INTERVIEW WITH A MONOPOLIST

PrinceMarcelin-OutlinefortheHigherLevelEssay xPrinceMarcelin-Mid-YearAssessmentsJunior2020 xAuthenticAssessment xPersepolisEssayOutline x

INTERVIEW WITH A MONOPOLIST

Your Name

Dr. Cicione

IB Language and Literature

Due Date

Title

I) Introduction

A) Thesis – idea about how art presents the

world or an idea about living in the world. It

should be analytical and arguable.

B) Text – what you will use to “prove” your

thesis.

C) Brief explanation of your intent – transition

to the body paragraphs.

II) Sub topic

A) Your idea

B) Evidence

C)Analysis of the evidence

D)Sum it up – concluding sentence that

transitions to the next sub topic.

III) Repeat steps from II

IV)Repeat steps from II

V)Conclusion

A) Sum up your finest points

B)Explain your connection to the world.

Mid-Year Assessment

Junior 2020

Text-Analysis

Turnitin.com

January 2020 Text-Analysis Response

Complete 1 Day in School

Should take you 30 minutes.

Remove Regents Dates on Document.

Retype Jan. 2020 Text-Analysis Response

Part 3

Text-Analysis Response

Your Task: Closely read the text provided and write a well-developed, text-based response of two to three paragraphs. In your response, identify a central idea in the text and analyze how the author’s use of
one
writing strategy (literary element or literary technique or rhetorical device) develops this central idea. Use strong and thorough evidence from the text to support your analysis. Do not simply summarize the text.

Guidelines: Be sure to:

· Identify a central idea in the text

· Analyze how the author’s use of one writing strategy (literary element or literary technique or rhetorical device) develops this central idea. Examples include: characterization, conflict, denotation/connotation, metaphor, simile, irony, language use, point-of-view, setting, structure, symbolism, theme, tone, etc.

· Use strong and thorough evidence from the text to support your analysis Organize your ideas in a cohesive and coherent manner

· Maintain a formal style of writing

· Follow the conventions of standard written English

Text

The following excerpt is from a memoir where the author recalls her childhood in post-World War II Poland, when shortages were common and the availability of consumer products was limited.

Objects of Affection

…I was a child of the fifties, growing up in a communist country beset by shortages of practically everything—food, clothes, furniture—and that circumstance may have been responsible for my complicated attitude toward objects. We had few toys or books, and we wore mostly hand-me-downs. A pair of mittens, a teddy bear, and a chocolate bar for Christmas were enough. Once in a while we also got skates, bikes, musical instruments. “Abundance” had no place in our vocabulary and in our world, but we were happy with what we had, in the way that only children can be. We were unaware that our lives were in any way circumscribed,1 although the reality we lived in trained us early on that there was a huge gap between wanting something and getting it. After all, even people with money had to hustle and resort to underhanded maneuvers, including bribery, to buy things. … By the time I graduated from high school, I was a person of substance, or so I thought. The shortages never disappeared, but it was easier to get things. I had a Chinese fountain pen and two ballpoint pens, which I kept in my desk drawer and would only use at home. I boasted several records that my sister and I listened to on a gramophone player she had been given as a name-day present a few years before. Some of them were by the popular Polish rock bands, and one was Beethoven’s Fifth Symphony, the only classical music record I had for a long time. I listened to it so often that to this day I can hum the whole piece from beginning to end. I also had a bookcase with a sliding glass front that was filled with books. My parents’ books were arrayed on three broad shelves in the bottom part of a cupboard in what doubled as our living room and their bedroom. Although both my parents were readers, they rarely bought books, borrowing them instead from the public library. I was very possessive of the books I owned and only reluctantly loaned them to friends. When my younger sister took one out, I insisted she put it back in the exact same spot. My possessiveness may have had a lot to do with how difficult books were to come by. They were published in small numbers, and there was such a huge demand for them among the intelligentsia2 that the good ones disappeared from stores very quickly. On my way back from school, I often made a detour and walked by the local bookstore to look in the window where new arrivals would be displayed. That was how I spotted a four-volume War and Peace that cost eighty zloty, not a negligible sum. I had only thirty. The clerk told me this was the only copy in the store. I knew the book would be sold soon, so I decided to go to my father’s office and beg him for a loan, which he gave me at once. Clutching the money, I ran back to the bookstore, breathless and worried that the book would no longer be there. I realize that what I’m saying must seem pathetic to a person raised in the comforts of a free market economy3 where it’s enough to think of something to find it immediately in the store. It might sound more poignant4 if I said that books and records helped me escape the surrounding grayness and drabness and that my hunting for them wasn’t solely motivated by my newly developed acquisitiveness 5 or a collector’s instinct. But if I said that, I’d be practicing revisionist history.6 The truth is that we didn’t see the grayness and drabness— not yet. This realization came much later. So if it was aesthetic7 escapism, it was the universal kind, not fueled by our peculiar political circumstances. My youthful materialism thrived in a country where materialism—unless of the Marxist variety—was unanimously condemned as the ugly outgrowth of western consumer societies. We knew this was just an ideological cover-up for the never-ending shortages. My brand of materialism didn’t belong in a consumer society, either, because it was a kind of disproportionate attachment to things that was caused by scarcity, something unheard of in a market economy. I couldn’t want more, new, or better. Such wanting was at best a futile and abstract exercise, so I learned to practice self-limitation. Paradoxically, however, I knew what I liked and wanted, and would have had no trouble making a choice had I been given the chance. When you’re faced with overabundance, assaulted by things and more things, it’s often difficult to say what you like or want, but that at least wasn’t our problem. I don’t mean to praise privation8 or claim that we were somehow better or more virtuous than people who inhabited a consumer heaven and whose wishes could be automatically fulfilled. I’m only saying that my relationship to things was developed under a different set of circumstances. I did care about possessions, no question about that. I wanted to hang on to what I had and now and then replenish my stock if I came across the right item. More often than not chance ruled my acquisitions. I had to sift through what was available in the hopes of finding something special among a slew of worthless objects. That was also true of buying the so-called practical items. I might have been walking by a shoe store when I spotted a delivery truck. That sight would have been enough to make me stand in line. If I was lucky, I might have ended up buying a pair of sneakers. I might have also wasted my time because I liked none of the shoes or couldn’t get my size. People would often buy things they didn’t need or want, just in case. You could never tell when those things might come in handy or be used to barter9 . …

