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Activity 1.3continuedImportance of PerspectiveIndividualPerspectiveThoughts RunningThrough ThisPerson’s MindPossible FactorsInfluencing How ThisPerson Is RespondingPrimary Goal orObjective of ThisPersonStudent BeingTicketedOfficer Writingthe TicketParent of StudentBeing TicketedWho Happens to BeDriving ByDriving byBest Friend ofStudent BeingTicketedYou SpringBoard English Textual Power Senior English 2010 College Board. All rights reserved.Favorite Teacher

Different Ways of Seeing the WorldActivity1.4SUGGESTED Learning Strategies: QHT, Activating Prior Knowledge,Close Reading, Think-Pair-ShareScan the words listed below and use the following coding system torate your level of understanding with the media production elements ofphotography.(Q): Signals a question—I have never heard of this word before.(H): Signals familiarity—I have heard of the word before and here is thecontext in which I have heard it.(T): Signals knowledge—I know what this word means and here is anexample.1. Frame5. Image2. Subject6. Composition3. Cropping7. Space4. LightingLiterary termsThe mise en scène is thecomposition, or setting, ofan image. 2010 College Board. All rights reserved.Writing Prompt: Study the photograph suggested by your teacher, anduse the space below to write a brief description that reflects the mise enscène, or composition, of the image.Unit 1 Perception Is Everything  

Activity 1.4continuedDifferent Ways of Seeing the WorldAnalyzing Visuals/Art: Using the OPTICS StrategyBreif Description ofOPTIC StepsLiteral DetailedObservationsInterpretation ofObservationsOverview: Conduct a briefoverview of the visual byexamining it carefully. Note thedetails: images, colors, shapes,position or angle in the frame.Title/Text: Read the title andany text within the visualso that you are clear on thesubject. Read all labels andconsider how they add to yourinterpretation.Interrelationships: Use thetitle as your theory and theparts of the visual as yourclues to detect and identifythe interrelationships in thevisual/art.Conclusions: Draw conclusionsabout the visual as a whole.10 SpringBoard English Textual Power Senior English 2010 College Board. All rights reserved.Parts: Key in on the parts ofthe visual by reading all labels,images, and symbols, notingany additonal details that seemimportant.

Different Ways of Reading the TextActivity1.5SUGGESTED Learning Strategies: Free Writing, Marking the TextRead the following poem multiple times and think about thespeaker’s point of view.About the AuthorPoetryby Theodore Roethke The whisky on your breathcould make a small boy dizzy;But I hung on like death:Such waltzing was not easy. We romped until the pans5Slid from the kitchen shelf;My mother’s countenance1Could not unfrown itself. The hand that held one wrist 2010 College Board. All rights reserved.Was battered on one knuckle;10At every step you missedMy right ear scraped a buckle. You beat time on my headWith a palm caked hard by dirt,Then waltzed me off to bedThe Midwest poetTheodore Roethke(1908–1963) createdpoetry notable forits introspectionand fascination withnature. The son of agreenhouse owner,Roethke was impressedwith greenhouses’ability to bring lifeto the cold Michiganclimate. Educated at theUniversity of Michiganand Harvard University,Roethke taught atnumerous universitieswhere his enthusiasmfor poetry made hima popular professor.Roethke received aPulitzer Prize for TheWaking (1953) and theNational Book Award forthe collection Words forthe Wind (1957).15Still clinging to your shirt.Freewrite: After studying the poem, freewrite to explore your initialinterpretation of the text. Mark the text to identify words and phrases thatsupport your interpretation.1countenance: facial expressionUnit 1 Perception Is Everything   11

