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New York Regents Comprehensive English January 2015

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DIRECTIONS FOR TEACHERS LISTENING SECTION COMPREHENSIVE EXAMINATION IN ENGLISH Monday, January 26, 2015 1:15 to 4:15 p.m., only BE SURE THAT THE LISTENING SECTION IS ADMINISTERED TO EVERY STUDENT. 1 Before the start of the examination period, say: Do not open the examination booklet until you are instructed to do so. 2 Distribute an answer sheet to each student. Then distribute one examination booklet, one essay booklet, and scrap paper to each student. 3 After each student has received an examination booklet, an essay booklet, scrap paper, and his or her answer sheet, say: A separate answer sheet has been provided for you. Follow the instructions for completing the student information on your answer sheet. You must also fill in the heading on each page of your essay booklet that has a space for it, and write your name at the top of each sheet of scrap paper. 4 After the students have filled in all headings on their essay booklets, say: You will listen to a passage and answer some multiple-choice questions. You will hear the passage twice. I will read the passage aloud to you once. Listen carefully. You may take notes on page 3 of your examination booklet. Then I will tell you to open your examination booklet to page 4. You will be given a chance to read the questions before the second reading. Then I will read the passage a second time. You may also take notes during the second reading or answer the questions. Now I will read the passage aloud to you for the first time. Open your examination booklet to page 3. 5 Note the time you start reading the listening passage. The three-hour examination starts now. Read both the introduction and the passage aloud, including the attribution at the end. Read with appropriate expression, but without added comment. Listening Passage The following passage is from a book entitled Physics of the Impossible by Michio Kaku, published in 2008. In this excerpt, Dr. Kaku discusses his fascination with science. One day, would it be possible to walk through walls? To build starships that can travel faster than the speed of light? To read other people s minds? To become invisible? To move objects with the power of our minds? To transport our bodies instantly through outer space? Since I was a child, I ve always been fascinated by these questions. Like many physicists, when I was growing up, I was mesmerized by the possibility of time travel, ray guns, force fields, parallel universes, and the like. Magic, fantasy, science fiction were all a gigantic playground for my imagination. They began my lifelong love affair with the impossible. I remember watching the old Flash Gordon reruns on TV. Every Saturday, I was glued to the TV set, marveling at the adventures of Flash, Dr. Zarkov, and Dale Arden and their dazzling array of futuristic technology: the rocket ships, invisibility shields, ray guns, and cities in the sky. I never missed a week. The program opened up an entirely new world for me. I was thrilled by the thought of one day rocketing to an alien planet and exploring its strange terrain. Being pulled into the orbit of these fantastic inventions I knew that my own destiny was somehow wrapped up with the marvels of the science that the show promised. I was just a child the day when Albert Einstein died, but I remember people talking about his life, and death, in hushed tones. The next day I saw in the newspapers a picture of his desk, with the unfinished manuscript of his greatest, unfinished work. I asked myself, What could be so important that the greatest scientist of our time could not finish it? The article claimed that Einstein had an impossible dream, a problem so difficult that it was not possible for a mortal to finish it. It took me years to find out what that manuscript was about: a grand, unifying theory of everything. His dream which consumed the last three decades of his life helped me to focus my own imagination. I wanted, in some small way, to be a part of the effort to complete Einstein s work, to unify the laws of physics into a single theory. As I grew older I began to realize that although Flash Gordon was the hero and always got the girl, it was the scientist who actually made the TV series work. Without Dr. Zarkov, there would be no rocket ship, no trips to Mongo, no saving Earth. Heroics aside, without science there is no science fiction. I came to realize that these tales were simply impossible in terms of the science involved, just flights of the imagination. Growing up meant putting away such fantasy. In real life, I was told, one had to abandon the impossible and embrace the practical. However, I concluded that if I was to continue my fascination with the impossible, the key was through the realm of physics. Without a solid background in advanced physics, I would be forever speculating about futuristic technologies without understanding whether or not they were possible. I realized I needed to immerse myself in advanced mathematics and learn theoretical physics. So that is what I did. In high school for my science fair project I assembled an atom smasher in my mom s garage. I went to the Westinghouse company and gathered 400 pounds of scrap transformer steel. Over Christmas I wound 22 miles of copper wire on the high school football field. Eventually I built a 2.3-million-electron-volt betatron particle accelerator, which consumed 6 kilowatts of power (the entire output of my house) and generated a magnetic field of 20,000 times the Earth s magnetic field. The goal was to generate a beam of gamma rays powerful enough to create antimatter. [2] My science fair project took me to the National Science Fair and eventually fulfilled my dream, winning a scholarship to Harvard, where I could finally pursue my goal of becoming a theoretical physicist and follow in the footsteps of my role model, Albert Einstein. In my own research I focus professionally on trying to complete Einstein s dream of a theory of