Check when done

Week of March 16th

Reading Assignment Complete Assignment

Day one Read Informational Text: “The Purpose of Anger”

Complete Text Based Questions

Day Two Continued... Write a one-page journal entry. See directions below.

Day Three Continued... Write a short story. See Directions below.

Day Four “Bleak House” by Charles Dickens

Complete Text Based Questions

Day Five Continued... Write a First-Person Narrative

Check when done

Week of March 23rd

Reading Assignment Complete Assignment

Day one “Bleak House” by Charles Dickens continued...

Write a First-Person Narrative

Day Two Read “Invictus” by Ernest Henley

Complete paraphrase of poem and complete theme chart.

Day Three Read “Whatever It Takes” by the Imagine Dragons

Answer one of the 4 questions in a multiple paragraph essay using examples from the text.

Day Four “Invictus” and “Whatever It Takes”

Answer one of the 4 questions in a multiple paragraph essay using examples from the text.

Day Five Continued... Complete choice of essay

NAME: ____________________________ Date ______________________________

Period _____________________________ Teacher ___________________________

Remote Learning Schedule

While school is temporarily closed you will continue learning remotely. Attached you will find exercises designed to prepare you for the upcoming NJSLA. It is your responsibility to keep up with your assignments; however, the schedule below will help you stay on track without getting overwhelmed.

Informational TextThe Purpose of Anger

According to bestselling author, Certified Emotional Freedom Technique (EFT tapping) practitioner and relationship expert, Jackie Viramontez, every negative emotion serves a positive purpose - even anger and frustration. Anger, maybe more than any other emotion, is a strong signal that one of your needs is not being met. When you ask what the core need is at the heart of your anger, you can constructively ask for and receive what you want or need.

Think about what makes you angry. If you are angry that a sibling messed up your room, what need is not being met? Tell your sibling or parent, “I need privacy or I need to know my belongings are safe when I’m not around.” If you feel annoyed or frustrated with your parents for nagging you to do something, don’t yell or respond disrespectfully; Have an honest conversation to acknowledge your needs and your parents' needs that are at the heart of the frustration, “I know it is important to you to have a clean house, but it is also very important to me that I finish my homework (or spend time with my friends). I want a chance to prove I am responsible and can do my chores without being reminded. Can we agree that I have until a certain time to do the chores before I need a reminder?”

In Viramontez' bestselling book, I Can't Believe I Dated Him, she gives enlightening yet practical advice, including how to voice anger in a positive, productive way. If you are in a relationship, and you are angry because they forget to call you, don’t yell, whine, or give them “the silent treatment.” Think about what need or want is not being met, and be honest: “When you don’t call me, it makes me feel like you don’t care about me.” Conversely, you might want to assertively say the following: “I need to be able to trust that when you say you are going to do something, you will do it.”

When you are waiting in line or waiting in traffic, you simply want to be doing what you want instead of waiting to do what you want. First, put things in perspective. What is the worst-case scenario if you are late? Do you have control over it? No. So instead of worrying for no reason, use this time as an unexpected mental holiday. Any waiting time can be used to relax and enjoy the present moment. Clear your mind or daydream about joyful goals and dreams. Instead of fuming, why not fantasize about what you would do if you won the lottery?

When you feel angry or frustrated, take a deep breath and ask yourself what need is not being met. You can also actively choose situations that are more likely to get your needs met. Don’t throw a school project on the desk while your mom is obviously busy and get angry that she doesn’t give it her undivided attention. Instead, say what you want: “Mom, let me know when you are done. I really want to show you something important.”

Unfortunately, sometimes other people are too involved in their own lives or their own problems to give you the love, support and respect you deserve. You can stop spending time with people who make you feel bad or you can meet your own core needs in a different way. Many times, no one makes you more angry than yourself. Whether your anger come from someone else or yourself, you need to realize what need is not being met and address it in a healthy way. If you are angry that you lost a game, your need to feel successful or valuable is not met. Instead of feeling angry, you can meet this need by doing something else that makes you feel successful or valuable like enjoying another hobby or volunteering in the community. If your teachers or parents ignore you, your need to feel recognized is not met. You can share your feelings with a friend or recognize someone else with a thank you letter. They will recognize you back for your kindness!

