I work for a professor in the Theology department who's also an English professor. Her Intro to Lit class was supposed to read and write a response on "Supernatural Love"; since I'd have to grade these responses, I figured I'd better read the poem. The response prompt was for readers to make connections between the narrator's understanding of herself, her father, and the Incarnation through the symbols of blood, flowers, and nails/needles.
The poem's narrator is a woman looking back on her time as a four year old girl. Then, the girl called carnations "Christ's flowers," though at the time she didn't know why. She remembers her father at a dictionary in his study while she's cross-stitching a word she can't yet read: "Beloved". Her father reads the defintion of carnation, learning that its part of the clove family and its Latin root is "flesh." Flipping to the word "clove," her father finds its root word is Latin for "nail." The father comes to a sudden realization of flesh, nail, and the red carnation flower ("Christ's flowers") just as the girl stabs herself with her cross-stitching needle. She cries to her father, like Christ called for his on his cross for his beloveds, and the father comes to the rescue.
Obviously there are a lot of text-to-text symbol connections in this poem. I was able to visualize quite a bit of this poem because it was so full of imagery.
Schnackenberg, G. (1976?). Supernatural love. Chicago, IL: The Poetry Foundation.
Monday, October 31, 2011
Reading Response 11- Draper Chapter 8
This chapter explored content area literacy for English Language Arts classrooms. The section that stood out to me the most was the summary of the three models that English teachers incorporate into their classrooms: the mastery model, the cultural heritage model, and the process model. I hadn't realized before that English teachers followed any specific models; I just thought they taught English components from each of these models in specific class units. Another interesting point that Draper mentioned was the idea that because English is so traditional-print text heavy, literacy in the English classroom rarely includes other text forms.
Again, I read the chapter summary, but this time the summary was sorely lacking. I turned to the section about the three models because, as I mentioned before, I hadn't realized that actual models for an ELA classroom existed. (Actually, even typing ELA reminds me that English classrooms have a lot of different titles: language arts, communication arts, composition/grammar, etc.) The mastery model is all about gaining skills for grammar or writing or technical things that can be objectively measured. The cultural heritage model focuses on selecting classic novels for their ideas and views on values and society. Making a connection, at first, the cultural heritage model seemed like the model I would follow. However, noticing the author's tone, this model seemed to have its drawbacks too. The final model was the process model, which seemed like the model that would proceed the mastery model. This model is all about the discovery of a specific skill. Overall, the text suggested that integrating each model is the most effective.
Draper, J. (2010). (Re)imagining content-area literacy instruction. New York, NY: Teachers College Press.
Again, I read the chapter summary, but this time the summary was sorely lacking. I turned to the section about the three models because, as I mentioned before, I hadn't realized that actual models for an ELA classroom existed. (Actually, even typing ELA reminds me that English classrooms have a lot of different titles: language arts, communication arts, composition/grammar, etc.) The mastery model is all about gaining skills for grammar or writing or technical things that can be objectively measured. The cultural heritage model focuses on selecting classic novels for their ideas and views on values and society. Making a connection, at first, the cultural heritage model seemed like the model I would follow. However, noticing the author's tone, this model seemed to have its drawbacks too. The final model was the process model, which seemed like the model that would proceed the mastery model. This model is all about the discovery of a specific skill. Overall, the text suggested that integrating each model is the most effective.
Draper, J. (2010). (Re)imagining content-area literacy instruction. New York, NY: Teachers College Press.
Choice Reading Response 11- Pitch Black
Ever since I saw this set of brightly color-coordinated books lined up on a shelf in a bookstore, I have sought for the True Colors series. Unfortunately, because it's a Christian series, Christian bookstores sell each book for at least $10, which can get pretty steep considering the series has at least 10 books. After visiting the Library Sale a couple of weekends ago, I found Pitch Black, the fourth in the series, for a dollar. The books aren't necessarily sequential since each one deals with its own self-contained characters, plots, and themes, but I'm pretty sure they're all connected somehow. Regardless, I didn't mind starting with this one since it's got a deep subject--suicide.
