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#hs/bio
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| Number | Word | OWN definition (not copied) | Picture/example/analogy (you cannot use the same picture more than twice) |
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| 41 | Plasma membrane | The barrier of cells that is made of a phospholipid bilayer. | |
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| 42 | Fluid mosaic model | The idea that cell membranes can have different molecules embedded in them such as protein channels and cholesterol. | |
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| 43 | Phospholipids | biological macromolecules with hydrophilic heads and two hydrophobic tails. | |
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| 44 | Selective permeability | The idea that only certain molecules are able to pass through a cell membrane due to certain properties | |
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| 45 | Concentration gradient | The difference in concentration of a particular solute in solution | |
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| 46 | Passive transport | Molecules passing through a cell membrane with the concentration gradient (high to low) | |
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| 47 | Diffusion | Molecules passing through a membrane without a channel | |
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| 48 | Facilitated diffusion | Molecules passing through a membrane with a protein channel assisting | |
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| 49 | Active Transport | Molecules passing through a cell membrane against the concentration gradient; requires energy | |
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| 50 | Endo/exocytosis | The process of larger molecules entering or exiting a cell by some membrane forming a vesicle around the molecule | |
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| 51 | Osmosis | Water passing through a cell membrane (or other barrier) | |
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| 52 | Hypertonic | Relative term describing more solute in solution | |
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| 53 | Hypotonic | Relative term describing less solute in solution | |
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| 54 | Isotonic | Relative term describing equal solute in solution | |
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| 55 | Water potential | Value that describes the tendency of water two move between two solutions, water will move from higher water potential to lower water potential. | |
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| 56 | Solute potential / pressure potential | Two terms that sum to form water potential, higher solute = lower solute potential, more pressure = higher pressure potential | |
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| 57 | Surface area to volume ratio | The surface are of a cell divided by it's volume | |
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| 58 | Organelle | A part of a cell that can act mostly independently and performs a specific task. | |
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| 59 | Ribosomes | Parts of a cell that help to form the primary structure of new proteins. | |
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| 60 | Cytosol | The solution inside a cell that all organelles and parts reside in | |
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| 61 | Prokaryote | A more primitive type of cell with no nucleus, cell wall and no membrane-bound organelles | |
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| 62 | Eukaryote | A more complex type of cell that makes up plants and animals that includes a nucleus and membrane-bound organelles | |
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| 63 | Membrane-bound organelle | A complex part of a cell that includes a membrane separating it from the rest of the cell | |
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| 64 | Nucleus | A organelle in a cell that contains the DNA and genetic material for a cell | |
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| 65 | Endoplasmic Reticulum (rough & smooth) | Organelles that help to form both proteins and lipids respectively | |
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| 66 | Golgi | Organelle that helps to finish and package proteins for transport within or outside of the cell | |
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| 67 | Lysosomes | Organelles containing highly basic solution that helps to clean up the cell and assists in apoptosis. | |
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| 68 | Vacuole | Containers in cells that contain water or other materials for the cell | |
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| 69 | Mitochondria | The powerhouse of the cell! | |
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| 70 | Chloroplasts | Organelles in plants that can take in sunlight and convert it to energy | |
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| 71 | Cytoskeleton | Part of a cell that helps to resist mechanical deformations | |
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| 72 | Cell wall | More rigid barrier in both plant cells and prokaryotes. | |
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#hs/bio
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| ------- | ------------------------------------ | --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- |
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| Number | Word | OWN definition (not copied) |
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| Set 3.1 | | |
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| 73 | Cellular Respiration | The process in eukaryotic cells where glucose is used to produce ATP. |
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| 74 | Aerobic vs anaerobic | aerobic means requiring oxygen, anaerobic means not requiring oxygen. |
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| 75 | Oxidation | oxidation is the loss of electrons in a chemical process. |
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| 76 | Reduction | reduction is the gain of electrons in a chemical process. |
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| 77 | ATP | A molecule in cells that is used to carry small amounts of energy for short-term use. |
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| 78 | NADH/FADH2 | Electron carriers used in the process of cellular respiration |
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| 79 | Glycolysis | The process in which glucose is broken down into two pyruvate molecules regenerating 2 ATP and 2 NADH |
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| 80 | Pyruvate oxidation | The process in which pyruvate is turned into acetyl CoA and 2 NADH is regenerated. |
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| 81 | Citric Acid Cycle (Kreb’s) | A cycle that takes in acetyl CoA, NAD and FAD and is used to regenerate NADH and FADH2 for use in the electron transport chain. CO2 is produced |
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| 82 | Oxidative phosphorylation | The process where phosphate atoms are pulled from the cytosol and added to something else (often ADP) |
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| 83 | Electron Transport chain | Electrons are taken from NADH and FADH2 and used to create a proton gradient across the inner mitochondrial membrane |
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| 84 | Chemiosmosis | the process where a proton gradient is used to regenerate ATP from ADP |
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| 85 | ATP synthase | An enzyme that uses the proton gradient to add a phosphate atom to ADP to create ATP |
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| 86 | Electrochemical gradient | A gradient formed by a difference in concentration of a solute, usually across a membrane. |
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| 87 | Acid (pH scale and H+ concentration) | low numbers on the pH scale, high concentration of H+ ions |
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| 88 | Base (pH scale and H+ concentration) | high numbers on the pH scale, low concentration of H+ ions |
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| | | |
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| Set 3.2 | | |