Activity1.6Introducing Reader ResponseCritical TheorySUGGESTED Learning Strategies: Marking the Text, DiscussionGroups, Think-Pair-ShareAcademic VocaBularyReader Response Criticismfocuses on a reader’s activeengagement with a pieceof print or nonprint text.The reader’s response toany text is shaded by thereader’s own experiences,social ethics, moral values,and general views of theworld.Reader Response Critical TheoryYour personal attitudes, beliefs, and experiences influence how youderive meaning from text. Examining the way in which you understandtext involves adopting critical lenses. A critical lens is a way of judgingor analyzing a work of literature.Much as putting on a pair of tinted lenses colors the way you look atthe world, critical lenses influence how you study and perceive text.The Reader Response Criticism asks you to consider the role yourposition as a reader plays whenever you look at text. The critical lens ofReader Response Critical Theory focuses on the relationship among thereader, the reader’s situation, and the text. The theory suggests that theprocess of making meaning relies not only on the text itself, but also onthe qualities and motivations of the individual who is interacting withthe text. See Appendix 1 for more information on this theory.The diagram below illustrates this idea.MeaningReaderTextReading Situation: the circumstances surrounding the reading,including the purposes for readingReader: the individual engaged in the reading processText: what is being read12 SpringBoard English Textual Power Senior English 2010 College Board. All rights reserved.ReadingSituation

Activity 1.6continuedIn the Reading Situation – Reader – Text model, the reader constructsmeaning as a result of the interaction among all of these individualfactors. Consider the following examples: Scenario 1: A senior is assigned to read a chapter from the bookhe is studying in English class. The senior has tickets to see ashow that night but knows that there will be a quiz on the chapterthe next day. He is a strong reader but has not enjoyed the bookthe class is studying. What factors are influential on the reader,situation, and text? How would these factors impact the student’sability to make meaning of that chapter? 2010 College Board. All rights reserved. Scenario 2: A senior is part of a group of four students preparinga presentation about optical illusions. She volunteered to doInternet research to find information to bring back to the rest ofthe group. She is a computer whiz and fascinated by the topic,and spends several hours on the Internet finding examplesof optical illusions, but hasn’t done much real reading orinvestigating of the information about optical illusions. The nextday in class the group is expecting some material to read, butthe senior brings a collection of optical illusions to show theminstead. How did the reader, situation, and text impact the abilityto make meaning?Unit 1 Perception Is Everything   13

Activity 1.6continuedIntroducing Reader ResponseCritical TheoryThe Elements of Reader Response CriticismThe ReaderOne significant factor in Reader Response Critical Theory is that it takesinto account the person doing the reading. This model takes the readerinto account in a number of ways, including, but not limited to, theindividual’s opinions, attitudes, beliefs, and background knowledge.Consider some of the ways in which your personality, attitudes, andpersonal goals influence you every time you are looking at text. Forexample, what do you read on your own? Do you read novels, or do youread sports magazines? If you read quite a few novels, then being askedto read 30 pages in a single session might not seem difficult. This is justone way in which you influence the reading process.The Reading SituationThe TextThe text is defined as whatever is being read. Textual features vary,depending on the source. For example, a textbook will present textdifferently than a magazine or a pamphlet. Numerous other factorsinfluence the text, from level of difficulty to the font.Think-Pair-Share: With a small group, create a summary statement ofall that you have learned about Reader Response Critical theory. Shareyour responses and choose the clearest, most comprehensive summarystatement.14 SpringBoard English Textual Power Senior English 2010 College Board. All rights reserved.The reading situation includes why you are engaged in reading, whenyou are reading, and where you are reading. Some of these factors arewithin your control, but others are not. Anytime that you read a textbecause someone else told you to read it, the choice has been made foryou. How much you are supposed to read is also often decided for you.However, where and when you choose to read the text can be up to you.If you decide to sit in a comfortable stuffed chair at midnight to readyour book, you might tend to lose concentration and drift off to sleep.The last few pages you read before falling asleep might be a little lessclear than pages you read at your desk earlier in the evening.

Applying Reader Response CriticismActivity1.7SUGGESTED Learning Strategies: Discussion Groups, Sketching,Jigsaw, QuickwritePoetryAbout the Authorby E.E. Cummingsi n Justspringwhen the world is mudluscious the littlelame balloonmanwhistlesfarand wee5a nd eddieandbill comerunning from marbles andpiracies and it’sspring 2010 College Board. All rights reserved.when the world is puddle-wonderful10t he queerold balloonman whistlesfar   and   weeand bettyandisabel come dancing from hop-scotch and jump-rope andE. E. Cummings (1894–1962) became known forpoems that experimentedwith form, style, andpunctuation. Duringhis career, Cummingsexamined traditionalthemes such as loveand childhood, but heexplored these themeswith innovative methods,such as incorporatingtypography into thepoem’s meaning, orusing words such as ifand because as nouns.His awards includedthe Bollingen Prize inPoetry (1958) and theCharles Eliot NortonProfessorship at Harvard.15i t’sspringandthegoat-footed alloonManbfarandwee20whistlesUnit 1 Perception Is Everything   15