Pitch Black's main character is Morgan, a girl with a drug addicted brother and a mother who's run off to Vegas to marry a man twenty years her junior. Morgan's best friend, Jason, commits suicide by downing a bottle of Tylenol. This news shocks Morgan to her core since Jason's life seemed so together especially because Jason was a devoted Christian. Unable to cope, Morgan and two friends bond over a suicide pact and decide to die the same way Jason did. Fortunately, God intervenes in a number of ways and a shocking secret undermines the suicide pact entirely.
I read the book a couple of chapters at a time for my nightly devotionals. I was surprised at how easy the read was and how easily I connected to the story. The timeline is also surprisingly condensed considering how much character depth Carlson included. I made a lot of personal connections and world connections to the text. While Morgan was relieved that she was able to talk a couple of friends out of suicide, I haven't been able to trust my words so dearly. Twice I've called the cops on two Christian friends because I was terrified that they'd commit suicide, and I would not be able to live with myself if they died because I didn't do enough. Granted, I probably could've called their parents or our pastors or something, but the police thing seemed the most logical. The two scenarios played out very differently, but, like in Pitch Black, both of my friends lived so that they could die to Christ.
Carlson, M. (2004). Pitch black: Color me lost (True colors series #4). Colorado Springs, CO: NavPress.
Pitch Black's main character is Morgan, a girl with a drug addicted brother and a mother who's run off to Vegas to marry a man twenty years her junior. Morgan's best friend, Jason, commits suicide by downing a bottle of Tylenol. This news shocks Morgan to her core since Jason's life seemed so together especially because Jason was a devoted Christian. Unable to cope, Morgan and two friends bond over a suicide pact and decide to die the same way Jason did. Fortunately, God intervenes in a number of ways and a shocking secret undermines the suicide pact entirely.
I read the book a couple of chapters at a time for my nightly devotionals. I was surprised at how easy the read was and how easily I connected to the story. The timeline is also surprisingly condensed considering how much character depth Carlson included. I made a lot of personal connections and world connections to the text. While Morgan was relieved that she was able to talk a couple of friends out of suicide, I haven't been able to trust my words so dearly. Twice I've called the cops on two Christian friends because I was terrified that they'd commit suicide, and I would not be able to live with myself if they died because I didn't do enough. Granted, I probably could've called their parents or our pastors or something, but the police thing seemed the most logical. The two scenarios played out very differently, but, like in Pitch Black, both of my friends lived so that they could die to Christ.
Carlson, M. (2004). Pitch black: Color me lost (True colors series #4). Colorado Springs, CO: NavPress.
Sunday, October 30, 2011
Reading Response 10- Draper Chapter 2
Chapter 2 was all about the misconceptions between literary specialists and content area teachers. Additionally, this chapter covered the differences between traditional print and non-print/non-traditional texts, texts which would vary in number depending on the content area. For example, English would naturally have the highest amount of print texts while music would heavily rely on non-traditional non-print sources.
My strategies for reading the text included reading the chapter summary first, and then I returned to the text to skim the headings and navigate the main points of the chapter. I made several connections in my understanding because I had some of these misconceptions from the chapter (like literacy meaning reading only traditional print text) before I took this class. I hadn't realized that literacy indicates an understanding for interpreting a particular medium. Because of this new understanding, I wonder if reading groups in schools where school time is devoted to teachers of every content area leading a reading group are the best idea. Technically, that content area teacher should be teaching literacy, but it won't always be the kind of literacy we usually think of--reading a traditional print text.
Draper, J. (2010). (Re)imagining content-area literacy instruction. New York, NY: Teachers College Press.
My strategies for reading the text included reading the chapter summary first, and then I returned to the text to skim the headings and navigate the main points of the chapter. I made several connections in my understanding because I had some of these misconceptions from the chapter (like literacy meaning reading only traditional print text) before I took this class. I hadn't realized that literacy indicates an understanding for interpreting a particular medium. Because of this new understanding, I wonder if reading groups in schools where school time is devoted to teachers of every content area leading a reading group are the best idea. Technically, that content area teacher should be teaching literacy, but it won't always be the kind of literacy we usually think of--reading a traditional print text.