everything. Personally, I find it quite exhilarating to work on a final theory that may ultimately answer some of the most difficult impossible questions in science today, such as whether time travel is possible, what lies at the center of a black hole, or what happened before the big bang. I still daydream about my lifelong love affair with the impossible, and wonder when and if some of these impossibilities might enter the ranks of the everyday. excerpted from Physics of the Impossible, 2008 Doubleday 6 After reading the passage aloud once, say: You may take five minutes to read the questions on page 4 of your test booklet before I read the passage aloud the second time. 7 After the students have had five minutes to read the questions, say: As you listen to the second reading, you may take notes or answer the questions. You will be given an opportunity to complete the questions after the second reading. Now I will read the passage aloud a second time. 8 Read both the introduction and the passage a second time. 9 After the second reading, say: Now turn to page 4 of your test booklet, read the directions and answer the multiple-choice questions. You may look over your notes to answer the questions. [3] Printed on Recycled Paper COMPREHENSIVE ENGLISH The University of the State of New York REGENTS HIGH SCHOOL EXAMINATION COMPREHENSIVE EXAMINATION IN ENGLISH Monday, January 26, 2015 1:15 to 4:15 p.m., only The possession or use of any communications device is strictly prohibited when taking this examination. If you have or use any communications device, no matter how briefly, your examination will be invalidated and no score will be calculated for you. A separate answer sheet has been provided for you. Follow the instructions for completing the student information on your answer sheet. You must also fill in the heading on each page of your essay booklet that has a space for it, and write your name at the top of each sheet of scrap paper. The examination has four parts. Part 1 tests listening skills; you are to answer all eight multiple-choice questions. For Part 2, you are to answer all twelve multiple-choice questions. For Part 3, you are to answer all five multiple-choice questions and the two short constructed-response questions. For Part 4, you are to write one essay response. The two short constructed-response questions and the essay response should be written in pen. When you have completed the examination, you must sign the statement printed at the bottom of the front of the answer sheet, indicating that you had no unlawful knowledge of the questions or answers prior to the examination and that you have neither given nor received assistance in answering any of the questions during the examination. Your answer sheet cannot be accepted if you fail to sign this declaration. DO NOT OPEN THIS EXAMINATION BOOKLET UNTIL THE SIGNAL IS GIVEN. COMPREHENSIVE ENGLISH Comp. Eng. Jan. 15 [2] NOTES DO NOT TURN THIS PAGE UNTIL YOU ARE TOLD TO DO SO. Comp. Eng. Jan. 15 [3] [OVER] Part 1 (Questions 1 8) Multiple-Choice Questions Directions (1 8): Use your notes to answer the following questions about the passage read to you. Select the best suggested answer to each question and record your answer on the separate answer sheet provided for you. 1 The account begins with a (1) series of specific statements (2) persuasive argument (3) series of rhetorical questions (4) chronological list 5 The speaker s high school science project was a (1) gamma ray beam generator (2) presentation to Westinghouse (3) science fiction short story (4) wire replica of the football field 2 Albert Einstein s unfinished manuscript influenced the speaker to (1) write for a local newspaper (2) disprove Einstein s laws of physics (3) build larger experimental models (4) investigate Einstein s studies 6 The assembly of the speaker s atom smasher partly depended on (1) financial backing (2) teacher collaboration (3) student teamwork (4) discarded materials 3 When the speaker was told one had to abandon the impossible and embrace the practical, people meant that he should (1) become kinder (3) stop dreaming (2) get an education (4) get a laptop 7 What allowed the speaker to fulfill his dream? (1) receiving an athletic award (2) completing his high school education (3) winning a college scholarship (4) heading an important space project 4 The speaker believed that the only way to challenge himself was to (1) explore space independently (2) study physics and mathematics (3) invent new technology (4) create research facilities 8 The speaker concludes that his research into the impossible questions in science today leaves him feeling (1) confused (3) exhausted (2) excited (4) distinguished Comp. Eng. Jan. 15 [4] Part 2 (Questions 9 20) Directions (9 20): Below each passage, there are several multiple-choice questions. Select the best suggested answer to each question and record your answer on the separate answer sheet provided for you. Reading Comprehension Passage A 5 10 15 20 25 30 35 40 In all years and all seasons, The Bridge was there. We could see it from the roof of the tenement where we lived, the stone towers rising below us from the foreshortened streets of downtown Brooklyn. We saw it in newspapers and at the movies and on the covers of books, part of the signature of the place where we lived. Sometimes, on summer afternoons during World War II, my mother would gather me and my brother Tom and my sister, Kathleen, and we d set out on the most glorious of walks. We walked for miles, leaving behind the green of Prospect Park, passing factories and warehouses and strange neighborhoods, crossing a hundred streets and a dozen avenues, seeing the streets turn green again as we entered Brooklyn Heights, pushing on, beaded with sweat, legs rubbery, until, amazingly, looming abruptly in front of us, stone and steel and indifferent, was The Bridge. It was the first man-made thing that I knew was beautiful. We could walk across it, gazing up at the great arc of the cables. We could hear the sustained eerie musical note they made when combed by the wind (and augmented since