—Ewa Hryniewicz-Yarbrough excerpted from “Objects of Affection” Ploughshares, Spring 2011

10 5 15 20 25 30 35 1 circumscribed — limited 2 intelligentsia — intellectual elite 3 free market economy — an economic system based on supply and demand with little to no government control 4 poignant — profoundly moving

5 acquisitiveness — desire to acquire

6 revisionist history — rewriting history with an advantage of a later perspective

7 aesthetic — appreciation of beauty

8 privation — lack of necessities

9 barter — trade

United States History & Government Authentic Assessment Commack High School

INTERVIEW WITH A MONOPOLIST

Authentic Assessment [25 pts.]

TASK: Imagine you are a muckraker living during the time of American industrialization. You have been granted the opportunity to meet with a monopolist of your choice to conduct an interview. Your interview should be 10 exchanges (20 lines total) between the muckraker and monopolist; greeting, closings and simple yes/no responses do not count. Each response should be 2-3 sentences in length and include accurate content. You MUST include the vocabulary (from the section below) in your interview.

Below are some suggestions of monopolists that can be interviewed:

· Andrew Carnegie – Carnegie Steel Company

· John D. Rockefeller – Standard Oil Company

· JP Morgan- JP Morgan & Company

· Henry Ford – Ford Motor Company

· Cornelius Vanderbilt – New York Central Railroad

You are not limited to these suggestions, but if you want to select another individual

you must obtain your teacher’s approval.

Your interview should address the following issues:

· How the company was formed

· How the individual is viewed by the public

· Treatment of employees

· Philanthropic (charitable) activities

Vocabulary to be included in your interview (please underline/bold the term when you use it in your interview):

· Monopoly

· Labor Laws

· Antitrust

· Merge

· Captain of Industry/Robber Baron

· Philanthropy

· Union

· Strikes

Name: _________________________________ Period: _________

United States History and Government Date: __________

CATEGORY

4 – Above 

Standards

3 – Meets

 Standards

2 Approaching

Standards

1 Below 

Standards

Score

Interviewer Questions

Interview questions are relevant and appropriate for a muckraker to ask.

Most of the interview questions are somewhat relevant and appropriate for a muckraker to ask.

Interview questions are not truly relevant or are not appropriate for a muckraker to ask.