Draper, J. (2010). (Re)imagining content-area literacy instruction. New York, NY: Teachers College Press.
Monday, October 24, 2011
Professor Crawford's Comments 2
Hi Rachel,
I always enjoy reading your blog!
It still will not let me leave comments even though I am
signed in? Do you have the setting where you have to approve followers that can
make comments? If so, will you allow me to comment? It would be easier than
doing it all through email.
I think I fixed it. If you comment on this post, then we'll know for sure. :)
What was your motivation for choosing the How to Write a Novel book? Are you thinking of writing one? That would be amazing!
I was moved to tears by your Captivating response. Your
heart is in exactly the right place! You are beautiful and God’s plan for you
is more important than anything else. You referred to that in your response and
I think those truths are so important. So…hold on to those truth that God has
given you and he will definitely put you where you are to be!! Great
attitude!
Thank you. Your kindness is overwhelming. :]
Nice job fully exploring your thinking on the Jo Draper chapter! I like how you explore connections and then evaluate your own reading of the text. What a powerful connection you made to your own text book teaching sample! AWESOME job!
On The Spitfire Grill you did a great job of what is known as triangulating the data. You used 3 sources, so even if you are unsure of the credibility of the sources (which I am so glad that you brought attention to) it’s always a great idea to seek out further information. I also liked how you told the “story” of the information trail you were on!
Can I share your Lance article blog with a member of the
administration? I’m not kidding…let me know. I think those are all very valid
points that you have made. If Homecoming were more about building a bridge
between current and former students…everyone would have a stake in it…right?
Great job on this! I love how you analyzed your own point of view as
well.
Well, sure, go for it. I wouldn't mind.
So…how does the Parable of the Tenants relate to your own life? Good job with your questions!
With all that grammar knowledge…could you help some of
my students? Ha! We all make mistakes as far as typos, but it is amazing how
many mistakes are made out of a lack of knowledge!
Ahaha, I had a fantastic grammar professor last semester, so I owe her for the knowledge I have today.
I like how you zeroed in on how required reading is
linked to lifelong strategies. As an English teacher I feel that this is KEY
for you!
“Bad Girls of the Bible” was one of my favorite Bible
studies I have done. It was quite a while ago, but I still remember it very
well. The author does an amazing job of modernizing the stories of the Bible.
I love that it really does help us, as women, to see that we don’t have to be
perfect to be used by God…we just have to be open to be obedient to what he asks
us to do.
Great job on your blog!
Thank you for inserting my comments from last time. It
helped me to remember where we left off.
Saturday, October 22, 2011
Choice Reading Response 10- How NOT to Write a Novel
In this section of How Not to Write a Novel, aspiring writers are sarcastically encouraged to change narrative points of view and verb tenses often in order to confuse readers.
I think this book's use of humor allows me to see my errors as a writer in a new light. I made a personal connection to the verb tense section. The writers noted that the English language has six ways to use past tense, so the beginning author can construct a variety of sentences without accidentally slipping into different tenses. I have definitely switched verb tenses in academic papers and in my own personal writing. The other section about switching points of view helped me understand how I can best present my writing (which eyes will I write through). I have struggled with this problem before in my writing. I activated some of my prior knowledge about verb tenses and points of view to apply and connect the new information this novel used.
Mittelmark, H. et al. (2008). How not to write a novel: 200 classic mistakes and how to avoid them--a misstep-by-misstep guide. New York, NY: Harper Paperbacks.
I think this book's use of humor allows me to see my errors as a writer in a new light. I made a personal connection to the verb tense section. The writers noted that the English language has six ways to use past tense, so the beginning author can construct a variety of sentences without accidentally slipping into different tenses. I have definitely switched verb tenses in academic papers and in my own personal writing. The other section about switching points of view helped me understand how I can best present my writing (which eyes will I write through). I have struggled with this problem before in my writing. I activated some of my prior knowledge about verb tenses and points of view to apply and connect the new information this novel used.