by the hum of automobile tires), and we envied the gulls that played at the top of those arches. The arches were Gothic, and provided a sense of awe that was quite religious. And awe infused the view of the great harbor, a view my mother embellished by describing to us the ships that had brought her and so many other immigrants to America the Irish and the Italians and the Jews, the Germans, the Poles, and the Swedes, all of them crowding the decks, straining to see their newfound land. What they saw first was the Statue of Liberty, and the skyline, and The Bridge. The Brooklyn Bridge. There was a long time in my life when I didn t see much of The Bridge, except from the roof or the back window. The reason was simple: Trolleys were replaced by automobiles, and nobody I knew in our neighborhood owned a car. But then when I was sixteen, I got a job in the Brooklyn Navy Yard as a sheet-metal worker, and at lunchtime we would wander out along the cobblestone streets beside the dry docks, and from there we could look up at The Bridge. Now the cats that built that, a black welder named Fred Thompson said to me one day, they knew what they were doin . They certainly did. As I grew older, I came increasingly to see The Bridge as a monument to craft. It was New York s supreme example of the Well-Made Thing. All around us in the sixties, the standards of craft eroded. As aestheticians1 proclaimed the virtues of the spontaneous, or exalted the bold gesture, or condemned form as an artistic straitjacket, I would cross The Bridge and wonder what they could mean. More than twenty men were killed in the construction of this thing, and others were ruined for life by accidents and disease suffered in its service. To those men, carelessness meant death, not simply for themselves, but for the human beings who would use what they were making. So they had no choice: They had to make it to last. And in doing so, in caring about detail and function and strength, they saw craft triumph into art. Of course, it is the nature of all bridges that they travel in two directions. I know dozens of people who traveled west on The Bridge, wandered the world, and then made the long, wide circle home to Brooklyn. I don t know anybody who ever did that from the Bronx. 1 aestheticians specialists in the nature of beauty Comp. Eng. Jan. 15 [5] [OVER] From the Manhattan shore, The Bridge still seems to whisper: Come, travel across me. It s only 1,562 feet across the river, and over here, and beyond, lies Oz, or Camelot, or Yoknapatawpha County. 2 And from the Brooklyn side it speaks in plain, bourgeois3 tones, 45 with a plain, simple message: Come home. Pete Hamill excerpted from Bridge of Dreams New York Magazine, May 30, 1983 2 Oz, Camelot, Yoknapatawpha County fictional places bourgeois middle class 3 9 By referring to the Brooklyn Bridge as The Bridge, the narrator communicates his (1) respect (3) arrogance (2) disdain (4) understanding 13 The phrases monument to craft (line 30) and Well-Made Thing (line 30) are most closely related to which other phrase from the passage? (1) proclaimed the virtues of the spontaneous (lines 31 and 32) (2) condemned form as an artistic straitjacket (lines 32 and 33) (3) To those men, carelessness meant death (line 35) (4) caring about detail and function and strength (lines 37 and 38) 10 The imagery used in lines 12 through 15 appeals to the reader s sense of (1) touch and sound (3) sight and sound (2) smell and taste (4) sight and smell 11 The narrator enriches the historical significance of The Bridge by referring to (1) immigration experiences (2) construction materials (3) musical notations (4) political consequences 14 According to the narrator, in addition to offering opportunities, The Bridge will (1) be maintenance free (2) be a tourist attraction (3) bring a traveler home (4) provide military security 12 Which phrase from the passage best signals that time has elapsed? (1) I didn t see much of The Bridge (line 22) (2) But then when I was sixteen (line 24) (3) at lunchtime we would wander (line 25) (4) from there we could look up at The Bridge (lines 26 and 27) Comp. Eng. Jan. 15 [6] Reading Comprehension Passage B 5 10 15 20 25 30 35 40 45 The common raven (Corvus corax) holds a special fascination for bird lovers because of its complex, even baffling behaviors and its aura of mystery which are revealed in fact and embellished in legend. This denizen1 of northern latitudes and high altitude is North America s largest passerine, or perching bird, and a relative of the crow. With a length of 24-26 inches and a wingspan in excess of four feet, this iridescent black bird presents an imposing sight especially when it skillfully executes hawk-like flight motions during courtship displays and while guarding its nest. The raven, you see, is a bit of an aerial acrobat and seems to fly for the sheer joy of it. Rolls, somersaults and even level flight upside-down may be the most spectacular behaviors the casual birder will be able to observe. Because both birds are large, black, and similarly shaped, it can be hard to tell the common raven from the American crow (Corvus brachyrhynchos). In addition to being somewhat larger, ravens have a heavier beak with a decided Roman nose appearance. They also have shaggy throat feathers, called hackles, which can be slicked down or fluffed out, apparently to aid communication. In flight, their rounded, wedge-shaped tails and feathers resemble extended fingers near the ends of their wings. The raven is both predator and scavenger. Although omnivorous, most of its diet is animal matter, including insects, lizards, frogs, rodents and the eggs and young of other birds. In addition, it regularly dines on carrion2 and garbage. The raven s sometimes inexplicable and genuinely annoying habits they ve been known to harass livestock and pets, pilfer golf balls and peck holes in the skins of unattended light airplanes led to human reactions that thinned its ranks, particularly in the Northeast. This bird has made a remarkable comeback in the last few decades, however, partly due to its ability