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| 89 | Photosynthesis | The process that plants use to take in energy from light and produce glucose for use in cellular respiration and elsewhere |
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| 90 | Photon | A particle carrying light energy |
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| 91 | Stroma | Name for the cytosol inside of a chloroplast. |
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| 92 | Thylakoid | Small disks in the chloroplast where the light reaction of photosynthesis occurs. |
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| 93 | Thylakoid space | The space inside of thylakoids (lumen) |
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| 94 | Chlorophyll | parts in the thylakoid membrane that are able to take in light energy and use it in photosynthesis. |
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| 95 | Stomata | Openings in the bottom of leaves to facilitate the exchange of gasses. |
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| 96 | Light reaction | The half of photosynthesis that requires light and uses it to regenerate ATP and NADPH from ADP and NADP+ |
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| 97 | Photosystem 2 | The first photosystem in the electron transport chain, uses light energy to pass an electron along, steals an electron from a water molecule to fill the hole. |
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| 98 | Photosystem 1 | The second photosystem in the electron transport chain, passes electrons along to NADP+ to create NADPH |
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| 99 | NADPH | A electron carrier used in photosynthesis similar to NADH |
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| 100 | ATP | A molecule in cells that is used to carry small amounts of energy for short-term use. |
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| 101 | Calvin Cycle | Also known as the dark reaction, the part of photosynthesis that takes carbon dioxide, ATP and NADPH and uses it to create G3P which leads to the production of glucose for use by the plant. |
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| 102 | RuBP | A 5 carbon molecule that is part of the Calvin cycle and is the result of the regeneration phase of the process. |
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| 103 | Rubisco | An enzyme that is able to take CO2 from the air for use in the Calvin cycle. |
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| 104 | G3P/PGAL | A 3-carbon sugar that is the result of the Calvin cycle and can be used to create glucose. |
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| 105 | Photorespiration | When there is no enough CO2 for rubisco to grab it can instead take O2 from the air and cause the Calvin cycle to reverse and the plant to lose progress. |
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| 106 | CAM Plants/C4 plants (choose one) | CAM plants separate carbon fixation by time and C4 plants separate it by location in order to avoid photorespiration. |
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#hs/gov
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- - -
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Acceptance speech:
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I'd like to start by recognizing some of the people that have helped me to reach this point.
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Thank you Josh Shapiro for being an amazing running-mate and supporting the mission to move our country forward.
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I would like to thank my campaign team for being there and supporting me along the way.
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I would also like to thank my family for believing in me since I was young and pushing me to improve and become my best self.
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I would also like to thank the American people, for believing in the idea, the dream that the government can represent the needs of the people and no longer be run by the corrupt elite. It is time for a new generation of Americans to run our country, and now with the support of the American public I am ready to move into a new era of the United States, and a new direction.
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I know that not everyone agrees with the ways I plan on implementing change, but I hope we can all agree on lowering healthcare prices, increasing pay and protections for the working class, and strengthening the American economy to improve the standard of living throughout the country. Even if you did not vote to me, I will uphold the promises I made for all Americans, regardless of where they live or what they believe in.
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Our country has become increasingly more divided and instead of widening the partisan gap, we need to close it. Democrats and Republicans need to be able to find common ground and I will use my experience in congress to pass bipartisan legislation that improves the lives of all Americans.
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For as long as some voters have been alive, the white house has been dominated by presidents and leaders old enough to be their grandparents. It is finally time for younger generations to truly be represented in politics, and I hope that in the future this moment is looked back upon as the start of a new era in American government. After campaigning across the country for months, I have met countless voters who have told me that this is the first election they have felt excited to vote in.
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It is time pass the torch to a new group. It is time for the new working class of America to take control of our nation and move into the future. No longer will we be stuck in the past, thank you for supporting me Elena Garcia Torres for a new direction.
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Concession speech:
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I'd like to start by recognizing some of the people that have helped me to reach this point.
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Thank you Josh Shapiro for being an amazing running-mate and supporting the mission to move our country forward.
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I would like to thank my campaign team for being there and supporting me along the way.
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I would also like to thank my family for believing in me since I was young and pushing me to improve and become my best self.
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I would also like to thank the American people, for believing in the idea, the dream that the government can represent the needs of the people and no longer be run by the corrupt elite.
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I know that not everyone agrees with the ways I planned on implementing change, but I hope we can all agree on lowering healthcare prices, increasing pay and protections for the working class, and strengthening the American economy to improve the standard of living throughout the country. I will continue to fight for these causes in congress, and I hope that you will support me and other democrats moving forward to combat yet another term of Tarskyn in office.
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Our country has become increasingly more divided and instead of widening the partisan gap, we need to close it. Democrats and Republicans need to be able to find common ground and I will continue to work in congress to pass bipartisan legislation that improves the lives of all Americans.
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For as long as some voters have been alive, the white house has been dominated by presidents and leaders old enough to be their grandparents. After campaigning across the country for months, I have met countless voters who have told me that this is the first election they have felt excited to vote in. While today is not the day for a new generation of leaders, I hope that the foundation has been put in place for progressive candidates to run in the future.
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Just because we did not win this election does not mean that this fight is over, we need to keep striving for the causes we believe in to make our country and the world a better place. Thank you for supporting me and my campaign.