Mahatma Gandhi is most famously known for his nonviolent protests. His strategies inspired both Martin Luther King Jr. and Nelson Mandela. He was a civil rights leader in India who preached truth and love above all other things (including violence and anger). He first became a civil rights activist after experiencing racial prejudice in South Africa. Instead of reacting in anger, he used the opportunity to express his true wants and needs. He led non-violent civil disobedience campaigns for Indian independence from the British Empire. When Gandhi was put in prison, instead of fighting back, he would simply refuse to eat. The government would eventually release him because they were scared of what his followers would do if he died. When the British put an unjust tax on salt, Gandhi did not focus on what was taken from him, he focused on what he needed; He walked 241 miles to the sea to procure his own salt. Thousands of Indians joined him in what is now considered his most successful protest, the Salt March. He spoke repeatedly about choosing truth and love over anger: "When I despair, I remember that all through history the way of truth and love have always won. There have been tyrants and murderers, and for a time, they can seem invincible, but in the end, they always fall.” He also encouraged people to forgive instead of holding onto anger: “The weak can never forgive. Forgiveness is the attribute of the strong.” Finally, he voiced his belief that everyone should think, speak and act in a way that inspires truth and love, instead of acting out of bad intentions: "Always aim at complete harmony of thought and word and deed. Always aim at purifying your thoughts and everything will be well."

When you feel angry or frustrated, it is a signal to your brain that you have a want or need that is not being met. Think about what you really want or need at the core of your emotion. Instead of expressing anger, calmly and assertively voice your need. Don’t yell at someone about what you don’t like, calmly express what you do want or need. Don’t yell at someone for hurting your feelings or your possessions. Instead say: “I need you to respect my feelings/opinions/things,” or “I only want to be around people who treat me with respect.” This sends a much stronger and lasting message than yelling and screaming.

1. What is the author's purpose and point of view (3 points)?

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2. How does the author develop, compare/contrast various points of view (3 pts)?

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3. How do the different points of view between the speaker and audience enhance suspense, humor, dramatic irony and/or other moods (3 points)?

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4. How does the author acknowledge conflicting evidence and viewpoints?

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5. What rhetorical devices (ethos, logos, pathos) does the author use, and how does the author use rhetoric to advance their point of view and purpose and enhance the power, persuasiveness and beauty of the text?

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Extended Response

1. Create a one-page journal entry: What makes you angry? How do you act when you are angry? Is there another way that you could express your anger?

2. Tell a creative story with a beginning, middle, and end about a person who expressed their feelings or needs when others would have expressed anger or frustration.

o Use first-person point of view.o Include personal experiences: Think about how emotions change over a lifetime

and how they affect the way a person views or feels about their life experiences.

o Describe emotions by describing how each person feels, looks, thinks, and acts.o Include the cause and effect of each emotion as the emotions develop and change. o Use first person point of view (I, we, our) and three types of sentences:

o Descriptive: Objectively define events, who is involved, what they are doing and why (ex: When people are inside, they walk).

o Perspective: Describe the internal status of the people involved, their thoughts, feelings, or moods (ex: Running inside could hurt me or other people).

o Directive: Make positive “I” statements of ideal scenario (Ex: “I will try…” or “I will practice).

Narrative Text

Today you will read the passage from the novel Bleak House, set in the nineteenth century, in which Mr. Skimpole has a conversation with some friends. Pay close attention to the conversation as you answer the questions to prepare to write a narrative story.

Read the passage from Bleak House. Then answer questions

from Bleak House

by Charles Dickens

1. Mr. Skimpole could play on the piano and the violoncello, and he was a composer

—had composed half an opera once, but got tired of it—and played what he

composed with taste. After tea we had quite a little concert, in which Richard—

who was enthralled by Ada’s singing and told me that she seemed to know all the

songs that ever were written—and Mr. Jarndyce, and I were the audience. After a

little while I missed first Mr. Skimpole and afterwards Richard, and while I was

thinking how could Richard stay away so long and lose so much, the maid who

had given me the keys looked in at the door, saying, “If you please, miss, could

you spare a minute?”