to take advantage of the presence of people. The raven can survive everything from arctic to desert conditions, often aided, ironically, by garbage dumps and other artifacts of human settlement. Raven pairs stay together throughout the breeding season and usually bond for life. Courtship displays generally begin in February, just before breeding. Pairs often return to previous nesting areas and begin a spectacular aerial courtship ritual. They perform unison flight maneuvers, sometimes circling their chosen nest site with wingtips nearly touching. Occasionally, the male takes steep, sudden dives or tumbles in mid-air. Feather-preening seems to be a common activity while earthbound. Ravens prefer remote, forested areas with tall coniferous trees or rocky ledges where they can build nests and catch air currents that loft them into soaring flights. They also nest on rugged seacoasts and forested marine islands, as are found off the coast of Maine. Nests tend to be built in solitary places, typically miles from other raven nests. Sometimes, new nests are built atop old ones, although nesting pairs may alternate among two or more sites in the same nesting area from year to year. In this way, the best nesting areas can be used for 100 years or more. Many a researcher has discovered firsthand the cunning ways of the raven. Generally acknowledged to be among the most intelligent of birds, ravens display a seeming social awareness, even with other species, and surprising problem-solving abilities. Accounts abound of ravens closely following large predators such as wolves or coyotes, and of sharing, unmolested, in their kills once the carnivores opened the carcasses. Although this could be seen as just opportunistic feeding, the easy relationship between the species seems to hint at something more substantial. 1 denizen inhabitant carrion dead flesh 2 Comp. Eng. Jan. 15 [7] [OVER] Inuit3 hunting traditions advise watching where ravens circle and dip their wings as a sure tipoff to the location of game. Some speculate that ravens actually use their aerial vantage points to guide larger, stronger predators to prey, which they then share. Brian W. Swinn excerpted from Mystery on the Wing: Life and Lore of the Common Raven New York State Conservationist, December 2005 3 Inuit Native people of northern North America and Greenland 15 The introduction suggests that the appeal of the raven is based on (1) range of habitat (2) tolerance of humans (3) mannerisms and reputation (4) size and appearance 19 According to the passage, a possible sign of ravens intelligence is their ability to (1) protect their young from predators (2) lead other animals to prey (3) migrate long distances (4) imitate human voices 16 Commas are used in line 5 to indicate a (1) series (3) question (2) definition (4) summary 20 The passage as a whole reveals the author s attitude toward ravens to be one of (1) indifference (3) distrust (2) amusement (4) admiration 17 According to lines 14 and 15, a raven s hackles help it to (1) send messages (3) fly long distances (2) attract a mate (4) locate prey 18 The author s statements that Raven pairs bond for life (line 27) and nesting areas can be used for 100 years or more (lines 38 and 39) suggest that ravens have (1) various environments (3) predictable habits (2) fear of people (4) camouflage ability Comp. Eng. Jan. 15 [8] Part 3 (Questions 21 27) Directions: On the following pages read Passage I (an excerpt from an autobiography) and Passage II (a poem) about traditions. You may use the margins to take notes as you read. Answer the multiple-choice questions on the answer sheet provided for you. Then write your response for question 26 on page 1 of your essay booklet and question 27 on page 2 of your essay booklet. Passage I 5 10 15 20 25 30 35 I believe that the Japanese word for wife literally means honorable person remaining within, says my mother. During the nineteen twenties, when I was a child in Japan, my seventeen-year-old cousin married into a wealthy family. Before her marriage, I would watch as she tripped gracefully through the village on her way to flower arrangement class. Kimono faintly rustling. Head bent in modesty. She was the most beautiful woman I had ever seen. After her marriage, she disappeared within her husband s house. She was not seen walking through the village again. Instead, she would send the clear, plucked notes of her okoto her honorable Japanese harp to scale the high courtyard wall. I used to pause to listen. In late spring, showers of petals from swollen cherry blossoms within her courtyard would rain onto the pavement. I would breathe the fragrant air and imagine her kneeling at her okoto, alone in a serene shadowy room. It seemed so romantic, I could hardly bear it. My mother laughs and shakes her head at her childhood excess. After a moment she speaks. Courtyard walls, built to keep typhoons out, also marked the boundaries of a well-bred wife. Because of this, in other ways, the Japanese always have taught their daughters to soar. And you? When I was eleven years old, my father gave me okoto. During the 1950s, in our four-room flat on the south side of Albany, New York, my mother would play her okoto. Sometimes on Sunday afternoons when the jubilant gospel singing had faded from the AME Zion Church across the alley, my mother would kneel over a long body of gleaming wood, like a physician intent on reviving a beautiful patient, and pinch eerie evocative1 chords from the trembling strings of her okoto. Misa-chan, Yuri-chan, she would call to my sister and me, would you like to try? Hai, Okaa-chan yes sweet honorable mother we would murmur, as if stirred from a trance. I was a motherless child, says Okaa-chan, when I have grown to adolescence. My father gave me okoto to teach me to cherish my womanhood. Your womanhood? My mother plucks a chord in demonstration. The notes are delicate yet there is resonance. Listen. You will learn about timelessness and strength. Listen. You will understand how, despite sorrow, heart and spirit can fly. An American daughter, I cannot understand