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#hs/gov
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The United States economy has been struggling for a long time. We need a new
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direction to bring back jobs to the American working class and improve living
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conditions. I introduced the Green New Deal, which is an economic plan to create
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millions of jobs for the American public and help to solve the ongoing climate
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crisis. Communities all around the world are increasingly impacted by rising
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temperatures, and sea levels, and we need to do something to stop it now. With the Green New Deal, the government would invest in jobs supporting green
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energy and work to transition jobs from industries such as fossil fuels and manufacturing to cleaner options. With wages not rising to meet the price of groceries and housing, America needs the economic boost that this plan would provide. Let's push our economy in a new direction.
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#hs/gov
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There are points in the history of our country where the government loses sight of the needs of its citizens and change is necessary. I believe that we live today in one of those moments. The world around us is rapidly changing, and the government is clearly not equipped to meet the needs of the people. Unlike others running for this position who claim to understand the American public and the working class, I truly know what it is like to grow up with parents who owned a small business and earned minimum wage. My family moved several times when I was a kid, so I have experienced many different ways of living, and I have seem how much where you live determines what opportunities are available to you. Who do you want to represent you, someone who grew up experiencing the same struggles and successes you have or an elite pretending to understand the feelings, thoughts, and ambitions of the working class?
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America needs a new direction. There are too many people leading this country that will never see the results of the actions they are taking, and the legislation they are passing. For the American government to truly represent its people, we need leaders who understand the issues that the working class is going through, and who are connected to the needs of the general public. Many of those who are in charge have never held a minimum wage job, worked long hours or struggled to pay rent. Even if they have, for many it was so long ago that they don't know the experiences of the working class today.
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To create change, we need someone new, someone who is willing to take risks and do what it takes to improve the lives of the American people. Healthcare is one of these things that needs to improve. Why should healthcare be tied to your job? I believe that everyone - regardless of who they are or where they work - deserves the right of medical care when they need it. The current healthcare industry is overcharging Americans for subpar services, and without intervention there is no way to improve the system. Childcare is another essential service that has become prohibitively expensive. In all 50 states, childcare is more expensive than rent, which leaves many working class families to decide between caring for their child or going to work to support them and their families. This is not a decision parents should have to make, and it needs to end now.
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Instead of taxpayer money going to programs such as these to improve their lives, it ends up going to fund wars in other parts of the world. America has no reason to bomb other countries in the name of "peace." Doing so is a waste of money, government resources and often leads to escalation, not treaties. The default stance of the United States when a war breaks out between two other countries is now to pick a side and send them billions in bombs, tanks and planes rather than attempting to negotiate a deal diplomatically. Do you want your tax dollars to be spent funding violence and contributing to thousands of deaths? By focusing on diplomacy, we can waste less money and gain better outcomes with less violence.
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Another area that needs to be addressed today is our changing climate. Those in office today voting on legislation will not see the effects of their actions tomorrow. We need someone who values the future of this country and the entire world moving in to the future. In 1932, Franklin Roosevelt introduced his New Deal to support the American people and to help the country to recover from the Great Depression. In the same spirit of this legislation, I support the green new deal which is an economic policy to bring our country into a new era of green energy and bring millions new jobs to Americans. Climate change is not a problem of the future; its impact can already be clearly seen whether in rising sea levels, record breaking temperatures or something else. We need a solution to this issue, and we need it now.
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The generation in power has held it for too long, and it is time pass the torch to a new group. It is time for the new working class of America to take control of our nation and move into the future. No longer will we be stuck in the past, support me for a new direction. Thank you.
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#hs/lit
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- - -
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The novel Black Swan Green develops the idea that while some things might change when you grow up, many problems remain and only change a little by using parallelism between the life of Jason and adults in his life. One of the points in the book where we can see one of the direct comparisons is on the trip to Lyme Regis when Jason gets back to the hotel with Danny Lawlor. Jason describes “One called out, ‘Daniel the Spaniel!’ and grinned the exact grin Ross Wilcox’s got” (pg. 176). This is an explicit parallel between the culture at the Greenland supermarkets and the kids at Jason’s school. Not only does Jason name Ross Wilcox, but he also compares the “exact grin” that the coworker had while talking. Danny is an adult in Jason’s life, but during this moment he realizes that there will likely always be a “Ross Wilcox” in his life. There are still some differences between this scene and the bullying from Ross Wilcox in Jason’s life since Danny Lawlor is able to fire back rather than staying quiet. After this scene Jason says that “Danny’s ace” (pg. 177) which shows that Jason looks up to Danny, likely due to him pushing back on his coworker. Even though there is still the same problem in Danny’s adult life, he handles it differently, showing that there is still room for Jason to grow even though he might face similar challenges. This same idea is explored a few pages later in this chapter when Jason and his dad run into Craig Salt. Jason asks his dad “It’s a type of ammonite, isn’t it, Dad?’ Dad wasn’t meeting my eyes. ‘If Mr. Salt’s sure, Jason -” (pg. 183). This reaction explores this theme in a more subtle way, and even though the comparison isn’t direct, there is still a clear parallel between the actions of Jason’s dad around Craig Salt and the ways that Jason attempts to conform to the ideas of others. With how quickly Jason’s dad abandons his own opinions in this passage, the author draws a parallel with how Jason blindly accepts the opinions of his peers. We can see this happening many times, such as when Jason tries smoking for the first time with Hugo. Jason accepts the idea that smoking is “cool” even though after trying it for the first time he doesn’t enjoy it and ends up puking. Even if the reason he accepts these ideas is because he believes he needs to be seen as cool by those around him, he still follows social norms in the first part of the book. This is very similar to the relationship between Jason’s dad and Craig Salt where Jason’s dad quickly changes his thoughts to externally match Craig Salt’s to socially conform and be accepted. This shows that even though the reason for conforming might change, there is largely still the problem of the need to conform to fit in when growing up.
