1. What do YOU carry? A) Name a tangible item that you carry that represents ‘you.’ (Be prepared to share ‘A’) B) Name an intangible that you carry. C) Write down the following objective somewhere you plan to TAKE NOTES: I will be able to identify rhetorical devices and analyze how an author or artist uses these elements to craft an argument.

2. Schedule (8/27 and 8/28)  Warm-up  Use a visual analysis to review the parts of an argument  (Modern connection: 9/11 Memorial and excerpt from “President’s Address”)  Close reading  Look at the poem “The Man He Killed”

3. “Reflections” by Lee Teter 1. Context 2. Persona 3. Argument

4. LIFE TANGENT: (What do YOU think?)

5. Great Links  http://cds.library.brown.edu/projects/Writing Vietnam/obrien.html

6. Goal while listening: How does this story help you understand TTTC?

7. “The Man I Killed” from TTTC  How does O’brien use syntax, diction, and rhetorical devices to craft a rhetorical strategy? How does this rhetorical strategy serve his larger argument?  Rhetorical/literary devices:  Asyndeton  Point of view  Antecedent

8. “The Man He Killed” (1902)  Context: Boer Wars (Basically, farmers left a British settlement to establish their own colony. Then, Britian wished to take control of them again.  Persona: Infantry man  TP-CASTT (connotation/attitude/shift/title/argument [theme])  Argument?

9. Instructional Focus 8/27  The following is a quote from the first chapter of The Things They Carried. Why does O’Brien use this syntax? How does he control the pace of the sentence and what is his purpose? What diction does he use and what is the tone? “ They plodded along slowly, dumbly, leaning forward against the heat, unthinking, all blood and bone, simple grunts, soldiering with their legs, toiling up the hills and down into the paddies and across the rivers and up again and down, just humping, one step and then the next and then another, but no volition, no will, because it was automatic, it was anatomy, and the war was entirely a matter of posture and carriage, the hump was everything, a kind of inertia, a kind of emptiness, a dullness of desire and intellect and conscience and hope and human sensibility.” p. 15