2. When I was shut out with her in the hall, she said, holding up her hands, “Oh, if

you please, miss, Mr. Carstone says would you come upstairs to Mr.

3. Skimpole’s room. He has been took,

miss!” 3 “Took?” said I.

4. “Took, miss. Sudden,” said the maid.

5. I was apprehensive that his illness might be of a dangerous kind, but of course I

begged her to be quiet and not disturb any one and collected myself, as I followed

her quickly upstairs, sufficiently to consider what were the best remedies to be

applied if it should prove to be a fit. She threw open a door and I went into a

chamber, where, to my unspeakable surprise, instead of finding Mr. Skimpole

stretched upon the bed or prostrate on the floor, I found him standing before the

fire smiling at Richard, while Richard, with a face of great embarrassment,

looked at a person on the sofa, in a white great-coat, with smooth hair upon his

head and not much of it, which he was wiping smoother and making less of with

a pocket-handkerchief.

6. “Miss Summerson,” said Richard hurriedly, “I am glad you are come. You will be able to advise us. Our friend Mr. Skimpole—don’t be alarmed!—is arrested for debt.”

7. “And really, my dear Miss Summerson,” said Mr. Skimpole with his agreeable

candour,1 “I never was in a situation in which that excellent sense and quiet habit of method and usefulness, which anybody must observe in you who has the happiness of being a quarter of an hour in your society, was more needed.”

8. The person on the sofa, who appeared to have a cold in his head, gave such a very loud snort that he startled me.

9. “Are you arrested for much, sir?” I inquired of Mr. Skimpole.

10. “My dear Miss Summerson,” said he, shaking his head pleasantly, “I don’t know. Some pounds, odd shillings, and halfpence, I think, were mentioned.”

11. “It’s twenty-four pound, sixteen, and sevenpence ha’penny,” observed the stranger. “That’s wot it is.”

12. “And it sounds—somehow it sounds,” said Mr. Skimpole, “like a small sum?”

13 The strange man said nothing but made another snort. It was such a powerful13. one that it seemed quite to lift him out of his seat.

14. “Mr. Skimpole,” said Richard to me, “has a delicacy in applying to my cousin Jarndyce because he has lately—I think, sir, I understood you that you had lately—”

15. “Oh, yes!” returned Mr. Skimpole, smiling. “Though I forgot how much it was and when it was. Jarndyce would readily do it again, but I have the

16. epicure-like2 feeling that I would prefer a novelty in help, that I would rather,”17. and he looked at Richard and me, “develop generosity in a new soil and in a new

form of flower.”18. “What do you think will be best, Miss Summerson?” said Richard, aside. I

ventured to inquire, generally, before replying, what would happen if the money were not produced.

19. “Jail,” said the strange man, coolly putting his handkerchief into his hat, which was on the floor at his feet. “Or Coavinses.”

20. “May I ask, sir, what is—”

21. “Coavinses?” said the strange man. “A ‘ouse.”

22. “Not a bit on it,” said the strange man.

23. “Really?” returned Mr. Skimpole. “That seems odd, now, to one who is no judge of these things!”

24. “Odd or even,” said the stranger gruffly, “I tell you, not a bit on it!”

25. “Keep your temper, my good fellow, keep your temper!” Mr. Skimpole gently reasoned with him as he made a little drawing of his head on the fly-leaf of a book. “Don’t be ruffled by your occupation. We can separate you from your office; we can separate the individual from the pursuit. We are not so prejudiced as to suppose that in private life you are otherwise than a very estimable man, with a great deal of poetry in your nature, of which you may not be conscious.”

26. The stranger only answered with another violent snort, whether in acceptance of the poetry-tribute or in disdainful rejection of it, he did not express to me.

27. “Now, my dear Miss Summerson, and my dear Mr. Richard,” said Mr. Skimpole gaily, innocently, and confidingly as he looked at his drawing with his head on one side, “here you see me utterly incapable of helping myself, and entirely in your hands! I only ask to be free. The butterflies are free. Mankind will surely not deny to Harold Skimpole what it concedes to the butterflies!”