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Another time in the novel when we see a parallel between the experiences of Jason and adults is when Jason is talking with some of the people in the Romany camp. At the end of the chapter, he says to them “They’re scared of you. They don’t understand you, you’re right” (pg. 241). He is realizing in this moment the many parallels between the situation he is in and the Romanies. Earlier in this chapter, there was a meeting at the town hall where the members opposed the creation of a camp because they were afraid of letting a group of people who are different than them live in their village. While the previous example of a parallel on the trip zooms out to the level of a relationship between two individuals, this chapter zooms out to the level of a conflict between two groups of people. Both examples are adult conflicts, and they show that the problems that Jason is facing when growing up are different versions of larger issues faced by adults. Earlier, when Jason first talked to some of the people in the Romany camp, he said that the other kids his age don’t like him because “I’m not one of them. That’s it. That’s enough” (pg. 238). This chapter in the book focuses on this concept of “not [being] one of them” by looking at a broader perspective of the town and drawing a parallel between the life of Jason and the conflict between the town and Romanies. By using these parallels, Mitchell is able to show the reader how the struggles Jason is going through are not unique to childhood. Learning to overcome these hurdles will help Jason to navigate similar obstacles later in life since many of the problems will evolve and never truly go away.
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| ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- | -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- |
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| Question | Relevant Quotes or Page & Paragraph |
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| There are many things that David Mitchell does in the last chapter of the book to circle back to the start and earlier points such as naming the chapter “january man.” Do you think this strengthens the idea of Jason growing up throughout the book or harms it? | “I got to the lake in the woods and remembered the game of British Bulldogs we’d played here when the lake froze last January.” (pg. 284) <br><br>“The path back to the House in the Woods crunched underfoot. I picked up a perfect pinecone. Coming-soon snow’d shuttered up the sky” (pg. 290) |
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| At the end of the chapter “knife grinder” it seems like Jason gains a broader perspective on the cause of conflict in his own life and others. After this moment, do you think he applies any of the lessons he has learned in his own life? | “They’re scared of you. They don’t understand you, you’re right. If they could just ... Or ... it’d be a start if they could just sit here. Get warm, round your fire, and just listen to you. That’d be a start.” (pg. 241) |
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| It seems like Jason is only able to learn lessons about himself and grow up after he drops in social status to the lowest position. Do you think he would have had the same growth if he had stayed in the middle of the pack? | |
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| In the chapter “goose fair” Jason goes through a fun house where several different mirrors show him different versions of himself and say conflicting things. Do you think some of these things are more true than others, or do they each represent something else? What might the different mirrors represent? | “How about an Outside-You, suggested Upside-Down Me, who is your Inside-You too? A One-You? If people like your One-You, great. If they don’t, tough” (pg. 249). |
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#hs/lit
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- - -
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Through the selective use of imagery and figurative language, Black Swan Green shows the reader that being your true self and showing who you truly are brings freedom and meaning to life. One of the places where we can see this in the text is in the chapter “Bridle Path” when Jason takes a walk in more rural parts of his village. There are several different events in this chapter, including moments where Jason is in the company of other kids his age, and times where he is not. On page 74, Jason describes two boys who are about to fight with “Grant Burch’s got an inch or two over Ross Wilcox, but Ross Wilcox is knucklier.” When Jason is with other boys his age, he doesn’t use much figurative language to describe the events taking place. There is much more of a focus on dialogue and concise descriptions, which helps to show the reader how Jason presents himself in these situations. This writing style is juxtaposed later when Jason is wandering along the bridle path with only a friend along with him who he feels more comfortable around. He describes his surroundings with language like “The Christmas-tree plantation was dark as eclipses and whiffed of bleach.” (pg. 77) and “Petaled stars and dandelion comets streak the green universe” (pg. 80). During these moments in the story, the author uses a much greater variety of writing techniques such as imagery, similes, and metaphors to illustrate the thoughts in Jason’s mind. This represents Jason opening up more and revealing a different side of his personality. Many of these new ways of writing are often used in poetry, which is one of Jason’s hobbies that he doesn’t want anyone else to know about. By revealing Jason’s ability to effectively and figuratively describe his surroundings, the author is showing us how revealing who you truly are brings meaning and happiness to life. These moments where Jason can fully be himself are also where he is the happiest as we can see on page 80: “Moran and I got to the barn at the far side, dizzy with intergalactic travel. I was laughing more than Moran.” In many of the other situations in this book where Jason is in the company of more kids his age, he would instead be overthinking how to appear cool and fit in with them. In this chapter a more genuine side of Jason is revealed, which brings him the freedom to say and think what he wants without having to worry about what others think.
