They highlight major plot events and detail the important relationships and characteristics of important characters. The Chapter Abstracts can be used to review what the students have read, or to prepare the students for what they will read. Hand the abstracts out in class as a study guide, or use them as a "key" for a class discussion.
They are relatively brief, but can serve to be an excellent refresher of Tripmaster Monkey: His Fake Book for either a student or teacher. Character and Object Descriptions provide descriptions of the significant characters as well as objects and places in Tripmaster Monkey: His Fake Book. These can be printed out and used as an individual study guide for students, a "key" for leading a class discussion, a summary review prior to exams, or a refresher for an educator.
The character and object descriptions are also used in some of the quizzes and tests in this lesson plan. The longest descriptions run about words. They become shorter as the importance of the character or object declines. This section of the lesson plan contains 30 Daily Lessons. Daily Lessons each have a specific objective and offer at least three often more ways to teach that objective.
Lessons include classroom discussions, group and partner activities, in-class handouts, individual writing assignments, at least one homework assignment, class participation exercises and other ways to teach students about Tripmaster Monkey: His Fake Book in a classroom setting. You can combine daily lessons or use the ideas within them to create your own unique curriculum.
They vary greatly from day to day and offer an array of creative ideas that provide many options for an educator. Fun Classroom Activities differ from Daily Lessons because they make "fun" a priority. The 20 enjoyable, interactive classroom activities that are included will help students understand Tripmaster Monkey: His Fake Book in fun and entertaining ways.
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Fun Classroom Activities include group projects, games, critical thinking activities, brainstorming sessions, writing poems, drawing or sketching, and countless other creative exercises. Many of the activities encourage students to interact with each other, be creative and think "outside of the box," and ultimately grasp key concepts from the text by "doing" rather than simply studying.
Fun activities are a great way to keep students interested and engaged while still providing a deeper understanding of Tripmaster Monkey: His Fake Book and its themes. Students should have a full understanding of the unit material in order to answer these questions. They often include multiple parts of the work and ask for a thorough analysis of the overall text.
Tripmaster Monkey: His Fake Book Lesson Plans for Teachers | boyvenbakace.cf
They nearly always require a substantial response. Essay responses are typically expected to be one or more page s and consist of multiple paragraphs, although it is possible to write answers more briefly. These essays are designed to challenge a student's understanding of the broad points in a work, interactions among the characters, and main points and themes of the text. But, they also cover many of the other issues specific to the work and to the world today. The 60 Short Essay Questions listed in this section require a one to two sentence answer. They ask students to demonstrate a deeper understanding of Tripmaster Monkey: His Fake Book by describing what they've read, rather than just recalling it.
The short essay questions evaluate not only whether students have read the material, but also how well they understand and can apply it. They require more thought than multiple choice questions, but are shorter than the essay questions.
Tripmaster Monkey: His Fake Book
Use these questions for quizzes, homework assignments or tests. The questions are broken out into sections, so they focus on specific chapters within Tripmaster Monkey: His Fake Book. This allows you to test and review the book as you proceed through the unit. Typically, there are questions per chapter, act or section. Use the Oral Reading Evaluation Form when students are reading aloud in class. Pass the forms out before you assign reading, so students will know what to expect. On the one hand, ambiguity invites unprecedented freedom of expression and interpretation, which lends to the printed words the immediacy of orality.
Bonnie TuSmith explains that for Kingston ambiguity is "the creative compromise of a literate mind conveying the improvisational immediacy of oral cul-. Minh-ha vividly puts it, "Blanks, lapses, and silences. On the other hand, although gaps allow freedom and interplay and invite reader involvement, they also challenge the reader to step into the gap rather than use the writer as an easy bridge to another culture or perspective.
I'm sick of filling in your gaps.
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Like Rushkin, all of the trickster authors in the present study demand to be met part way. Maxine Hong Kingston, for example, voices her frustrations with the "cultural mis-readings" of American reviewers of her work, finding it "sad and slow that I have to explain. If I use my limited time and words to explain, I will never get off the ground" "Cultural Mis-Readings" Like the paradoxical trickster figure, a between-world condition "carries both negative and positive charges" and can be both exhausting and exhilarating Ling One fully belongs nowhere, yet, as Nikki Giovanni has said, "Our alienation is our great strength.