the teachings of my mother s okoto. Instead, I listen to the music of her words. A formal, family photograph is the only memento my mother has of her mother. In 1919, an immigrant family poses in a Los Angeles studio and waits for a moment to be captured that will document success and confidence in America; a moment that can be sent to anxious relatives in Japan. A chubby infant, pop-eyed with curiosity, my mother sits squirming on her father s lap. My forty-five-year-old grandfather levels a patrician2 stare into the camera. By his side, wearing matching sailor suits, his sons aged three and five 1 evocative calling forth patrician aristocratic 2 Comp. Eng. Jan. 15 [9] [OVER] 40 45 stand self-conscious with pride and excitement. My grandmother stands behind her husband s chair. In her early twenties, she owns a subdued prettiness and an even gaze. My seven-year-old aunt is not in the picture. She has been sent to Japan to be raised as a proper ojo-san the fine daughter of a distinguished family. Within the next year, her mother, brothers, and baby sister will join her. Five years later, my grandmother will be banished from the family. The circumstances of her banishment will remain a family secret for over forty years. Lydia Yuri Minatoya excerpted and adapted from My Mother s Music Talking to High Monks in the Snow: An Asian American Odyssey, 1992 HarperCollins Comp. Eng. Jan. 15 [10] Passage II Chain Saw The trunk s roped to fall back into the woods and not toward the house. They take the top first, dismantling the great ladder, no limbs cracking, nothing falling, but lowered by cables then chipped and sprayed back into the woods. They leave the stump. Soon ferns will grow there in the duff.1 As far as I know, cousin Sam was the last to climb it, in the early sixties he d have been ten or twelve. He reached the spot my father did at the same age: strong fork, last reliable seat, the family seat, white pine a century old, the height of the dominion,2 staying up there for a while in medicinal air, overlooking Gran s roof, the apple trees, the car, the relatives gathering in the reddening day, the hour of nostalgia, the alpenglow.3 Sam saw the scar of his initials, and the date. 5 10 15 20 25 30 Chase Twichell Dog Language, 2005 Copper Canyon Press ____________________ 1 duff the partly decayed organic matter on the forest floor dominion territory or sphere of influence 3 alpenglow light seen near sunrise or sunset on the summits of mountains 2 Comp. Eng. Jan. 15 [11] [OVER] Multiple-Choice Questions Directions (21 25): Select the best suggested answer to each question and record your answer on the separate answer sheet provided for you. Passage I (the autobiography excerpt) Questions 21 23 refer to Passage I. Passage II (the poem) Questions 24 25 refer to Passage II. 21 In line 14 the word this refers to a (1) danger (3) dream (2) custom (4) melody 24 The purpose of lines 1 through 3 is to (1) establish the situation (2) introduce the characters (3) signal a contrast (4) present a conflict 22 The mother tells the story in the first paragraph in order to (1) defend her family (2) revise her memory (3) explain her culture (4) distract her children 25 In line 22, the height of the dominion could only be achieved by (1) earning personal wealth (2) accomplishing a dangerous feat (3) inheriting family property (4) gaining a grandparent s approval 23 According to lines 26 through 31, the narrator s mother was taught self-reliance by (1) remaining close to her mother (2) participating in family decisions (3) retaining her father s inheritance (4) learning to play an instrument Comp. Eng. Jan. 15 [12] Short-Response Questions Directions (26 27): Write your responses to question 26 on page 1 of your essay booklet and question 27 on page 2 of your essay booklet. Be sure to answer both questions. 26 Write a well-developed paragraph in which you use ideas from both Passage I (the autobiography excerpt) and Passage II (the poem) to establish a controlling idea about traditions. Develop your controlling idea using specific examples and details from both Passage I and Passage II. 27 Choose a specific literary element (e.g., theme, characterization, structure, point of view, etc.) or literary technique (e.g., symbolism, irony, figurative language, etc.) used by one of the authors. Using specific details from either Passage I (the autobiography excerpt) or Passage II (the poem), in a well-developed paragraph, show how the author uses that element or technique to develop the passage. Comp. Eng. Jan. 15 [13] [OVER] Part 4 (Question 28) Your Task: Write a critical essay in which you discuss two works of literature you have read from the particular perspective of the statement that is provided for you in the Critical Lens. In your essay, provide a valid interpretation of the statement, agree or disagree with the statement as you have interpreted it, and support your opinion using specific references to appropriate literary elements from the two works. You may use scrap paper to plan your response. Write your essay beginning on page 3 of the essay booklet. Critical Lens: the most constructive way of resolving conflicts is to avoid them. Felix Frankfurter Cases Adjudged in the Supreme Court at October Term, 1952 Guidelines: Be sure to Provide a valid interpretation of the critical lens that clearly establishes the criteria for analysis Indicate whether you agree or disagree with the statement as you have interpreted it Choose two works you have read that you believe best support your opinion Use the criteria suggested by the critical lens to analyze the works you have chosen Avoid plot summary. Instead, use specific references to appropriate literary elements (for example: theme, characterization, setting, point of view) to develop your analysis Organize your ideas in a unified and coherent manner Specify the titles and authors of the literature you choose Follow the conventions of standard written English Comp. Eng. Jan. 15 [14] COMPREHENSIVE ENGLISH Printed on Recycled Paper COMPREHENSIVE ENGLISH FOR TEACHERS ONLY The University of the