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Another place where we can see ere this theme is developed is in the chapter “Solarium.” In this chapter, we are introduced to the character Madame Crommelynck who Jason visits and discusses his poetry with. These visits are another time in this book where Jason feels more comfortable revealing a truer side of himself. He uses language such as “A Jules Verne hi-fi, all silvery knobs and dials” and “Jealous and sweet, this music was, sobbing and gorgeous, muddy and crystal” (pg. 152). When discussing his poetry, Madame Crommelynck is able to bring Jason out of his shell and get him to talk much more truthfully about himself than most other characters in this book. There are also many revelations that Jason has in this section of the book, which occur when he thinks and discusses more about his true thoughts and ambitions. By the end of the chapter, Madame Crommelynck disappears and leaves Jason, but she still plays an important role in this novel. Her conversations with Jason reveal more about his character to the reader, and this is one of a few times in the story where Jason seems happy and excited about his future. He describes translating the French novel with “The weird thing is, doing the translation didn’t feel like hours, not once I got going” (pg. 163). This is one of the many interactions in this chapter that give us deeper insight into what Jason truly thinks and enjoys doing, since for much of the book we can only see glimpses through his carefully managed exterior. Enjoying translating a book from French is not something that the other characters that know Jason in the book would expect him to enjoy, and this chapter helps to convey the idea that when pursuing things that you truly enjoy, they will have more meaning. With Jason’s descriptions of Madame Crommelynck and her house that are lacking from many other parts of the book, David Mitchell shows the reader some of Jason’s deeper feelings and what he enjoys doing.
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| Question | Relevant Quotes or Page & Paragraph's |
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| ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ | ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- |
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| It seems like there are some characters in Black Swan Green such as Moran or Madame Crommelynck that Jason is able to open up around. Do you think that there are any that he fully opens up to, or does he always still have some walls up? | “Moran and I got to the barn at the far side, dizzy with intergalactic travel. I was laughing more that Moran ‘cause Moran’s dry trainer wasn’t dry anymore” (pg. 80) |
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| Especially in the chapter “spooks” it seems like the character of “maggot” suggests to Jason some of the more mean things he can do to fit in with the other boys. Is this just a way for the author to separate some of Jason’s thoughts within his head, or does maggot represent something deeper? | “Making us wait might be some sort of secret test. If Moran gives up, pointed out Maggot, you’ll <br><br>look a better Spook. ‘Go home, if you think so.’” (pg. 131) <br><br>“If I’d fallen through Mr. Blake’s greenhouse and not Moran, Moran wouldn’t be abandoning me to that psycho. He just wouldn’t. <br><br>Keep your fat trap shut, ordered Maggot.” (pg. 140) |
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| It is referenced several times in the text that Jason is in the middle of the social hierarchy of boys his age. Why do you think the author chose to put him in the middle and not at the bottom? How does the way Jason consider the kids “below” him mirror the way kids “above” him consider Jason? | “It’s all ranks, being a boy, <br>like the army. If I called Gilbert Swinyard just “Swinyard,” he’d kick my face in. Or if I called <br>Moron “Dean” in front of everyone, it’d damage my own standing. So you’ve got to watch out.” (pg. 5) |
|
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| In the last few chapters (5-7) there has been little mention of Jason’s speech impediment, hangman. Do you think this is an intentional choice by the author, and if so, what might it mean? | |
|
||||
@@ -0,0 +1,4 @@
|
||||
#hs/lit
|
||||
- - -
|
||||
In the chapter “disco” the external conflict between Jason and Neal Brose represents Jason’s growth as a character and emphasizes him growing up in this coming-of-age narrative. After breaking Neal Brose’s calculator in class, Jason explains to Mr. Nixon that “I had to show Brose I’m not afraid of him. That’s all I thought of” (pg. 261). Earlier in this novel Jason was much more concerned with what the other students thought of him and rejected many actions that might have lost him favor with the “cool kids.” Even when these kids were bullying him, he still didn’t stand up for himself due to the fear of it getting worse or the hope that he would rise in social status. This chapter represents a departure from those ideas, and Jason standing up to Neal Brose to “show [him] I’m not afraid of him” represents his growth in the novel. Earlier in the novel, Jason gained popularity although it was largely due to him attempting to conform to what others expected of him rather than revealing his true self. While in this chapter Jason is still not revealing much about himself to others, he does have more confidence as can be seen when answering a question in Miss Lippett's class and he thinks “If I can grind a solar-powered calculator to bits, then stuff this rule that I should be ashamed for grassing on a kid and getting him expelled” (pg. 267). This new indifference to the social norms that previously bound him shows a deeper form of confidence that he hasn’t had until this point. Before this, he had a more superficial kind of confidence he gained from conforming to how others wanted him to behave. The conflict with Neal Brose shows him going against the “cool kids” and doing what he wants, which is an indicator of him growing up. One aspect of childhood that many people grow out of to some degree is caring about what others think of you, and this chapter shows Jason going through this process. The way that he treats this external conflict with Neal Brose is very different from previous conflicts with bullies and the determination to follow his own ideas rather than someone else’s highlights one of the ways he has grown up in this novel.
|
||||
|
||||
@@ -0,0 +1,17 @@
|
||||
#hs/lit
|
||||
- - -
|
||||
- 100 years of solitude
|
||||
- The handmaids tale
|
||||
- The great gatsby
|
||||
|
||||
Mitchell uses internal dialogue, juxtaposition of tone and symbolism to convey to the reader Jason's reaction to the bullying as something he has accepted while still attempting to regain some dignity and status.