Questions are not relevant/not appropriate for interview

______/4

Monopolist Responses

Responses are relevant and appropriate for a monopolist to respond (meets 2-3 sentence requirement).

Responses are somewhat relevant and appropriate for a monopolist to respond (meets 2-3 sentence requirement).

Responses are not truly relevant OR are not appropriate for a monopolist to respond OR does not meet requirement

Responses are not relevant/not appropriate for interview

______/5

Incorporation of Vocabulary

All vocabulary incorporated correctly

Most of vocabulary incorporated correctly

Some vocabulary incorporated correctly

Little or no vocabulary included

_______/4

Historical Accuracy

The interview is strong and leaves the reader solidly understanding the historical perspective.

The interview is relatively strong and leaves the reader understanding the historical perspective.

The interview is somewhat strong and leaves the reader with a basic understanding of the historical perspective.

Historically inaccurate

____/4

Overall Creativity of Interview

Interview is creatively written and completes all parts of the task.

Interview is creatively written and completes most parts of the task.

Interview is somewhat creatively written and completes some parts of the task.

Interview is not creatively written and does not complete all parts of the task.

_______/4

Grammar

And

Spelling

Author makes no errors in grammar or spelling that distracts the reader from the content.

Author makes 1-3 errors in grammar or spelling that distract the reader from the content.

Author makes 4-6 errors in grammar or spelling that distract the reader from the content.

Author makes more than 6 errors in grammar or spelling that distracts the reader from the content.

_______/4

TOTAL POINTS EARNED_____________________ / 25 pts.

Your Name

Persepolis Essay Organizer

Dr. Cicione

IB Language and Literature

Due Date

Title:____________________________

C) Analysis of the evidence
Explain – how does this quote or panel connect to your theme? *LOOK at the questions at the bottom for help*

D) Sum it up – concluding sentence that transitions to the next sub topic.

C) Analysis of the evidence
Explain – how does this quote or panel connect to your theme? *LOOK at the questions at the bottom for help*

I) INTRODUCTION
A) Thesis – Idea about how art presents the world or an idea about living in the world. It should be analytical and arguable.	Example Thesis Through ____________’s use of ________________ in ___________, (author) (theme) (novel) he/she is able to convey _____________________________________ 4
B) Theme– what you will use to “ prove” your thesis.	C) Brief explanation of your intent/goal – transition to the body paragraphs.
II) SUB TOPIC = body paragraph #1
A) Your Theme:	B) Textual Evidence (copy a sentence exactly from the text OR pick a panel/picture): ____________________ writes/shows, (author) “ *don’t forget the page # ( __________ ___) The correct citation is (author pg#) Ex. (Satrapi 45)			C) Analysis of the evidence Explain – how does this quote or panel connect to your theme? *LOOK at the questions at the bottom for help*
	D) Sum it up – concluding sentence that transitions to the next sub topic.
III) SECOND SUB TOPIC = body paragraph #2
A) Your theme:	B) Textual Evidence (copy a sentence exactly from the text OR pick a panel/picture): *don’t forget the page # ( __________ ___) The correct citation is (author pg#) Ex. (Satrapi 45)
IV) THIRD SUB TOPIC = body paragraph #3
A) Your idea:	B) Textual Evidence (copy a sentence exactly from the text OR pick a panel/picture): *don’t forget the page # ( __________ ___) The correct citation is (author pg#) Ex. (Satrapi 45)
D) Sum it up – concluding sentence that transitions to the conclusion.
V) CONCLUSION
A) Sum up your finest points Restate your thesis. (Write your thesis again but change a few words!) Give a brief example on how you proved this in your body paragraph.	B) Explain your connection to the world. Relate the topic to the world today. Such as; Today we have similar… Today is different… we have come far in…

Questions to think about when ANALYZING your evidence:

1. HOW does it connect to the THEME you chose?

2. Explain WHY you chose this panel/text?

3. Explain what is going on IN this panel or text / what lead up to this point (BEFORE) / what happened AFTER?

4. WHY are the characters doing what they’re doing? (Example: Persepolis’ parents are bringing her posters BECAUSE… They have to hide them BECAUSE…)

5. Look at the DETAILS in the panel. (Example: the lines, the facial expressions, the shadows… use the vocabulary in Dr. Ciciones “Annotating Persepolis” worksheet in Google Classroom to help you understand the different features within a graphic novel) Why do you think the author/illustrator chose to include these details/elements? Why is it important? How does it connect to your THEME?