State of New York REGENTS HIGH SCHOOL EXAMINATION ENGLISH E Monday, January 26, 2015 1:15 to 4:15 p.m., only SCORING KEY AND RATING GUIDE Mechanics of Rating Updated information regarding the rating of this examination may be posted on the New York State Education Department s web site during the rating period. Check this web site at http://www.p12.nysed.gov/assessment/ and select the link Scoring Information for any recently posted information regarding this examination. This site should be checked before the rating process for this examination begins and several times throughout the Regents Examination period. The following procedures are to be used for rating papers in the Regents Comprehensive Examination in English. More detailed directions for the organization of the rating process and procedures for rating the examination are included in the Information Booklet for Scoring the Regents Comprehensive Examination in English. Scoring the Multiple-Choice Questions For this exam all schools must use uniform scannable answer sheets provided by the regional information center or large-city scanning center. The scoring key for this exam is provided below. If the student s responses for the multiple-choice questions are being hand scored prior to being scanned, the scorer must be careful not to make any marks on the answer sheet except to record the scores in the designated score boxes. Marks elsewhere on the answer sheet will interfere with the accuracy of the scanning. Before scannable answer sheets are machine scored, several samples must be both machine and manually scored to ensure the accuracy of the machine-scoring process. All discrepancies must be resolved before student answer sheets are machine scored. When machine scoring is completed, a sample of the scored answer sheets must be scored manually to verify the accuracy of the machine-scoring process. Correct Answers Part 2 Part 1 Part 3 1 ......3...... 9 ......1...... 15 . . . . . . 3 . . . . . . 21 . . . . . . 2 . . . . . . 2 ......4...... 10 . . . . . . 3 . . . . . . 16 . . . . . . 2 . . . . . . 22 . . . . . . 3 . . . . . . 3 ......3...... 11 . . . . . . 1 . . . . . . 17 . . . . . . 1 . . . . . . 23 . . . . . . 4 . . . . . . 4 ......2...... 12 . . . . . . 2 . . . . . . 18 . . . . . . 3 . . . . . . 24 . . . . . . 1 . . . . . . 5 ......1...... 13 . . . . . . 4 . . . . . . 19 . . . . . . 2 . . . . . . 25 . . . . . . 2 . . . . . . 6 ......4...... 14 . . . . . . 3 . . . . . . 20 . . . . . . 4 . . . . . . 7 ......3...... 8 ......2...... The University of the State of New York THE STATE EDUCATION DEPARTMENT Albany, New York 12234 COMPREHENSIVE ENGLISH Rating of Short-Constructed Responses and Essay (1) In training raters to score student responses for each part of the examination, follow the procedures outlined below: Introduction to the Tasks Raters read the task and summarize it. Raters read the passages (if applicable) and plan a response to the task. Raters share response plans and summarize expectations for student responses. Introduction to the Rubric and Anchor Papers Trainer reviews rubric with reference to the task. Trainer reviews procedures for assigning holistic scores (i.e., by matching evidence from the response to the language of the rubric and by weighing all qualities equally). Trainer leads review of each anchor paper and commentary. (Note: Anchor papers are ordered from high to low within each score level.) Practice Scoring Individually Raters score a set of five practice papers individually. Raters should score the five papers independently without looking at the scores provided after the five papers. Trainer records scores and leads discussion until raters feel comfortable enough to move on to actual scoring. (Practice papers for Questions 26 and 27 contain scores and commentaries. Practice papers for Question 28 only contain scores.) (2) When actual rating begins, each rater should record his or her individual rating for a student s shortconstructed responses and essay on the rating sheets provided, not directly on the student s essay or answer sheet. Do not correct the student s work by making insertions or changes of any kind. (3) The 2-credit short responses are to be rated by one qualified rater. Each essay must be rated by at least two raters; a third rater will be necessary to resolve scores that differ by more than one point. Teachers may not score their own students answer papers. The scoring coordinator will be responsible for coordinating the movement of papers, calculating a final score for each student s essay, and recording that information on the student s answer paper. Schools are not permitted to rescore any of the open-ended questions on any Regents Exam after each question has been rated the required number of times as specified in the rating guide, regardless of the final exam score. Schools are required to ensure that the raw scores have been added correctly and that the resulting scale score has been determined accurately. Comp. Eng. Rating Guide Jan. 15 [2] Question 26 (used for 2-credit responses that refer to two texts) Score Point 2 presents a well-developed paragraph demonstrates a basic understanding of the texts establishes an appropriate controlling idea supports the controlling idea with clear and appropriate details from both texts uses language that is appropriate may exhibit errors in conventions that do not hinder comprehension Score Point 1 has a controlling idea or implies a controlling idea or has an unclear controlling idea AND supports the controlling idea with partial and/or overly general information from the texts uses language that may be imprecise or inappropriate exhibits errors in conventions that may hinder comprehension Score Point 0 is off topic, incoherent, a copy of the task/texts, or blank demonstrates no understanding of the task/texts is a personal response Comp. Eng. Rating Guide Jan. 15 [3] Anchor Paper Question 26 Level 2 A Anchor Level 2 A The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea (Although traditions are important in life, it is inevitable that they will fade) is supported