|
||||
|
||||
- internal dialogue
|
||||
- Jason describes ways how he is trying not to lose everything (trying not to cry)
|
||||
- Describing the bullies seems like he is resigned
|
||||
- juxtaposition of tone
|
||||
- Jason and the bullies have very different ways of speaking in this passage; the bullies use a lot of slang and a lot of emphasized words (italic, caps) while Jason does not
|
||||
- symbolism
|
||||
- the Adidas bag can be interpreted as a symbol for Jason's popularity or status as a "middle-ranking" kid
|
||||
- It gets taken away from him by the bullies, and at the end it is thrown on the bus and he chases after it
|
||||
- This shows that he is still trying to regain some dignity, although he doesn't attempt to retrieve the bag at first
|
||||
@@ -0,0 +1,4 @@
|
||||
#hs/lit
|
||||
- - -
|
||||
## What scares you?
|
||||
I am someone who really doesn't like watching scary or horror movies, so I feel like I don't really know what specifically scares me. Whenever I have watched a horror movie or seem portions of one, I have been pretty scared though so I think a lot of those kinds of things will scare me, probably since I haven't had much exposure to them. It seems like people who are not scared by horror movies have been watching them for their whole lives and either know what is going to happen, have seen something similar before, or have become desensitized to it. For other things, there aren't a lot of things in real life that scare me, so it is mostly just things that are meant to scare you. Sometimes at night when I am outside and it is pitch black, I can be a little spooked but it usually isn't too bad. There are also some more psychological fears that I have like the fear of not being able to achieve what I want to or know that I can.
|
||||
@@ -0,0 +1,224 @@
|
||||
#hs/lit
|
||||
- - -
|
||||
# Relation Tree
|
||||
```mermaid
|
||||
stateDiagram-v2
|
||||
direction LR
|
||||
|
||||
classDef category fill:blue,color:white
|
||||
|
||||
state "Literary Devices" as s1
|
||||
s1 --> Character
|
||||
s1 --> Setting
|
||||
plot: Plot/Strucutre
|
||||
s1 --> plot
|
||||
s1 --> Narration
|
||||
state "Figurative Elements" as s2
|
||||
s1 --> s2
|
||||
|
||||
%% Character
|
||||
Character --> Emotive
|
||||
Character --> Characterization
|
||||
state "Character Types" as s3
|
||||
Character --> s3
|
||||
|
||||
|
||||
s3 --> Foil Character
|
||||
s3 --> Round Character
|
||||
s3 --> Flat Character
|
||||
s3 --> Static Character
|
||||
s3 --> Dynamic Character
|
||||
|
||||
|
||||
|
||||
%% Setting
|
||||
s6: Temporal Setting
|
||||
Setting --> s6
|
||||
s5: Social/Cultural Setting
|
||||
Setting --> s5
|
||||
s4: Physical Setting
|
||||
Setting --> s4
|
||||
|
||||
|
||||
|
||||
|
||||
%% Plot/Structure
|
||||
s11: In Medias Res
|
||||
plot --> s11
|
||||
s7: Frame Story
|
||||
plot --> s7
|
||||
s8: Anti-climax
|
||||
Structure --> s8
|
||||
plot --> Flashback
|
||||
plot --> Foreshadowing
|
||||
plot --> Resolution/Denouement
|
||||
|
||||
Structure --> Nonlinear
|
||||
|
||||
plot --> Conflict
|
||||
|
||||
s10: Internal Conflict
|
||||
Conflict --> s10
|
||||
s9: External Conflict
|
||||
Conflict --> s9
|
||||
Structure --> Linear
|
||||
|
||||
plot --> Structure
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
%% Narration
|
||||
s12: Narrative Diction
|
||||
Narration --> s12
|
||||
s13: Narrative Perspective
|
||||
Narration --> s13
|
||||
s14: Narrative Voice
|
||||
Narration --> s14
|
||||
s15: Narrator
|
||||
Narration --> s15
|
||||
s16: Narrative Point of View
|
||||
Narration --> s16
|
||||
|
||||
s17: Omniscient
|
||||
s15 --> s17
|
||||
s18: Third-person Limited
|
||||
s16 --> s18
|
||||
s19: Objective/Neutral
|
||||
s15 --> s19
|
||||
s20: First-person
|
||||
s16 --> s20
|
||||
s21: Epistolary
|
||||
Narration --> s21
|
||||
|
||||
|
||||
|
||||
%% Figurative elements
|
||||
|
||||
s2 --> Irony
|
||||
s22: Verbal Irony
|
||||
Irony --> s22
|
||||
s24: Dramatic Irony
|
||||
Irony --> s24
|
||||
s23: Situational Irony
|
||||
Irony --> s23
|
||||
|
||||
s2 --> Colloquial
|
||||
s2 --> Digression
|
||||
|
||||
s2 --> Allusion
|
||||
s2 --> Connotation
|
||||
s2 --> Ambiguity
|
||||
s2 --> Tone
|
||||
|
||||
|
||||
s26: Figurative Language
|
||||
s2 --> s26
|
||||
s26 --> Imagery
|
||||
s26 --> Symbolism
|
||||
s25: Extended Metaphor
|
||||
s26 --> s25
|
||||
|
||||
s2 --> Juxtaposition
|
||||
|
||||
class s1, Character, Setting, plot, Narration, s2, s3, Structure, Irony category
|
||||
|
||||
```
|
||||
|
||||
# Devices to Focus On
|
||||
(not necessarily in order)
|
||||
1. Emotive
|
||||
- Expressing feeling or emotion, relating to emotion.