Activity 1.7continuedApplying Reader Response CriticismMy NotesPoetryAbout the AuthorPeter Davison (1928–2004) was both a poet and an editor,serving as poetry editor of The Atlantic Monthly for29 years. The author of 11 collections of poetry, Davisonalso wrote three prose works, including essays onpoetry and the memoir The Fading Smile, which includesrecollections of his mentor, poet Robert Frost. In hiswriting and editing, Davison emphasized the power ofactive language to engage with ideas and events: verbs,he said, not nouns, show what a writer really means.by Peter Davison When I saw your head bow, I knew I had beaten you.Bare for the blow I had been too frightenedEver to deliver, even in words. And now,5In spite of me, plummeting it came.Frozen we both waited for its fall. Most of what you gave me I have forgottenWith my mind but taken into my body,But this I remember well: the bones of your neck10And the strain in my shoulders as I heaved up that hugeDouble blade and snapped my wrists to swingThe handle down and hear the axe’s edgeNick through your flesh and creak into the block.16   SpringBoard English Textual Power Senior English 2010 College Board. All rights reserved.You shed no tear—not near me—but held your neck

PoetryActivity 1.7continuedby Sylvia PlathAbout the Author vernight, veryOWhitely, discreetly,Very quietly ur toes, our nosesOTake hold on the loam,Acquire the air.5 obody sees us,NStops us, betrays us;The small grains make room.S oft fists insist onHeaving the needles,The leafy bedding, ven the paving.EOur hammers, our rams,Earless and eyeless,1015 2010 College Board. All rights reserved. erfectly voiceless,PWiden the crannies,Shoulder through holes. We iet on water,DOn crumbs of shadow,Bland-mannered, asking20Sylvia Plath (1932–1963)captured the intensity ofher turbulent life in anautobiographical noveland personal, revealingpoetry. An accomplishedscholar and writer,Plath won many awardsas a young woman,including a scholarshipto Smith College anda Fulbright fellowshipto Newnham College inCambridge University.In 1956, she marriedpoet Ted Hughes. Astheir marriage dissolved,Plath produced poemsof striking pain andpower. These poemswere published in thecollection Ariel (1965),which appeared after hersuicide in 1963. ittle or nothing.LSo many of us!So many of us! e are shelves, we areWTables, we are meek,We are edible. udgers and shoversNIn spite of ourselves.Our kind multiplies:2530 e shall by morningWInherit the earth.Our foot’s in the door.Unit 1 Perception Is Everything   17

Activity 1.7continuedApplying Reader Response CriticismA symbol is something (a person, place, or thing) that stands forsomething else. A symbolic representation makes use of symbols torepresent an idea or concept.Use the following chart to sketch a symbolic representation of the poemyou read in your small group. Your sketch should be in the form of athree-panel narrative.Panel 2Your Interpretation18   SpringBoard English Textual Power Senior EnglishPanel 3 2010 College Board. All rights reserved.Panel 1

Seeing the World from My PerspectiveActivity1.8SUGGESTED Learning Strategies: Brainstorming, Free Writing,Looping, Think-Pair-Share, Marking the Text1. Select a memory of a place, event, or time in your life of significanceto you and brainstorm a list of images that this memory generatesfor you.Literary termsImagery is the verbalexpression of sensoryexperience. Sensory detailsare details that appeal toor evoke one or more of thefive senses: sight, touch,smell, hearing, and taste. 2010 College Board. All rights reserved.2. Free write on the memory you have chosen, trying to use imagery toconvey all the sensory details that it evokes.3. Expand on your writing by looping: circle a key image in your freewrite above. Write that word or phrase below and expand your ideasby including sensory details to capture a vivid description of theimage for your readers.Unit 1 Perception Is Everything   19