Mittelmark, H. et al. (2008). How not to write a novel: 200 classic mistakes and how to avoid them--a misstep-by-misstep guide. New York, NY: Harper Paperbacks.
Choice Reading Response 9- Captivating Ch. 2 and 3
Our connect group from North Point Church is reading Captivating for our small group discussions. The book focuses on the heart of a woman and how we as women have hidden the desires of our hearts.
Co-authored by a Christian couple, Captivating explores the three things that every woman longs for: to be romanced, to be an irreplaceable part of an adventure, and to unveil her beauty. The book also explores the reason we women fail to live out these three things, starting with Eve's choice in the garden which led to the Fall of all of her daughters ever since. Because of Eve's curse, women have become dominating and controlling because they feel only they have the ability to fulfill their own lives, that everyone is holding out on them (like Eve felt in the Garden, so she took the fruit, and her life, into her own hands). On the other side of the curse, women have become desperate, clingy, and mousy because they feel that they are not worth love, beauty, and adventure. Obviously, we were not meant to play these roles; as the pinnacle of creation, women were meant for greater things and were meant to reflect God's beauty and desire to be pursued.
I've read this book before (and its counterpart Wild at Heart for men), so I am remembering and recalling old connections and prior knowledge as I relive this book's message once more. When I read this book last year, I was convinced I would never marry because no man had ever seemed interested enough in me to even ask me on a date. I was also convinced that this was because I was abrasive, ugly, and generally undesirable. Since then, God has been working in my heart to convince me of my beauty, so reading this book is creating several new connections for me and building upon my prior knowledge and experiences. I know now that I am made in God's image to reflect His compassionate heart, and He made me to live the abundant life He has called me to. Whether I am called to marriage or not, this book has reminded me that I still have an adventure to live and a beauty to reveal.
Eldredge, J. et al. (2005). Captivating: Unveiling the mystery of a woman's soul. Nashville, TN: Thomas Nelson.
Co-authored by a Christian couple, Captivating explores the three things that every woman longs for: to be romanced, to be an irreplaceable part of an adventure, and to unveil her beauty. The book also explores the reason we women fail to live out these three things, starting with Eve's choice in the garden which led to the Fall of all of her daughters ever since. Because of Eve's curse, women have become dominating and controlling because they feel only they have the ability to fulfill their own lives, that everyone is holding out on them (like Eve felt in the Garden, so she took the fruit, and her life, into her own hands). On the other side of the curse, women have become desperate, clingy, and mousy because they feel that they are not worth love, beauty, and adventure. Obviously, we were not meant to play these roles; as the pinnacle of creation, women were meant for greater things and were meant to reflect God's beauty and desire to be pursued.
I've read this book before (and its counterpart Wild at Heart for men), so I am remembering and recalling old connections and prior knowledge as I relive this book's message once more. When I read this book last year, I was convinced I would never marry because no man had ever seemed interested enough in me to even ask me on a date. I was also convinced that this was because I was abrasive, ugly, and generally undesirable. Since then, God has been working in my heart to convince me of my beauty, so reading this book is creating several new connections for me and building upon my prior knowledge and experiences. I know now that I am made in God's image to reflect His compassionate heart, and He made me to live the abundant life He has called me to. Whether I am called to marriage or not, this book has reminded me that I still have an adventure to live and a beauty to reveal.
Eldredge, J. et al. (2005). Captivating: Unveiling the mystery of a woman's soul. Nashville, TN: Thomas Nelson.
Wednesday, October 12, 2011
Reading Response 9- Draper Chapter 1
Draper's first chapter lists the struggles that literacy specialists and content area teachers encounters. These struggles demand that the two must work together towards the same four aims for increasing adolescents' literacy. Each brings different strengths to the team: teachers know their content area thoroughly while literacy specialists know how to help teachers understand their own thinking so that they may teach more effectively.