with clear and appropriate details from both texts (The mother plays a traditional instrument, the okoto; this instrument is of great importance to her and her culture; her American daughter is unable to understand the tradition and the tree is being cut down; less people scaled that tree and the tradition was lost). Language use is appropriate, and errors in conventions do not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [4] Anchor Paper Question 26 Level 2 B Anchor Level 2 B The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea (As time goes on and the world changes, sometimes century old tradions get thrown in the dark, put on the way side for more modern needs) is supported with clear and appropriate details from both texts (the age old tradition of raising a young girl to become a wife and let her express her soul through the okoto; now the melodies are heard as just that; they cut down the tree that, for many years, had been climbed by young boys to prove they were now young men). Language use is appropriate, and errors in conventions (century old tradions, way side, age old tradition, lost and) do not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [5] Anchor Paper Question 26 Level 1 A Anchor Level 1 A The response has a controlling idea (Traditions are kept but they all dont last forever), supported with partial information from the texts (through the whole family all the women knew how to play the Okoto and the tree was like a influential object that lasted for years). Language use is sometimes imprecise (after was cut down and had many moments on), and errors in conventions (dont, passad, times the women, a influential object, down this) may hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [6] Anchor Paper Question 26 Level 1 B Anchor Level 1 B The response has a controlling idea (In some familys tradition means a lot), supported with partial and overly general information from the texts (the mom was explaning to her daughter about how they use to live and stuff and it was talking abot the ladder the dad use to use). Language use is often imprecise (based on traditional, and stuff, told them her childhood, how it passed down to generation, use it towards the house), and errors in conventions (they use to, abot, alway s) may hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [7] Anchor Paper Question 26 Level 0 Anchor Level 0 The response is a personal response, demonstrating no understanding of the task or texts. Comp. Eng. Rating Guide Jan. 15 [8] Question 26 Practice Paper A Comp. Eng. Rating Guide Jan. 15 [9] Question 26 Practice Paper B Comp. Eng. Rating Guide Jan. 15 [10] Question 26 Practice Paper C Comp. Eng. Rating Guide Jan. 15 [11] Question 26 Practice Paper D Comp. Eng. Rating Guide Jan. 15 [12] Question 26 Practice Paper E Comp. Eng. Rating Guide Jan. 15 [13] QUESTION 26 PRACTICE SET ANNOTATIONS Practice Paper A Score Level 1 The response has a controlling idea (Traditions Can mean a lot to a family), supported with partial information from the texts (In Japan women are concidered to be a well-bread wife if they remain inside the courtyard walls and The Tradition in passage II was climbing a tree). Language use is sometimes imprecise (this tradition is defentally effecting this womens life), and errors in conventions (importain; someones; walls.this; The Tradition) may hinder comprehension. Practice Paper B Score Level 2 The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea (Traditions, while grounding for some, eventually become obsolete, and lose their ability to comfort) is supported with clear and appropriate details from both texts (In passage I, the narrator s mother explains that learning the okoto teaches her of timelessness and strength ; the romantic okoto taught her to soar ; the narrator cannot understand the tradition of the okoto; the narrator of passage II is unable to participate in the tradition of watchng over the farm from the tree because it has to be cut down). Language use is appropriate, and errors in conventions (passage I; okoto as would teaches; which in turn allows; relic the tree) do not hinder comprehension. Practice Paper C Score Level 2 The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea (Traditions shape who you are supposed to be and Traditions do not only shape you, but sets up expectations for the subsequent generations) is supported with clear and appropriate details from both texts (she learns something within that tradition. In learning the okoto, a Japanese instrument, a wife learns to soar ; a Japanese wife learns to reach over and beyond the courtyard walls; it was a family tradition to climb this big tree and sit in the nook of the tree where precedent generations sat before). Language use is appropriate, and errors in conventions (Traditions do shape you, but sets up) do not hinder comprehension. Practice Paper D Score Level 0 The response demonstrates no understanding of the task or texts beyond copying part of the first sentence of Passage I. Practice Paper E Score Level 1 The response implies a controlling idea (Traditions are repeated generations after generations), supported with partial information from the texts (the narrators mother played okoto s and how she got a okoto from her father and it talks about how a tree is being cut down). Language use is sometimes imprecise (it talks about and she got a okoto), and errors in conventions (narrators, okoto s, down and) do not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [14] Question 27 (used for 2-credit responses that refer only to one text) Score Point 2 presents a well-developed paragraph provides an appropriate explanation of the literary element or technique chosen supports the explanation with clear and appropriate evidence from the text uses language that is appropriate may exhibit errors in conventions that do not hinder comprehension Score Point 1 provides an explanation of the literary element or technique or implies an explanation of the literary element or technique or has an unclear explanation of the literary element or technique AND