Activity 1.8continuedMy NotesSeeing the World from My PerspectivePoetryby Edward MontezFrom Calafia: The California Poetry ProjectIshmael Reed, Project DirectorI remember the scent of acorn soup cooking and deer meat frying in quietevenings of summer.And shivering under thin blankets in winter and watching the wallpaperdance to the force of the winter winds outside.I remember the cry of an owl in the night and I knew it was an ominouswarning, a cry of death.I remember running in the dust behind the medicine truck when it came tothe reservation, lifesavers was a free treat.I remember running naked and screaming with my aunt in hot pursuit, astick in her hand, she always caught me.And every summer we would swim in the river and let the sun bake us untilwe were a shade less than purple, basking on the riverbank, undisturbed, atpeace.And I remember grandma toiling in the bean fields while I played with myarmy truck on the fender of a “49” Plymouth.I remember going to the movies in town on Saturday nights with fifty cents inmy pocket, thirty-five cents for the ticket and the rest was mine.Eating popcorn and drinking water from a discarded coke cup and rootingfor the Indians to win, and they never did, but that was yesterday.20   SpringBoard English Textual Power Senior English 2010 College Board. All rights reserved.And grandpa sitting in his favorite resting chair under his favorite shade treewith his dog “Oly” by his side.

Activity 1.8continuedAnalyzing Evidence of an Author’s PerspectiveImagery: The imagery a writer uses can be key to the writer’s perspective. Identify the language fromMontez’s poem that appeals to your senses, and complete the chart below.Visual Images(sight)Auditory Images(hearing)Tactile Images(touch)Olfactory Images(smell)Gustatory Images(taste)What effect is the author trying to convey with these images?Detail: Details—such as specific facts, observations, and/or incidents—are also evidence of an author’sperspective. Identify details from Montez’ poem that reveal his perspective on his subject, and completethe chart below. 2010 College Board. All rights reserved.SubjectSettingSpeakerIdentify specific detailsincluded in the poem,“I Remember.”Discuss how thesedetails contribute tomeaning and effect.What do these detailsreveal about eachcategory?Unit 1 Perception Is Everything   21

Activity 1.8continuedSeeing the World from My PerspectiveDiction: The words an author uses, carefully chosen to evoke emotions and communicate ideas, alsoreveal perspective. Indentify key examples of diction, the writer’s choice of words, and examine theimpact of those choices within the text and on the reader.Feeling Evoked byWord or PhraseEffect on the Meaningof the SentenceWriting Prompt: Revisit your initial freewrite about a memory fromchildhood and revise your drafts to refine your use of imagery, diction,and detail. Annotate your drafts, identifying the stylistic techniques youused to create particular effects.22   SpringBoard English Textual Power Senior EnglishEffect on the Reader 2010 College Board. All rights reserved.Key Word or Phrase

ActivityAnother Perspective on the World1.9SUGGESTED Learning Strategies: Sketching, Quickwrite,Vizualizing, Graphic Organizer, Revisiting Prior WorkMy NotesNovelby Ralph EllisonFrom Invisible Man 2010 College Board. All rights reserved.I am an invisible man. No, I am not a spook like those who haunted EdgarAllan Poe; nor am I one of your Hollywood-movie ectoplasms.1 I am a manof substance, of flesh and bone, of fiber and liquids—and I might even be saidto possess a mind. I am invisible, understand, simply because people refuseto see me. Like the bodiless heads you see sometimes in circus sideshows, it isas though I have been surrounded by mirrors of hard, distorting glass. Whenthey approach me they see only my surroundings, themselves, or figments oftheir imagination—indeed, everything and anything except me.Nor is my invisibility exactly a matter of a biochemical accident to myepidermis. That invisibility to which I refer occurs because of a peculiardisposition of the eyes of those with whom I come in contact. A matter of theconstruction of their inner eyes, those eyes with which they look through theirphysical eyes upon reality. I am not complaining, nor am I protesting either.It is sometimes advantageous to be unseen, although it is most often ratherwearing on the

stranger in the village? Unit Overview Unit 1 serves as an introduction to the idea that our perception of reality is often filtered through various perspectives, values, prejudices, and attitudes. In this level you will be introduced to multiple literary theories as filters through which to interpret literature. Literary theories