I really like the book's layout and style; everything connects together. Draper mentions how teachers and specialists can evaluate their instruction as it matches to the curriculum standards and aims of improving students' literacy. I inferred that Draper also touches on "blind spots" in a content-area teacher's curriculum upon which literacy specialists seek to shed light: Draper specifically mentions that teachers should include varied kinds of text and teach students how to read these texts; I know I almost encountered a blind spot like this one in my Textbook Teaching Sample project where I knew how to read a play (column to column), but I almost didn't realize that my students might not know that (so they might read across the columns). I skimmed this chapter for summary statements (which Draper uses often, and correctly, in the text's paragraphs and sections. I also made connections between the text and the anticipation guide statements. I even changed up my reading pace to (faster to skim summary statements and slower to notice any graphical information like lists or word formats).
Draper, R. (2010). (Re)imagining content-area literacy instruction. New York, NY: Teachers College Press.
I really like the book's layout and style; everything connects together. Draper mentions how teachers and specialists can evaluate their instruction as it matches to the curriculum standards and aims of improving students' literacy. I inferred that Draper also touches on "blind spots" in a content-area teacher's curriculum upon which literacy specialists seek to shed light: Draper specifically mentions that teachers should include varied kinds of text and teach students how to read these texts; I know I almost encountered a blind spot like this one in my Textbook Teaching Sample project where I knew how to read a play (column to column), but I almost didn't realize that my students might not know that (so they might read across the columns). I skimmed this chapter for summary statements (which Draper uses often, and correctly, in the text's paragraphs and sections. I also made connections between the text and the anticipation guide statements. I even changed up my reading pace to (faster to skim summary statements and slower to notice any graphical information like lists or word formats).
Draper, R. (2010). (Re)imagining content-area literacy instruction. New York, NY: Teachers College Press.
Choice Reading Response 8- The Spitfire Grill
While skipping around in my textbook for my Christianity at Work class, I stumbled upon a movie description for The Spitfire Grill (1996). I had seen the musical performed at a high school in my hometown, and I'd rather enjoyed it; however, this movie summary described a much different ending than I'd remembered from the musical. Thinking I'd just forgotten the ending, I went to Wikipedia for a quick synopsis of the musical. I was right; the musical did not end as sadly as the movie.
Because, I assume, the author of this textbook wanted to prevent major spoilers, I couldn't figure out what the tragic redemptive ending to the movie was. So my search on Google began where I stumbled upon IMDB's website with viewer comments. One commenter explained it all.
The Spitfire Grill is a movie about Percy Talbott, who, after her time in prison, is relocated to a small town named Gilead to work for Hannah, the owner of the restaurant named after the movie. While the town is initially suspicious of Percy because of her mysterious past, eventually, the citizens grow to love her for her genuineness. When Hannah breaks her leg, Percy and Hannah's niece Shelby work together to keep the restaurant running. Becoming too old to wish to run an entire restaurant, Hannah considers selling the business; the three women decide to raffle off the restaurant in a national contest for $100 per entry: whoever submits the best essay about why he wants this restaurant will win it. Meanwhile, Percy comes to learn that Hannah's son Eli disappeared after serving in the Vietnam war, which shocks the entire town, and an interesting plot twist occurs because of this subplot. Aside from the ending, the musical and the movie pretty much match up entirely.
While reading all of these resources, I visualized the text as I connected it to the musical performance I'd seen. I asked questions of the texts, and I searched and compared sources to build my knowledge about the movie and its musical counterpart. Although I realize my sources might not be the best sources because of their ambiguity or possible inaccuracies, I figured I would rely on sources that I knew would answer my questions best: viewers who had seen either the play or the movie.
Johnston, R. (2006). Reel spirituality: Theology and film in dialogue. Grand Rapid, MI: Baker Academic.
TxMike. (2005). The spitfire grill reviews & ratings: A really good movie. Houston, TX: IMDB.
No author. (5 June 2011). The spitfire grill (musical). Wikimedia Foundation, Inc.
Because, I assume, the author of this textbook wanted to prevent major spoilers, I couldn't figure out what the tragic redemptive ending to the movie was. So my search on Google began where I stumbled upon IMDB's website with viewer comments. One commenter explained it all.