28. “My dear Miss Summerson,” said Richard in a whisper, “I have ten pounds that I received from Mr. Kenge. I must try what that will do.”

29. I possessed fifteen pounds, odd shillings, which I had saved from my quarterly allowance during several years. I had always thought that some accident might happen which would throw me suddenly, without any relation or any property, on the world and had always tried to keep some little money by me that I might not be quite penniless. I told Richard of my having this little store and having no present need of it, and I asked him delicately to inform Mr. Skimpole, while I should be gone to fetch it, that we would have the pleasure of paying his debt.

30. When I came back, Mr. Skimpole kissed my hand and seemed quite touched.Not on his own account (I was again aware of that perplexing and extraordinary contradiction), but on ours, as if personal considerations were impossible with him and the contemplation of our happiness alone affected him. Richard, begging me, for the greater grace of the transaction, as he said, to settle with

Coavinses (as Mr. Skimpole now jocularly3 called him), I counted out the money and received the necessary acknowledgment. This, too, delighted Mr. Skimpole.

31. His compliments were so delicately administered that I blushed less than I might have done and settled with the stranger in the white coat without making any mistakes. He put the money in his pocket and shortly said, “Well, then, I’ll wish you a good evening, miss.”

32. “My friend,” said Mr. Skimpole, standing with his back to the fire after giving up the sketch when it was half finished, “I should like to ask you something, without offence.”

33. I think the reply was, “Cut away, then!”

34. “Did you know this morning, now, that you were coming out on this errand?”

said Mr. Skimpole.

35. “Know’d it yes’day aft’noon at tea-time,” said Coavinses.

36. “It didn’t affect your appetite? Didn’t make you at all uneasy?”

37. “Not a bit,” said Coavinses. “I know’d if you wos missed to-day, you wouldn’t be missed to-morrow. A day makes no such odds.”

38. “But when you came down here,” proceeded Mr. Skimpole, “it was a fine day.The sun was shining, the wind was blowing, the lights and shadows were passing across the fields, the birds were singing.”

39. “Nobody said they warn’t, in MY hearing,” returned Coavinses.40. “No,” observed Mr. Skimpole. “But what did you think upon the road?” 41. “Wot do you mean?” growled Coavinses with an appearance of

strongresentment. “Think! I’ve got enough to do, and little enough to get for it without thinking. Thinking!” (with profound contempt).

43 “Then you didn’t think, at all events,” proceeded Mr. Skimpole, “to this effect: ‘Harold Skimpole loves to see the sun shine, loves to hear the wind blow, loves to watch the changing lights and shadows, loves to hear the birds, those choristers in Nature’s great cathedral. And does it seem to me that I am about to deprive Harold Skimpole of his share in such possessions, which are his only birthright!’ You thought nothing to that effect?”

44 “I—certainly—did—NOT,” said Coavinses, whose doggedness in utterly renouncing the idea was of that intense kind that he could only give adequate expression to it by putting a long interval between each word, and accompanying the last with a jerk that might have dislocated his neck.

45 “Very odd and very curious, the mental process is, in you men of business!” said Mr. Skimpole thoughtfully. “Thank you, my friend. Good night.”

From BLEAK HOUSE by Charles Dickens—Public Domain

1. Part AWhich circumstance most surprises the narrator in the passage?

A. how upset the maid isB. how unpleasant the strange man isC. how unconcerned Mr. Skimpole isD. how amazed Richard is

Part BWhich quotation best supports the answer to Part A?

A. “‘He has been took, miss!’” (paragraph 2)B. “‘Our friend Mr. Skimpole—don’t be alarmed!—is arrested for

debt.’” (paragraph 6)C. “‘My dear Miss Summerson,’ said he, shaking his head pleasantly, ‘I

don’t know.’” (paragraph 10)D. “‘Odd or even,’ said the stranger gruffly, ‘I tell you, not a bit

on it!’” (paragraph 25)

2. Part AWhat impact does Mr. Skimpole’s remark in paragraph 15 that he wishes to “‘develop generosity in a new soil and in a new form of flower’” have on the passage?

