious- (adj.) publicly shameful or humiliatingimpartiality- (n) the equal and objective treatment of opposing viewsimprudent- (adj.) not cautious or prudent; rashnuance- (n) a subtle difference in meaningpostulate- (v) to assertpragmatic- (adj.) practical, usefulNews ArticleSelect a news article of your choice and complete the following information in a write up.Name of article, author, publication date, and magazine/news outletSummarize the article in 5-7 sentences. What is the topic, what are the key claims made, who does it involve, etc.What persuasive strategies are used in the article? (ethos, pathos, logos, allusions, parallelism, antithesis, metaphors, etc.)Explain how much bias you believe is present in the article and why. Consider if it cites scholarly sources, includes facts, or is based solely on opinion.Planning for Your FutureDo you want to see how your future goals align with your financial outlook? Complete this interactive “Reality Check” through the following website. You will be able to explore potential careers, their earnings, education requirements, employability outlook, etc. : ashleyridge / Password: highschoolClick “Assessments”Click “Reality Check”Follow the prompts. Take a screenshot of your results at the end and submit it to your teacher.Nature Walk Get out of your house, be like the Romantics, and spend some time in nature. Remember, Romantics have three key beliefs:Imagination, spontaneity, and freedom help us get in touch with the human spirit Individualism and solitary life are the purest forms of livingHumankind, nature, and God are all interconnected.Journal about your feelings on your hiatus away from home—even if it’s in your backyard! Consider the effect nature and your surrounding may have on you as an individual. Write 8-10 thoughtful sentences, making at least one connection to a transcendentalist viewpoint.Reading for FunRead a book of your choice and journal about what you’re reading in 8-10 complete sentences. Include reflections on various characters and events as well as predictions. (May be repeated 2x with separate journal entries= 2 daily grades)Original PoemWrite an original 14-20 line poem using regular rhyme or free verse. Include at least three figurative language devices in your poem and identify them at the bottom of the paper. (Ex. metaphor—line 8)(metaphor, personification, simile, hyperbole, assonance, consonance, repetition)Financial Literacy: Credit CardsShould students in college have credit cards? Click on the link to explore articles debating this issue. Then, complete questions 1-4. Grade Choices: Choose TWO options. Submit work electronically through your teacher’s platform if you are able to; if not, write your work on notebook paper and keep everything together for when we return.Character AnalysisWrite a 1 ? -2 page character analysis about a character from one of your favorite shows or movies. This should be 4-5 paragraphs.Introduction (hook, introduce work and brief context, thesis)2-3 Body Paragraphs (clear topic sentence, evidence, analysis, transition to next paragraph)Conclusion (summarize key ideas)Financial InstitutionsResearch the types of checking, savings, and credit account options available at two different banks and one credit union. Write a 1-2 page comparison/contrast paper discussing the different types of accounts at each institution. Make sure that you evaluate the benefits and draw-backs of each account, and determine which accounts best suit your needs. This paper should be 5 paragraphs.Tik TokCreate a Tik Tok from the perspective of one of the characters in a novel/play we have read this year. Save your video and submit it electronically. Complete a paragraph-length write up discussing the traits and events you hoped to highlight. Short Story StudyRead one of the following short stories and complete a collage (hand drawn or graphic) representing the following elements of the story: characters, plot, setting, and theme. Be sure to include a written explanation (6-8 sentences) of your choices at the bottom of the collage. Story Options:Chopin’s “Desiree’s Baby”- ’s “The Yellow Wallpaper”-’s “The Fall of the House of Usher”’s “Everyday Use”’s “Drenched in Light”’s “An Occurrence at Owl Creek Bridge”’s “The Outcasts of Poker Flat” Grade Choices: Choose TWO options. Submit work electronically through your teacher’s platform if you are able to; if not, write your work on notebook paper and keep everything together for when we return.Presentation/PosterCreate a Prezi, Powerpoint, or Poster covering a major work from the school year. It should address the following areas:Historical ContextKey CharactersPlotSymbolismThemeThe final product should include images and be well-organized for ease of understanding.Sales PitchCreate a video “Sales Pitch” for one of your favorite binge-worthy T.V. shows of no more than 3 minutes in length. This is your chance to demonstrate an understanding of tone, public speaking, and persuasion! Think about ethos, pathos, and logos. What will grab your audience’s attention? Why should the audience choose this show over any other show? HousingFigure out where you’re going to live after graduation. Using the website research the types of housing available in your budget and the area in which you’ll be living. Write a 1-2 page paper about the what you would ideally like in the area, what you can actually afford, and what kind of compromises you may need to make. As you evaluate your options, be sure to consider your current financial circumstances, cost of living in the area (Google this!), and what your monthly income will be. This should be a 5 paragraph paper. ................
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