Our strength is that we are not comfortable any place; therefore we're comfortable. We can go any place on earth and find a way to be comfortable" quoted in Ling In the novels of Erdrich, Kingston, and Morrison, the trickster is both "disembodied" in narrative form and a bodily presence in the novel. The trickster fuses the affirmative power of folklore with the subversive power of laughter and critique. On every level of the text, the trickster disrupts expectations, challenges the status quo, and at the same time reaffirms the values of community.
Through their "cunning crafting," Erdrich, Kingston, and Morrison create modern American tricksters, whose carnival laughter and scathing critiques challenge racial and gender stereotypes yet attest to the enduring strength of their cultural communities. By creating a new mythos—that is, a change in the way we perceive reality.
Through a trickster aesthetic, the narratives of Kingston, Erdrich, and Morrison engage readers in active dialogue with the texts' multiple perspectives, engendering a broader sense of the "real" and suggesting a mode for personal and cultural survival. Though a trickster perspective is perhaps most accessible to women of color, who cross and recross gender, race, and class. In an influential study of women's moral development, Carol Gilligan argues that women's socially learned "sensitivity to the needs of others and the assumption of responsibility for taking care lead women to attend to voices other than their own and to include in their judgment other points of view" Although Gilligan's study is necessarily limited in its acknowledged disregard for historical, social, or cultural variables, it has important implications for any culture in which women are the primary caretakers.
Women's sense of self, Gilligan suggests, is informed by a weblike conception of relationship; self and other are "different but connected rather than. Paula Gunn Allen seconds this view with her discussion of the "self-in-relation," asserting that "to read women's texts with any accuracy, we need a theory that places the twin concepts of I and thou securely within the interconnected matrix of all and everything" "'Border' Studies" It is important to stress that connectedness, sensitivity, and receptiveness, often assumed to be "natural" in women, are fundamentally asexual traits, which we might more appropriately associate with the trickster's androgynous openness to others.
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Many critics are quick to point out the vast differences in the histories, goals, and interests of white feminists and African American, Native American, Chicana, and Asian American femi-. As a white feminist critic, I have an interest in Erdrich, Morrison, and Kingston that grows out of a conviction like that of bell hooks, who states: "Every woman can stand in political opposition to sexist, racist, heterosexist, and classist oppression.
Women must learn to accept responsibility for fighting oppressions that may not directly affect us as individuals. When we show our concern for the collective, we strengthen our solidarity" Feminist Theory 61— As the borders between cultures become paradoxically both easier to cross and more sharply delineated, tricksters will remain important figures "in the American grain" Ellison It makes sense to look to women of color, whose lives cross so many borders, for the best models of trickster strategy.
There is an exhilaration in being a participant in the further evolution of humankind" preface ix. Each of the three authors considered here centers at least one of her novels on a trickster character: Kingston's Tripmaster Monkey , Erdrich's Tracks , and Morrison's Tar Baby. But trickster energy inspires all of their work. Because they draw on such different traditions, I treat each author's work separately.
In The Woman War -. The Woman Warrior chronicles a young girl in trickster training, learning to cope with paradox from her trickster mother, Brave Orchid, who has lived "between worlds" in both China and America. China Men reclaims and creates Chinese American mythic history as a chronicle of trickster ancestors, who claim America through subterfuge, alias, and revolt. Kingston's concern with the trickster culminates in Tripmaster Monkey , which introduces Wittman Ah Sing, Berkeley beatnik and reincarnation of the Chinese Monkey King, as a model for personal and cultural identity.
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Louise Erdrich's four novels, connected by geography, history, and genealogy, invent a trickster cycle that challenges "traditional" American history and contemporary popular attitudes toward Native Americans. The evolving narrative forms of Love Medicine , Tracks , and The Bingo Palace express the history of a Chippewa community in trickster terms that, far from reinforcing stereotypes of a vanishing tribe, emphasize variety, vibrancy, and continuance. Erdrich creates feminist revisions of the trickster in Fleur and Lulu and, in The Beet Queen , critiques the fragility of trickster identity when it is not grounded in community and tradition.