supports the explanation with partial and/or overly general information from the text uses language that may be imprecise or inappropriate exhibits errors in conventions that may hinder comprehension Score Point 0 is off topic, incoherent, a copy of the task/text, or blank demonstrates no understanding of the task/text is a personal response Note: Since the question specifies choosing one of the authors, if the student responds using both passages, score the portion of the response that would give the student the higher score. Comp. Eng. Rating Guide Jan. 15 [15] Anchor Paper Question 27 Level 2 A Anchor Level 2 A The response presents a well-developed paragraph that provides an appropriate explanation of point of view in Passage I (This passage is told by a woman who recounts a memory about the okoto, a Japanese harp), supported with clear and appropriate evidence from the text (Her mother believed that The notes are delicate yet there is resonance and However, even though she does not understand the okoto, she respects it for all that it has done). Language use is appropriate, and an error in conventions (recieve) does not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [16] Anchor Paper Question 27 Level 2 B Anchor Level 2 B The response presents a well-developed paragraph that provides an appropriate explanation of imagery in Passage II (Imagery is the use of descriptive language to create a mental image of a place, thing, taste, or smell for the reader to better understand the meaning), supported with clear and appropriate evidence from the text (the first few lines create in image in the reader s mind of the falling tree and Gran s roof, the apple trees the alpenglow allows the reader to visualize the setting). Language use is appropriate, and errors in conventions (readers comprehesion, example the, create in image) do not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [17] Anchor Paper Question 27 Level 1 A Anchor Level 1 A The response implies an explanation of symbolism in Passage I (The okoto symbolizes more than just womenhood though), supported with partial and overly general information from the text (It also symbolizes romance and lonilyness and the narrator thinks the Okoto is romantic). Language use is sometimes imprecise (in that line he find that), and errors in conventions (alot of and lonilyness) do not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [18] Anchor Paper Question 27 Level 1 B Anchor Level 1 B The response provides an unclear explanation of theme in Passage II (The theme is show at the passage 2 like a traditions), supported by partial information from the text (the family climb in to the woods). Language use is imprecise (on passage 2, a example, like climb to the woods, person on your family), and errors in conventions (is show, traditions is, Sam climb, someone do, thats a traditions) may hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [19] Anchor Paper Question 27 Level 0 Anchor Level 0 The response demonstrates no understanding of the task or texts, simply referring to littery ellements such as lanuage. Comp. Eng. Rating Guide Jan. 15 [20] Question 27 Practice Paper A Comp. Eng. Rating Guide Jan. 15 [21] Question 27 Practice Paper B Comp. Eng. Rating Guide Jan. 15 [22] Question 27 Practice Paper C Comp. Eng. Rating Guide Jan. 15 [23] Question 27 Practice Paper D Comp. Eng. Rating Guide Jan. 15 [24] Question 27 Practice Paper E Comp. Eng. Rating Guide Jan. 15 [25] QUESTION 27 PRACTICE SET ANNOTATIONS Practice Paper A Score Level 2 The response presents a well-developed paragraph that provides an appropriate explanation of structure in Passage II (The reader was only able to come to the realization of how important the tree was to the family due to the shifting time structure), supported with clear and appropriate evidence from the text (the poem opens in the present day where it is evident that a tree is being cut down giving the reader a solid foundation for critically thinking about the rest of the poem and the author varies the reader s sense of time by transitioning to the past, where the poem speaks about a boy named Sam). Language use is appropriate, and errors in conventions (poem the and relations the) do not hinder comprehension. Practice Paper B Score Level 1 The response implies an explanation of setting in Passage I (The author used setting as a literary term by telling us where They came from and what They have done), supported with partial information from the text ( During The 1920 s, when I was a child in Japan, my seventeen-year-old cousin married into a wealthy family ). Language use is imprecise (literary term, They came, They have, This is), and errors in conventions do not hinder comprehension. Practice Paper C Score Level 0 The response demonstrates no understanding of the task or texts, beyond one vague reference to figurative language. Practice Paper D Score Level 1 The response implies an explanation of point of view in Passage II (The author of Chainsaw writes his or her poem in the point of view of his or her childhood self), supported with partial and overly general information from the text (The author describes the tree as he or her remembers it in childhood, but recollects on the tree as an Adult). Language use is imprecise (the tree as he or her remembers, recollects on the tree, as heirloom), and errors in conventions (in childhood, but; an Adult; signifigance; coquered) may hinder comprehension. Practice Paper E Score Level 2 The response presents a well-developed paragraph that provides an appropriate explanation of dialogue in Passage I (The excerpt of the autobiography is a conversation between the mother and her daughter), supported with clear and appropriate evidence from the text (Throughout the exchange the mother is able to recall specific details from childhood events and She remembers the sound that her cousin s okoto would make). Language use is appropriate, and an error in conventions (memories is) does not hinder comprehension. Comp. Eng. Rating Guide Jan. 15 [26]

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