The Spitfire Grill is a movie about Percy Talbott, who, after her time in prison, is relocated to a small town named Gilead to work for Hannah, the owner of the restaurant named after the movie. While the town is initially suspicious of Percy because of her mysterious past, eventually, the citizens grow to love her for her genuineness. When Hannah breaks her leg, Percy and Hannah's niece Shelby work together to keep the restaurant running. Becoming too old to wish to run an entire restaurant, Hannah considers selling the business; the three women decide to raffle off the restaurant in a national contest for $100 per entry: whoever submits the best essay about why he wants this restaurant will win it. Meanwhile, Percy comes to learn that Hannah's son Eli disappeared after serving in the Vietnam war, which shocks the entire town, and an interesting plot twist occurs because of this subplot. Aside from the ending, the musical and the movie pretty much match up entirely.
While reading all of these resources, I visualized the text as I connected it to the musical performance I'd seen. I asked questions of the texts, and I searched and compared sources to build my knowledge about the movie and its musical counterpart. Although I realize my sources might not be the best sources because of their ambiguity or possible inaccuracies, I figured I would rely on sources that I knew would answer my questions best: viewers who had seen either the play or the movie.
Johnston, R. (2006). Reel spirituality: Theology and film in dialogue. Grand Rapid, MI: Baker Academic.
TxMike. (2005). The spitfire grill reviews & ratings: A really good movie. Houston, TX: IMDB.
No author. (5 June 2011). The spitfire grill (musical). Wikimedia Foundation, Inc.
Sunday, October 9, 2011
Choice Reading Response 7- The Lance article
Since I've yet to write a response about a news article and I've rarely read an entire article in The Lance, I figured this reading response would be the perfect time to expand my reading choices. "'A Brand New Beat' ushers in Homecoming" by Kelsey Reinhard is the headlining article for this week's Lance and an introduction to all things Homecoming related. Reinhard interviewed the Alumni Board Director Chuck Cox about the Homecoming events he and the rest of the committee have put on to make this Homecoming bigger and better than previous years. Mixing the old and the new, Cox mentioned that the marching band, being completely new to Evangel this year, was the integral theme for this year's Homecoming while old events from previous years like "EU's Got Talent" would return as featured alumni events.
Reading this article, I realized I was technically looking at it from the future because I'd already seen the football game where the Crusaders did indeed exterminate the Jackets, I'd already known the winner of EU's Got Talent was Jim Benecasa, I'd already known that Landon Johnson and Sam Burks won Homecoming Court, and I'd already read a piece at Epiphany. I guess in a way, then, I was applying my prior/futuristic knowledge to the article. I also made a connection with one particular quote Cox made about creating events to integrate current and past students at Evangel. I have felt like Homecoming was really more for alumni because they have all of these special events planned for them; the current students, or at least me if I'm the only one that feels this way, don't seem to have much interaction with the alumni because few of our events overlap. I'm not a fan of focusing everything around some past students who've donated ridiculous amounts of money to Evangel. What I mean by this is I don't understand why our entire chapel week is dedicated to people I don't know, why our cafeteria food is suddenly high-end, and why are our events focused on catering to these former students? What about the current students? Why can't we integrate some of these things so current students have a better cohesion with former students?
Reinhard, K. (2011). 'A brand new beat' ushers in homecoming. The Lance, LVII (VII).
Reading this article, I realized I was technically looking at it from the future because I'd already seen the football game where the Crusaders did indeed exterminate the Jackets, I'd already known the winner of EU's Got Talent was Jim Benecasa, I'd already known that Landon Johnson and Sam Burks won Homecoming Court, and I'd already read a piece at Epiphany. I guess in a way, then, I was applying my prior/futuristic knowledge to the article. I also made a connection with one particular quote Cox made about creating events to integrate current and past students at Evangel. I have felt like Homecoming was really more for alumni because they have all of these special events planned for them; the current students, or at least me if I'm the only one that feels this way, don't seem to have much interaction with the alumni because few of our events overlap. I'm not a fan of focusing everything around some past students who've donated ridiculous amounts of money to Evangel. What I mean by this is I don't understand why our entire chapel week is dedicated to people I don't know, why our cafeteria food is suddenly high-end, and why are our events focused on catering to these former students? What about the current students? Why can't we integrate some of these things so current students have a better cohesion with former students?