Morrison's work shows a recurring preoccupation with female iconoclasts, wanderers, adventurers, and drifters.
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For her, the trickster offers a way to challenge traditional versions of African American female identity and imagine new alternatives. Sula , Song of Solomon , and Tar Baby expand on and refigure traditional African American tricksters and conjurers in ways that fundamentally question the strength of the social fabric. Whereas Sula exposes the challenges of a trickster positionality, Song of Solomon 's visionary Pilate suggests the trickster's energy and. Creator of worlds, epic bumbler, outrageous joker, expert transformer, consummate artist: the trickster lives in contemporary American literature, in all her myriad guises.
For upon those who live between two worlds was imposed a spurious and in the end ignoble choice. I rejected this diminution of the self. I shall be both. Han Suyin. They would chop me up into little fragments and tag each piece with a label. Only your labels split me. In her groundbreaking study on women writers of Chinese ancestry, Between Worlds , Amy Ling observes that "the feeling of being between worlds, totally at home nowhere," characterizes writing by Chinese American women. Because of the high value placed on feminine modesty and reticence in Chinese culture,.
Ling explains, a woman of Chinese ancestry who wants to publish in the United States "must be something of a rebel, for writing, an act of rebellion and self-assertion, runs counter to Confucian training. Also she has to possess two basic character traits: an indomitable will and an unshakeable self-confidence" The trickster Monkey, whose will, confidence, and outrageous rebellion disrupt heaven and win him battles with dragons and gods, inspires the crafting of Kingston's Woman Warrior , China Men , and Tripmaster Monkey.
In all of her works, the trickster embodies Kingston's vision of identity and of the transformative power of narrative. Although Kingston does not introduce an overt trickster character into her works until Tripmaster Monkey , the formal and thematic concerns of The Woman Warrior and China Men show signs of the trickster's influence. As a trickster text, The Woman Warrior encourages a sense of truth as multifaceted, both through the example of the trickster mother, Brave Orchid, and through a narrative that demands and plays on reader involvement.
Though much of the criticism of The Woman Warrior focuses on the difficulties created by competing and often contradictory allegiances,  such contradiction is not necessarily debilitating. Kingston's multivocal Woman Warrior redefines autobiography as a process of acknowledging and giving voice to contradictions and paradoxes within the self.
The trickster, whose identity is not stable but always shifting, who speaks in many languages and challenges preconceived notions, embodies this process. The trickster's androgynous, multivocal, polyvalent identity reconciles or encompasses the "agonizing contradictions" that split women writers by their allegiance to various groups Hunt In the spirit of the trickster, The Woman Warrior outrageously pokes holes in stereotypes and established hierarchies.
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The text uses trickster strategies both to challenge a stultifying patriarchy and to champion an ethnic Chinese American culture that, in the face of harsh discriminatory laws, has had to rely on trickster strategies for its continuity. It is "camouflage, subterfuge and surprise that enable. Kingston's autobiography incorporates memoir, novel, myth, fantasy, legend, and biography and thus not only challenges an Asian American male tradition but also rejects a view of the self as an isolated individual.
The author's remark that "I hope my writing has many layers, as human beings have layers," encourages us to read the self as composed of multiple stories "Cultural Mis-Readings" The Woman Warrior encompasses the voices and perspectives of the narrator's mother, her aunts, her sister, and her grandmother, as well as mythical forebears Fa Mu Lan and Ts'ai Yen, and thereby suggests a notion of identity that includes one's community and culture.
This relational view of identity calls for a fluid conception of autobiography as a form that creates and preserves community as well as individuality. She feels compelled to invent a new autobiographical form, she explains, because "we're always on the brink of disappearing. Our culture's disappearing and our communities are always disappearing" Fishkin Kingston's autobiography gives voice to the many women who have created community for her.
As a gathering of varied and often contradictory stories, The Woman Warrior explores a sense of truth that allows for paradox.