A. It emphasizes Mr. Skimpole’s poetically offhand view of his situation.B. It illustrates the extent to which Mr. Skimpole is embarrassed

about his past.C. It introduces a feeling of tension that builds throughout the passage.D. It creates a sense of fellowship between Mr. Skimpole and

the other characters.

Part BWhich quotation from the passage has a similar impact as the answer to Part A?

A. “‘Some pounds, odd shillings, and halfpence, I think, were mentioned.’” (paragraph 10)

B. “‘I don’t know what the business name of it may be, but I suppose there is some instrument within their power that would settle this?’” (paragraph 22)

C. “‘I only ask to be free. The butterflies are free. Mankind will surely not deny to Harold Skimpole what it concedes to the butterflies!’” (paragraph 28)

D. “‘Did you know this morning, now, that you were coming out on this errand?’” (paragraph 35)

3. Part AWhich statement describes a way in which Mr. Skimpole attempts to obtain the money he needs?

A. He shows great respect for the stranger to prove his innocence.B. He preoccupies himself with fanciful pursuits to avoid facing reality.C. He behaves charmingly to Miss Summerson to appear as if he is

doing her a favor.D. He asks thought-provoking questions to show off his philosophical talents.

Part BWhich quotation from the paragraph provides evidence for the answer to Part A?

A. “‘. . . that excellent sense and quiet habit of method and usefulness, which anybody must observe in you . . .’” (paragraph 7)

B. “. . . had entirely washed his hands of the difficulty . . .” (paragraph 21)C. “Mr. Skimpole gently reasoned with him as he made a little drawing

of his head on the fly-leaf of a book.” (paragraph 26)D. “‘. . . should like to ask you something, without offence.’” (paragraph 33)

4. Part ASelect a central theme of the passage.

A. It is important to prepare in advance for potential challenges.B. Different people can view particular situations in very different ways.C. It is sometimes impossible to remain hopeful when confronting

certain difficulties.D. Those who truly enjoy music are able to share their pleasure with others.

Part BSelect the two most relevant details that support the theme.

A. “Mr. Skimpole could play on the piano and the violoncello, and he was a composer—had composed half an opera once, but got tired of it—and played what he composed with taste.” (paragraph 1)

B. “I ventured to inquire, generally, before replying, what would happen if the money were not produced.” (paragraph 17)

C. “Richard and I looked at one another again. It was a most singular thing that the arrest was our embarrassment and not Mr. Skimpole’s.” (paragraph 21)

D. “‘Keep your temper, my good fellow, keep your temper!’ Mr. Skimpole gently reasoned with him as he made a little drawing of his head on the fly-leaf of a book.” (paragraph 26)

E. “I had always thought that some accident might happen which would throw me suddenly, without any relation or any property, on the world and had always tried to keep some little money by me that I might not be quite penniless.” (paragraph 30)

F. “I think the reply was, ‘Cut away, then!’” (paragraph 34)

Narrative WritingThis passage is written as a first-person narrative told from Miss Summerson’s point of view.

Write a narrative story that describes the major events in the passage from the point of view of

the stranger, emphasizing his thoughts and feelings about Mr. Skimpole, Miss Summerson,

and Richard.

Paired Text

Directions: Create a title for your life that captures its meaning and something unique and specific to YOU.

Directions: Write the story of your life in exactly SIX words. Make every word count, and be true to yourself!

Writer’s Notebook

Read William Ernest Henley’s poem

“Invictus”

Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul.

In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeoning of chance My head is bloody, but unbowed.

Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds and shall find me unafraid.

It matters not how strait the gate,How charged with punishments the scroll,I am the master of my fate, I am the captain of my soul.

Directions: Re-read “Invictus,” marking each idea in the text as indicated (underline, parenthesis, box, star, and arrow). Then, write the BEST piece of evidence for each idea. Finally, write about your connections / interpretation in the box to the right.

Power

Textual Evidence + Mark the

Hardship (Parenthesis)

Determination(Box)

Fate/ Circumstance

(Star)

Fear

How can these ideas connect together? What is your overall interpretation of the poem?

