2ND QUARTER STUDY GUIDE

Argumentative Essay
- In argumentative Essay, you can prove that your hypothesis, theory, opinion, etc. is
correct.
- You can do that by giving the argument - clear statements, no questions, supported by
evidences and proper research
- It should be based on pros and cons and ended with a strong conclusion.

Analogy
- Is the comparison of 2 things to highlight their similarities. Unlike the figures of speech
called simile, and metaphor, analogy has its own format.

Comparison- Contrast
- A comparison shows how 2 subjects are similar; contrast shows how 2 subjects are
different

Definition
- Is a statement of the meaning of a term (a word, phrase, or other set of symbols).

Analysis
- Is the process of breaking a complex topic or substance into smaller parts in order to gain a
better understanding of it.

News Story parts:

- headline - tells what the story is about
- Byline - shows who wrote the story
- Lead - tells the most important facts (5 Ws)
- Body - contains more information and details
- Ending - gives something to think about
Academic Writing
- is a formal style of writing used in universities and scholarly publications.

Feature Article
- a news story that goes beyond the facts to weave in a narrative and tell a compelling story.
A feature article differs from a hard news story as it offers an in-depth look at a particular
subject, current event, or location to audiences.

Juncture
- A pause or a slight delay in a continues flow of speech. Sound transitions characterize the
movement from sound to sound within a word or a phrase.

Pitch
- the relative highness or lowness of a tone as perceived by the ear, which depends on the
number of vibrations per second produced by the vocal cords

Intonation
- a complex system of meaning communicated through the rise and fall of a speaker's voice.

Stress
- the way that a word or syllable is pronounced with greater force than other words in the
same sentence or other syllables in the same word: The meaning of a sentence often
depends on stress and intonation.

Pauses
- a short period in which something such as a sound or an activity is stopped before starting
again

APA
- used for Sciences like natural, physical and social sciences
- Author’s Last Name, Year, Page Number (ex. Comedoy, 1983, p. 10)
MLA
- used for essays on human society, culture, humanities, historical literature, and arts
- Author’s Last Name, page number (ex. Comedoy, p. 16)

Debate
- a formal discussion on a particular topic in a public meeting or legislative assembly, in
which opposing arguments are put forward.

Bias Detectives
- Invisibility and selectivity: what you don’t see makes a lasting impression.
- Stereotyping: shortcuts of bigotry
- Imbalance and Selectivity: a tale half told
- Unreality: rose colored glasses
- Fragmentation and isolation: the parts are less than the whole
- Linguistic bias: word count
- Cosmetic bias: “shiny” covers

Read the following literature:

- Dante’s Inferno Canto III
- Song of Roland
- Hunchback of Notredame
Summary
Cantos III & IV

Virgil leads Dante up to the Gate of Hell, upon which they

read a foreboding inscription that includes the admonition
“abandon all hope, you who enter here.” As soon as they
enter, Dante hears innumerable cries of torment and
suffering. Virgil explains that these cries emanate from the
souls of those who did not commit to either good or evil but
who lived their lives without making conscious moral
choices; therefore, both Heaven and Hell have denied them
entry. These souls now reside in the Ante-Inferno, within
Hell yet not truly part of it, where they must chase
constantly after a blank banner. Flies and wasps continually
bite them, and writhing worms consume the blood and
tears that flow from them. The souls of the uncommitted
are joined in this torment by the neutral angels—those who
sided with neither God nor Satan in the war in Heaven.

Virgil leads Dante to a great river called Acheron, which

marks the border of Hell. A crowd of newly dead souls waits
to be taken across. A boat approaches with an old man,
Charon, at its helm. Charon recognizes Dante as a living soul
and tells him to keep away from the dead, but after Virgil
informs him that their journey has been ordained from on
high, Charon troubles them no longer. He returns to his
work of ferrying the miserable souls, wailing and cursing,
across the river into Hell. As he transports Virgil and Dante
across, Virgil tells the frightened Dante that Charon’s initial
reluctance to ferry him bodes well: only damned souls cross
the river. Suddenly, an earthquake shakes the plain; wind
and fire rise up from the ground, and Dante, terrified, faints.

Summary: Canto IV
A clap of thunder restores Dante to consciousness. When he
wakes, feeling as though he has been asleep for a long time,
he finds himself on the other side of the river, apparently
having been carried off the boat by Virgil. He looks down
into a deep valley that stretches in front of him: the First
Circle of Hell, or Limbo. Virgil informs him that this circle,
which contains the souls of those who led virtuous lives but
either were born before the advent of Christianity (and thus
could not properly honor God) or were never baptized.
Dante asks if any souls have ever received permission to
leave Limbo for Heaven, and Virgil names a number of Old
Testament figures—Noah, Moses, and others. Christ
granted these souls amnesty when he descended into Hell
during the time between his death and resurrection (an
episode commonly known as the Harrowing of Hell).
Many other notable figures, however, remain in Limbo.
Virgil himself resides here, and has been given only a brief
leave to guide Dante. Dante watches a group of men
approach and greet Virgil as a fellow poet. Virgil introduces
them as Homer, Horace, Ovid, and Lucan—the greatest
poets of antiquity. They lead Dante to a great castle with
seven walls, wherein he sees the souls of other great figures
from the past: the philosophers Aristotle, Socrates, and
Plato; Aeneas, Lavinia, and other characters from the
Aeneid; the mathematician Euclid and the astronomer
Ptolemy; and many others. Virgil guides Dante out of the
castle and again off into the darkness.