|
||||
2. Temporal Setting
|
||||
- This is the time in which something takes place as opposed to physical setting.
|
||||
3. Social/Cultural Setting
|
||||
- Context relating to cultural norms, ideas
|
||||
4. Narrative Diction
|
||||
- Linguistic choices made by the author to develop a narrative throughout a novel.
|
||||
5. Verbal Irony
|
||||
- When a speaker says one thing but really means the opposite to indicate humor, sarcasm, or persuasion.
|
||||
6. Colloquial
|
||||
- Language used in regular conversation, not formal or literary.
|
||||
7. Digression
|
||||
- A short departure from the main topic of the story or writing.
|
||||
8. Foreshadowing
|
||||
- Describing or alluding to events in the future that have not occurred yet.
|
||||
|
||||
# Devices
|
||||
## Temporal Setting
|
||||
### Claim
|
||||
Gabriel Garcia Marquez intentionally creates ambiguity in the temporal setting of *One Hundred Years of Solitude* in order to enhance the magical tone and feel of the novel and convey the complicated nature of historical records.
|
||||
### Quotes
|
||||
|
||||
"When the pirate Sir Francis Drake attacked Riohacha in sixteenth century, Ursula Iguaran's great-great-grandmother became so frightened with the ringing of alarm bells" (pg. 21)
|
||||
|
||||
"Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice." (pg. 1)
|
||||
|
||||
"Many years later Colonel Aureliano Buendia crossed the region again, when it was already a regular mail route, and the only part of the ship he found was its burned-out frame in the midst of a field of poppies. Only then, convinced that the story had not been some product of his father's imagination, did he wonder how the galleon had been able to get inland to that spot." (pg. 13)
|
||||
## Social/Cultural Setting
|
||||
### Claim
|
||||
Gabriel Garcia Marquez contrasts the cultural setting of the value of community in certain parts of the novel with the lack of in other parts to reveal the impacts of innovation and progress on family and community.
|
||||
### Quotes
|
||||
|
||||
"Ursula admitted him grudgingly, conquered once more by the obstinacy of her husband, who could not tolerate the idea that an offshoot of his blood should be adrift" (pg. 42)
|
||||
|
||||
"The gypsy was inclined to stay in the town. He really had been through death, but he had returned because he could not bear the solitude." (pg. 54)
|
||||
|
||||
"Several months later saw the return of Francisco the Man, an ancient vagabond who was almost two hundred years old and who frequently passed through Macondo distributing songs that he composed himself." (pg. 55)
|
||||
|
||||
"In this town we do not give orders with pieces of paper,' he said without losing his calm. 'And so that you know it once and for all, we don't need any judges here because there's nothing that needs judging." (pg. 61)
|
||||
|
||||
"Jose Arcadio Buendia, who was the most enterprising man ever to be seen in the village, had set up the placement of the houses in such a way that from all of them one could reach the river and draw water with the same effort, and he had lined up the streets with such good sense that no house got more sun than another during the hot time of day." (pg. 9)
|
||||
|
||||
"Aureliano Segundo had come across him by chance as he protested in broken Spanish because there were no rooms at the Hotel Jacob, and as he frequently did with strangers, he took him home." (pg. 243)
|
||||
|
||||
## Narrative Diction
|
||||
### Claim
|
||||
Gabriel Garcia Marquez uses intentionally mysterious language when describing certain concepts such as death or relationships in *On Hundred Years of Solitude* to emphasize to the reader their complexity and ambiguity within the novel.
|
||||
### Quotes
|
||||
|
||||
"She had found peace in that house where memories materialized through the strength of implacable evocation and walked like human beings through the cloistered rooms." (pg. 172)
|
||||
|
||||
"Fernanda, on the other hand, looked for it in vain along the paths of her everyday itinerary without knowing that the search for lost things is hindered by routine habits and that is why it is so difficult to find them. (pg. 265)
|
||||
## Verbal Irony
|
||||
### Claim
|
||||
Verbal irony in *One Hundred Years of Solitude* is used to give depth to the characters in the Buendia family and develop the relationships they have with each other.
|
||||
### Quotes
|
||||
|
||||
"That's all we need,' he muttered. 'A Pope!" (pg. 271)
|
||||
|
||||
## Colloquial
|
||||
### Claim
|
||||
Gabriel Garcia Marquez often uses colloquial language to describe events in *One Hundred Years of Solitude* to emphasize the ordinary nature of the Buendia family even within a narrative of extraordinary events.
|
||||
### Quotes
|
||||
|
||||
"But the lucidity of her old age allowed her to see, and she said so many times, that the cries of children in their mothers' wombs are not announcements of ventriloquism or a faculty for prophecy but an unmistakable sign of an incapacity for love." (pg. 267)
|
||||
|
||||
## Digression
|
||||
### Claim
|
||||
In the book *One Hundred Years of Solitude*, digressions are used to provide important context to the reader and reveal the cyclical, branching and complicated nature of the Buendia family line.
|
||||
### Quotes
|
||||
|
||||
"Only after the death of Amaranta, when the family shut itself up again in a period of mourning, was Meme able to lock the clavichord and forget the key in some dresser drawer without Fernanda's being annoyed on finding out when and through whose fault it had been lost." (pg 290)
|
||||
|
||||
|
||||
## Emotive
|
||||
### Claim
|
||||
Gabriel Garcia Marquez uses emotive language when describing the actions of characters in *One Hundred Years of Solitude* to emphasize the similarities they share by being Buendias as well as what makes them unique.