Reinhard, K. (2011). 'A brand new beat' ushers in homecoming. The Lance, LVII (VII).
Tuesday, October 4, 2011
Choice Reading Response 6- Mark 12
I've been jumping around in the Bible for my nightly devotions over the past couple of days, so I decided to read "The Parable of the Tenants" last night. Activating my prior knowledge and using the text's context, I am fairly certain that Jesus is telling this parable to the Pharisees. The parable itself is about this man who plants a vineyard, builds a winepress, guards the land with a wall and a watchtower, and then he rents his vineyard to some other people while he goes on a trip. The master of the vineyard wants some of the crops at harvest time, so he sends one of his servants to collect them. The renters beat the servant and send him off empty handed. The master sends another servant, and the renters do the same thing. The master then sends his son to collect the crops, but the renters kill him so they can inherit the property. For some reason, this parable really agitates the Pharisees, so they try to arrest him, but the crowd of people serves as a deterrent.
I know based on my prior knowledge that this parable is an allegory for God "the master" sending "servant" prophets to "reap a harvest" of followers, but they are persecuted; the renters killing the master's son are directly symbolic of the people that will crucify Christ. I'm also asking questions of the text, such as, if the master is on a journey, why is he asking his servants to collect the harvest crops? To sell them or to store them for his return? Why would the renters think they would inherit the land if they killed the master's son?
(1984). The holy bible: New international version. Grand Rapids, MI: Zondervan.
I know based on my prior knowledge that this parable is an allegory for God "the master" sending "servant" prophets to "reap a harvest" of followers, but they are persecuted; the renters killing the master's son are directly symbolic of the people that will crucify Christ. I'm also asking questions of the text, such as, if the master is on a journey, why is he asking his servants to collect the harvest crops? To sell them or to store them for his return? Why would the renters think they would inherit the land if they killed the master's son?
(1984). The holy bible: New international version. Grand Rapids, MI: Zondervan.
Choice Reading Response 5- The Elements of Style
The Elements of Style is an English grammar handbook, similar to Diana Hacker's A Writer's Reference. Strunk covers punctuation rules, research guidelines, and a few pages of commonly confused words.
As an English Education major, I rather enjoy grammar books because I know that reading these books will help me identify my own writing errors. Making connections between the text and my life, last year, I was in English 298, an English grammar practicum where I teach English 102 students basic grammar concept skills. I am currently a Writing Fellow for the Humanities department, meaning I help students in English Composition labs bring their writing up to college level standards. I also grade English papers for a professor, and I was having some concerns about punctuation rules that I may have overlooked or forgotten since my English 298 class. I no longer own Hacker's book (which is a mildly depressing confession), so I decided Strunk's book would be suitable. Unfortunately, I realized that this edition must be abridged because it is so lacking in page length. Nonetheless, I was able to refresh my memory regarding comma rules, possessives, and confused words (such as "alright" and "all right").
Strunk, W. et al. (2000). The elements of style. Boston, MA: Longman Publishers.
As an English Education major, I rather enjoy grammar books because I know that reading these books will help me identify my own writing errors. Making connections between the text and my life, last year, I was in English 298, an English grammar practicum where I teach English 102 students basic grammar concept skills. I am currently a Writing Fellow for the Humanities department, meaning I help students in English Composition labs bring their writing up to college level standards. I also grade English papers for a professor, and I was having some concerns about punctuation rules that I may have overlooked or forgotten since my English 298 class. I no longer own Hacker's book (which is a mildly depressing confession), so I decided Strunk's book would be suitable. Unfortunately, I realized that this edition must be abridged because it is so lacking in page length. Nonetheless, I was able to refresh my memory regarding comma rules, possessives, and confused words (such as "alright" and "all right").
Strunk, W. et al. (2000). The elements of style. Boston, MA: Longman Publishers.
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