Analysis: Cantos III–IV

In the first line of the inscription above the Gate of Hell in Canto III, “through me you
enter into the city of woes,” Hell is described as a city. This description gains support in
the portrayal of Hell’s architecture: it is walled and gated like a medieval city. The idea of
cities figures significantly in Inferno, and Dante’s treatment of them situates his poem
both historically and theologically. Historically, large cities had begun to play an
increasingly important role in European social and economic life in the high Middle Ages,
particularly in Italy, where city-states such as Dante’s native Florence had become
important bases of social organization. Dante portrays Hell as a city in large part because,
to a thinker in the early fourteenth century, any substantial human population would
almost necessarily have suggested a city.

Summary:
Charlemagne's army is fighting the Muslims in Spain. The last city standing is Saragossa,
held by the Muslim
king Marsilla. Terrified of the might of Charlemagne's army of Franks, Marsilla sends out
messengers to
Charlemagne, promising treasure and Marsilla's conversion to Christianity if the Franks
will go back to France.
Charlemagne and his men are tired of fighting and decide to accept this peace offer. They
need now to select a
messenger to go back to Marsilla's court. The bold warrior Roland nominates his
stepfather Ganelon. Ganelon is
enraged; he fears that he'll die in the hands of the bloodthirsty pagans and suspects that
this is just Roland's
intent. He has long hated and envied his stepson, and, riding back to Saragossa with the
Saracen messengers, he
finds an opportunity for revenge. He tells the Saracens how they could ambush the rear
guard of Charlemagne's
army, which will surely be led by Roland as the Franks pick their way back to Spain
through the mountain
passes, and helps the Saracens plan their attack.
Just as the traitor Ganelon predicted, Roland gallantly volunteers to lead the rear guard.
The wise and moderate
Olivier and the fierce archbishop Turpin are among the men Roland picks to join him.
Pagans ambush them at
Roncesvals, according to plan; the Christians are overwhelmed by their sheer numbers.
Seeing how badly
outnumbered they are, Olivier asks Roland to blow on his oliphant, his horn made out of
an elephant tusk, to
call for help from the main body of the Frankish army. Roland proudly refuses to do so,
claiming that they need
no help, that the rear guard can easily take on the pagan hordes. While the Franks fight
magnificently, there's no
way they can continue to hold off against the Saracens, and the battle begins to turn
clearly against them.
Almost all his men are dead and Roland knows that it's now too late for Charlemagne and
his troops to save
them, but he blows his oliphant anyway, so that the emperor can see what happened to
his men and avenge
them. Roland blows so hard that his temples burst. He dies a glorious martyr's death, and
saints take his soul
straight to Paradise.
When Charlemagne and his men reach the battlefield, they find only dead bodies. The
pagans have fled, but the
Franks pursue them, chasing them into the river Ebro, where they all drown. Meanwhile,
the powerful emir of
Babylon, Baligant, has arrived in Spain to help his vassal Marsilla fend off the Frankish
threat. Baligant and his
enormous Muslim army ride after Charlemagne and his Christian army, meeting them on
the battlefield at
Roncesvals, where the Christians are burying and mourning their dead. Both sides fight
valiantly. But when
Charlemagne kills Baligant, all the pagan army scatter and flee. Now Saragossa has no
defenders left; the
Franks take the city. With Marsilla's wife Bramimonde, Charlemagne and his men ride
back to Aix, their capital
in sweet France.
The Franks discovered Ganelon's betrayal some time ago and keep him in chains until it is
time for his trial.
Ganelon argues that his action was legitimate revenge, openly proclaimed, not treason.
While the council of
barons, which Charlemagne gathered to decide the traitor's fate is initially swayed by this
claim, one man,
Thierry, argues that, because Roland was serving Charlemagne when Ganelon delivered
his revenge on him,
Ganelon's action constitutes a betrayal of the emperor. Ganelon's friend Pinabel
challenges Thierry to trial by
combat; the two will fight a duel to see who's right. By divine intervention, Thierry, the
weaker man, wins,
killing Pinabel. The Franks are convinced by this of Ganelon's villainy and sentence him to
a most painful
death. The traitor is torn limb from limb by galloping horses and thirty of his relatives are
hung for good
measure.
.