|
||||
### Quotes
|
||||
|
||||
"Every time they passed the run-down house she would tell her about an unpleasant incident, a tale of hate, trying in that way to make her extended rancor be shared by her niece and consequently prolonged beyond death" (pg. 236)
|
||||
|
||||
"Ursula felt tormented by grave doubts concerning the effectiveness of the methods with which she had molded the spirit of the languid apprentice Supreme Pontiff" (pg. 263)
|
||||
|
||||
"in the depths of her withered heart a clean rancor flourished, purified by time" (pg. 195)
|
||||
|
||||
## Foreshadowing
|
||||
### Claim
|
||||
Gabriel Garcia Marquez extensively uses foreshadowing to emphasize the complicated nature of the Buendia family timeline and extensively connect different characters and events within this novel across temporal setting.
|
||||
### Quotes
|
||||
"Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice." (pg. 1)
|
||||
|
||||
"The only thing that she did not keep in mind in her fearsome plan was that in spite of her pleas to God she might die before Rebeca. That was, in fact, what happened." (pg. 299)
|
||||
@@ -0,0 +1,3 @@
|
||||
#hs/lit
|
||||
- - -
|
||||
By building tension to the use of anticlimactic moments, Gabriel Garcia Marquez conveys the complexity of life and subverts expectations of a typical plot structure. Throughout the text, Marquez references a moment that will happen in the future and builds up to this moment only to subvert expectations and have it result in an anti-climax. One example of this is when Marquez builds up Colonel Aureliano Buendia’s death after the signing the armistice that he had fought years to get. It is described that “he buried his weapons in the courtyard ... He kept only one pistol with one bullet in it” (pg. 188). During this part of the chapter Aureliano Buendia is preparing to go the final meeting to sign the armistice and is destroying all personal traces from his house. Stating that the only weapon he keeps is a “pistol with one bullet in it” is foreshadowing his attempted suicide. He also asked his personal physician “where the exact location of his heart was” (pg. 189) further reinforcing the idea that he is not planning to live past the meeting. After he signs the deal, Colonel Aureliano Buendia uses the pistol to shoot himself in the place the physician indicated although only a few pages later it is revealed that “The bullet had followed such a neat path ... It was the only point where a bullet could pass through without harming any vital organ” (pg. 193). This anti-climax is one of several throughout the book and Marquez uses them to subvert the readers' expectations and show them that in life not everything will happen as you expect it to. Before this point in the book Aureliano Buendia is away fighting in a war and there are many points where he is assumed dead. With how much of the theme this is, Marquez leads the reader to believe that there is no chance that Aureliano will die of old age. After finally returning to sign an end to the war it seems like his time has finally come, although not to long after attempting to kill himself he settles back down in the town in his old age. While this still generally follows the typical structure of buildup to a climax and then resolution, characters portrayed as heroes like Aureliano Buendia often meet a heroic fate. Aureliano instead ends up signing a very unpopular armistice to end the war, attempts to kill himself and then ends up settling down to live out the rest of his life. This helps to emphasize the theme that life doesn’t always proceed how you think it might that Marquez develops throughout this text.
|
||||
@@ -0,0 +1,3 @@
|
||||
#hs/lit
|
||||
- - -
|
||||
The unsatisfying resolution of the conflict between workers and the banana company they work at in the novel One Hundred Years of Solitude represents the increased control of the government and large companies in the novel and emphasizes the changes to Macondo that have resulted from the incursion of capitalism. One of the overarching plot points in this novel is the incursion of capitalism into the initially ideal communist town of Macondo. This starts with “gypsies” coming to the town and bringing new inventions and innovation to the town. Eventually, a railroad was built to Macondo connecting it to the rest of the world and bringing large changes to the now city. One of these changes is the introduction of a large banana company that has a large cultural impact on the town. After some time, the workers at this company go on strike due to the “lack of sanitary facilities in their living quarters, the nonexistence of medical services, and terrible working conditions” (pg. 323). This conflict between the workers at the company and the people who run it along with the government represents the negative effects of capitalism in Macondo. Jose Arcadio Segundo, who is part of the Buendia line, “had taken part in a meeting of union leaders and had been commissioned, along with Colonel Gavilan, to mingle in the crowd and orient it according to how things went” (pg. 326). This novel revolves around the Buendia line and as we have previously seen with characters such as Colonel Aureliano Buendia who successfully led a rebellion against the conservative government, they seem to find success in places where most would not. The conflict with the workers comes to a head when they gather in a square and are massacred by the military Arcadio Segundo is the only survivor and when making it back to the town learns that “The official version ... was finally accepted: there were no dead, the satisfied workers had gone back to their families, and the banana company was suspending all activity until the rains stopped” (pg. 333). The outcome of this conflict is much different than that of previous conflicts and its unsatisfying nature is used to convey the changes that have been brought by big business and capitalism. Instead of the workers successfully striking and getting what they want, the massacre of those standing up is covered up by the government and companies that claim to have their best interests in mind. When compared with earlier in the novel where everyone living in Macondo had equal status Garcia Marquez’s criticism of capitalism and the problems it brings is clear. The ideal nature of Macondo in the start of the book is represented by the town not needing a graveyard since no one had died there yet. After this conflict thousands of people had died and no one even realized due to the cover-up by the government.
|
||||
Reference in new issue
Block a user