Directions: Thoughtfully fill in the shapes below with five facts/quotes that help you to infer something about Imagine Dragons lead singer, Dan Reynolds. What is his worldview? What does he care about? Who/what are his influences? This is his “context.” (Be sure to write down your source(s).)

1. 2.

3.

4. 5.

Whatever It TakesImagine Dragons

Falling too fast to prepare for thisTripping in the world could be dangerousEverybody circling, it's vulturousNegative, nepotist

Everybody waiting for the fall of manEverybody praying for the end of timesEverybody hoping they could be the oneI was born to run, I was born for this

Whip, whipRun me like a racehorsePull me like a ripcordBreak me down and build me upI wanna be the slip, slipWord upon your lip, lipLetter that you rip, ripBreak me down and build me up

Whatever it takes'Cause I love the adrenaline in my veinsI do whatever it takes'Cause I love how it feels when I break the chainsWhatever it takesYou take me to the top I'm ready forWhatever it takes'Cause I love the adrenaline in my veinsI do what it takes

Always had a fear of being typicalLooking at my body feeling miserableAlways hanging on to the visualI wanna be invisible

Looking at my years like a martyrdomEverybody needs to be a part of 'emNever be enough, I'm the prodigal sonI was born to run, I was born for this

Whip, whipRun me like a racehorsePull me like a ripcordBreak me down and build me upI wanna be the slip, slipWord upon your lip, lipLetter that you rip, ripBreak me down and build me up

Whatever it takes'Cause I love the adrenaline in my veinsI do whatever it takes'Cause I love how it feels when I break the chainsWhatever it takesYou take me to the top, I'm ready forWhatever it takes'Cause I love the adrenaline in my veinsI do what it takes

Hypocritical, egotisticalDon't wanna be the parenthetical, hypotheticalWorking onto something that I'm proud of, out of the boxAn epoxy to the world and the vision we've lostI'm an apostropheI'm just a symbol to remind you that there's more to see I'm just a product of the system, a catastropheAnd yet a masterpiece, and yet I'm half-diseasedAnd when I am deceasedAt least I go down to the grave and die happilyLeave the body and my soul to be a part of theeI do what it takes

Whatever it takes'Cause I love the adrenaline in my veinsI do whatever it takes'Cause I love how it feels when I break the chainsWhatever it takesYou take me to the top, I'm ready forWhatever it takes'Cause I love the adrenaline in my veinsI do what it takes

Directions: The chart below is partially-completed. Fill in the missing questions, evidence, and/or answers to help you dig deeper into the meaning of “Whatever it Takes.”

Write down a questionthat requires inference

Write down evidence (words/lines) from the song that help you answer the question to the left.

Write down your thoughts as you analyze/respond to the question in bold.

Look at the first verse of the song – How is the

world described?

Why?

What is the motivation for doing

“Whatever it Takes.” Why

does it

“’Epoxy’ is like a kind of glue, so he wants to bind others to a true ‘world and .. . vision’ that he thinks is important. He wants to remind people of something

“Run me like a race

horse. / Pull me

What is the meaning behind the grammar- related

Directions: For each underlined portion of “Invictus,” find and write down a line from “Whatever it Takes” that connects/disconnects.

Invictus

Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul.

In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeonings of chance My head is bloody, but unbowed.

Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds and shall find me unafraid.

It matters not how strait the gate,How charged with punishments the scroll, I am the master of my fate,I am the captain of my soul.

Directions: Now that you have identified connections/disconnections between the two texts (the “what”), it’s time to think about the “how” and the “why.” In the Venn diagram below, compare and contrast the two texts. Consider tone, author context, thematic ideas, pattern, and audience.

Imagine Dragons

“Whatever it Takes”

William Ernest Henley’s “Invictus”

Directions: Choose one of the following questions to answer in a multi-paragraph essay. Use the space below to organize your essay.

1. Which text is most relevant in today’s society?2. Which text has a stronger message?3. Which text is the most powerful?4. Is “Whatever it Takes” a modern-day “Invictus”?

Prove it using textual evidence:

My answer to one of the questions above: