This document is the property of the Arkansas Department of Education, and all rights of this document are
reserved by the Arkansas Department of Education. Arkansas public schools may reproduce this document in
full or in part for use with teachers, students, and parents. All other uses of this document are forbidden without
written permission from the Arkansas Department of Education. All inquiries should be sent to Dr. Gayle Potter
at the Arkansas Department of Education, 501-682-4558.
Arkansas Department of Education
Released Item
Booklet
Grade 11
Literacy Examination
March 2011 Administration
A TAAP
Arkansas Comprehensive Testing, Assessment, and Accountability Program
i
taBle of Contents – 2011 GRade 11 lIteRaCy
PAGE
PaRt I
Overview ....................................................................................................................................................... 1
Scoring Student Responses to Grade 11 Literacy Open-Response Items ..................................................... 2
PaRt II
Released test Items wIth CoRReCt ResPonses and RuBRICs ...................................................3–22
Released Reading Items ............................................................................................................................. 3
Released Writing Prompt ......................................................................................................................... 19
Released Writing Items ............................................................................................................................ 21
PaRt III
Item CoRRelatIon wIth CuRRICulum fRamewoRk ..................................................................23–27
The Arkansas English Language Arts Curriculum Framework – Reading Strand................................... 23
Released Items for Reading ..................................................................................................................... 24
Non-Released Items for Reading ............................................................................................................. 25
The Arkansas English Language Arts Curriculum Framework – Writing Strand .................................... 26
Released Items for Writing....................................................................................................................... 27
Non-Released Items for Writing .............................................................................................................. 27
1
The criterion-referenced tests implemented as part of the Arkansas Comprehensive Testing, Assessment, and
Accountability Program (ACTAAP) are being developed in response to Arkansas Legislative Act 35, which
requires the State Board of Education to develop a comprehensive testing program that includes assessment of
the challenging academic content standards dened by the Arkansas Curriculum Frameworks.
As part of this program, grade 11 students in Arkansas public schools participated in the Grade 11 Literacy
Examination in March 2011.
This Released Item Booklet for the Grade 11 Literacy Examination contains test questions or items that were
asked of students during the March 2011 operational administration. The test items included in Part II of this
booklet are those items that contributed to the student performance results for that administration.
Students were given approximately 2 hours and 45 minutes each day to complete assigned test sessions during
the two days of testing in March 2011. The reading and writing multiple-choice items within this booklet have
the correct response marked with an asterisk (*). The open-response questions for reading and the essay prompt
for writing are listed with scoring guides (rubrics) immediately following. These rubrics provide information on
the scoring model used for each subject, with the scoring model for writing dening the overall curricular and
instructional link for that subject with the Arkansas English Language Arts Curriculum Framework. The domain
scoring model, implemented within Arkansas for a number of years, illustrates the appropriate instructional
approaches for writing within the state.
The development of the Grade 11 Literacy Examination was based on the Arkansas Curriculum Frameworks.
These frameworks have distinct levels: Strands to be taught in concert, Content Standards within each Strand,
and Student Learning Expectations within each Content Standard. Abridged versions of the Arkansas English
Language Arts Curriculum Framework—Reading Strand and Arkansas English Language Arts Curriculum
Framework—Writing Strand can be found in Part III of this booklet. It is important to note that these abridged
versions list only the predominant Strand, Content Standard, and Student Learning Expectation associated with
each item. However, since many key concepts within the Arkansas English Language Arts Curriculum Framework
are interrelated, in many cases there are other item correlations or associations across Strands, Content Standards,
and Student Learning Expectations.
Part III of the Released Item Booklet also contains a tabular listing of the Strand, Content Standard, and Student
Learning Expectation that each question was designed to assess. The multiple-choice and open-response items
found on the Grade 11 Literacy Examination were developed in close association with the Arkansas education
community. Arkansas teachers participated as members of Content Advisory Committees for each subject area,
providing routine feedback and recommendations for all items. The number of items associated with specic
Strands, Content Standards, and Student Learning Expectations was based on approximate proportions suggested
by the Content Advisory Committees, and their recommendations were accommodated to the greatest extent
possible given the overall test design. Part III of the Released Item Booklet provides Arkansas educators with
specic information on how the Grade 11 Literacy Examination items align or correlate with the Arkansas
English Language Arts Curriculum Framework to provide models for classroom instruction.
PaRt I oveRvIew – 2011 GRade 11 lIteRaCy
2
PaRt I sCoRInG student ResPonses to GRade 11 lIteRaCy oPen-ResPonse Items
While multiple-choice items are scored by machine to determine if the student chose the correct answer from
four options, responses to open-response items must be scored by trained “readers” using a pre-established set
of scoring criteria.
The Arkansas Grade 11 Literacy Rangending Committee assisted in the development of the scoring criteria.
The committee comprises active Arkansas educators with expertise in English and/or language arts education.
Reader Training
Readers are trained to score only one content area. Qualied readers for Arkansas scoring will be those with a
four-year college degree in English, language arts, education, or related elds.
Before readers are allowed to begin assigning scores to any student responses, they go through intensive training.
The rst step in that training is for the readers to read the writing prompt or the reading passage and its open-
response item as it appeared in the test booklet and to respond—just as the student test takers are required to
do. This step gives the readers some insight into how the students might have responded. The next step is the
readers’ introduction to the scoring rubric. All of the specic requirements of the rubric are explained by the
Scoring Director who has been specically trained to lead the scoring group. Then responses (anchor papers)
that illustrate the score points of the rubric are presented to the readers and discussed. The goal of this discussion
is for the readers to understand why a particular response (or type of response) receives a particular score. After
discussion of the rubric and anchor papers, readers practice scoring sets of responses that have been pre-scored
and selected for use as training papers. Detailed discussion of the responses and the scores they receive follows.
After three or four of these practice sets, readers are given “qualifying rounds.” These are additional sets of
prescored papers, and, in order to qualify, each reader must score in exact agreement on at least 80% of the
responses and have no more than 5% non-adjacent agreement on the responses. Readers who do not score within
the required rate of agreement are not allowed to score the Grade 11 Literacy Examination responses.
Once scoring of the actual student responses begins, readers are monitored constantly throughout the project to
ensure that they are scoring according to the criteria. Daily and cumulative statistics are posted and analyzed,
and the Scoring Director or Team Leaders reread selected responses scored by the readers. These procedures
promote reliable and consistent scoring. Any reader who does not maintain an acceptable level of agreement is
dismissed from the project.
Scoring Procedures
All student responses to the Grade 11 Literacy Examination open-response test items are scored independently
by two readers. Those two scores are compared, and responses that receive scores that are non-adjacent (a “1”
and a “3,” for example) are scored a third time by a Team Leader or the Scoring Director for resolution.
3
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
The most unlikely hidden turning point of the
American Revolution was the treason of General
Benedict Arnold. After George Washington, Arnold
was the most admired American general. In a battle,
no one could react faster or attack more ercely than
this stocky argumentative soldier from Norwich,
Conn.
Arnold had been one of the rst to volunteer
to ght in 1775. He had helped capture vital Fort
Ticonderoga in northern New York. He took the
lead in the 1775 invasion of Canada. When the
Americans were forced to retreat in 1776, Arnold
built a eet and fought a larger British eet to a
standstill on Lake Champlain. This forced the
enemy to abandon its plan to seize northern New
York that year.
The next year, when the British invaded New
York, General Arnold was one of the battleeld
leaders in the crucial victory at Saratoga. As one
soldier who served under him said, with Arnold it
was never “Go, boys.” It was always “Follow me,
boys!” He risked death repeatedly, leading his men
from the front.
Arnold had suffered an agonizing leg wound
in an attack on Quebec in 1776. The same leg was
shattered again when he led a frontal assault during
the battle of Saratoga. The two wounds left him
barely able to walk.
A Reckless lifestyle
In the summer of 1778, Washington put Arnold
in command of the garrison in Philadelphia. There
Arnold was soon quarreling with several members
of the government of Pennsylvania.
A widower, Arnold had married beautiful
20-year-old Peggy Shippen, daughter of a prominent
Philadelphia family. Arnold rented a splendid
mansion and spent money recklessly to provide
Peggy with every luxury. The Pennsylvanians said
this lavish lifestyle offended many poor citizens.
Arnold dismissed their complaints.
Deeply in debt, Arnold began secretly
investing in private businesses and sometimes
used army wagons to transport goods. His critics
complained to Washington. Meanwhile, his wife
was telling him it was time to quit the American
side of the Revolution. Peggy Shippen was a secret
loyalist.
W
Ashington’s suppoRt
In May 1779, Arnold began a correspondence
with the British, using one of his wife’s loyalist
friends as a courier. The chief of British
intelligence, Major John Andre, had been friendly
with Peggy when the British occupied Philadelphia
from 1777 to 1778. Arnold asked Andre how much
the British would pay him to switch sides.
6103
The Traitor
by Thomas Fleming
Read this passage. Then answer multiple-choice questions 1 through 8 and open-response question A.
4
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
Washington, meanwhile, did his utmost to
defend Arnold against his civilian critics. Even
when a court-martial board found the general
guilty of making money as a businessman while
in uniform, Washington gave him the mildest of
reprimands.
Washington wanted Arnold to serve under him
as commander of the left wing of the Continental
Army. The French were shipping an army and eet
to America, and Washington hoped to take the
offensive against the British. But Arnold said his
wounded leg was still too weak. Instead, he asked
for command of the fortress of West Point, on the
Hudson River in New York.
Washington reluctantly agreed. He had no idea
Arnold was hoping to surrender this key bastion and
its garrison to the British for 20,000 pounds—the
equivalent of more than a million dollars today.
WheRe’s All the help?
In June 1780, a French army of 4,000 men
and an eight-ship eet arrived in Newport, R.I.
The Americans were disappointed. This force was
too small to have any serious impact. The war was
going badly for the Americans. The British had
scored major victories in the South.
Worsening matters was the way ination
had made the currency issued by the Continental
Congress almost useless. The $480-a-month salary
of a captain was worth a mere $13. This put a strain
on many men’s patriotism.
On Sept. 20, 1780, Washington conferred with
the French commander and his generals in Hartford,
Conn. The meeting was discouraging. The French
refused to budge even a mile from Newport and the
protection of their eet. They claimed that they were
supposed to receive reinforcements from France that
would make them strong enough to act. But no one
knew when these troops and warships would arrive.
On the way back to his headquarters,
Washington decided to visit General Arnold at
West Point. Perhaps he was still hoping to
persuade him to take a ghting command.
Washington sent an aide to tell Arnold when he
would arrive.
c
AptuRing
t
he
(W
Rong
) s
py
While Washington was conferring with the
French, Arnold was having intense conversations
with Major Andre at a loyalist’s house not far from
West Point. The traitor gave Andre a set of papers
containing the layout of the fortress, the size of the
garrison, the number and positions of its cannon
and everything else the British needed to know for a
swift conquest.
When Andre tried to return to the British sloop
Vulture that had brought him up the river from New
York under a ag of truce, he found it had been
forced to retreat far downriver to escape cannon
re from American militiamen. The jittery Arnold
told the major he would have to change to civilian
clothes and return to New York City by land.
In Westchester County, just north of the city,
Andre was seized by three militiamen. They forced
him to strip and found Arnold’s condential papers
concealed in his boot.
At an American outpost, Andre confessed he
was a British ofcer. The colonel in command sent
Arnold’s papers to General Washington. The ofcer
also sent a messenger to General Arnold, telling
him about Andre’s capture. Arnold himself was still
above suspicion.
‘ARnold hAs BetRAyed us!’
Early the next day, Sept. 25, two of
General Washington’s aides arrived at Arnold’s
headquarters, across the river from West Point.
They found Arnold at breakfast and told him the
commander in chief was on his way.
While Arnold was still at the breakfast table,
the messenger arrived with the letter from the
outpost, describing Andre’s capture. Arnold coolly
told the messenger to say nothing about this news to
anyone. He strolled upstairs to his bedroom, where
his wife was caring for their infant son. He told
Peggy the plot was blown and he was about to ee.
Downstairs, he got more alarming news: General
Washington would arrive within minutes!
Arnold told one of his aides he had “urgent
business” across the river at West Point and would
be back in an hour. He hurried down to the river and
17
5
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
boarded his barge. He ordered the oarsmen to row
down the river to the Vulture.
Washington, still suspecting nothing, arrived
and ate breakfast. When Arnold did not return, the
commander in chief decided to cross the Hudson
and inspect West Point. There was, of course, no
sign of General Arnold.
After several hours, Washington and his party
returned to Arnold’s headquarters. The place was
in an uproar. Arnold’s aides did not know where
he was. Mrs. Arnold was hysterical, screaming
she knew nothing about betraying West Point. She
begged them not to kill her and her baby.
At this point, the messenger carrying the
papers found in Major Andre’s boot nally caught
up with Washington. It took only a few minutes for
the commander in chief to realize what had almost
happened. “Arnold has betrayed us!” he gasped.
“Who can we trust now?”
neW ReAson foR hope
When General Arnold reached the British
sloop Vulture, he scrambled aboard and urged his
oarsmen to join him. He promised them money and
promotions in the British army. Every one of these
ordinary soldiers said no. General Arnold ordered the
Vulture’s sailors to seize them as prisoners of war.
Soon a letter from Arnold reached Washington.
He claimed that he had switched sides out of “love
for my country.” He assured Washington that Peggy
was “as innocent as an angel”—another lie.
In New York, the British did their best to hide
their disappointment. Many ofcers thought Arnold
had exposed Major Andre to death by forcing him
to change into civilian clothes. (Because he was
captured out of uniform, Andre was regarded as a
spy under military law and was subject to hanging.)
Their fears were well founded. Washington grimly
convened a court martial, which condemned the
major to hang as a spy.
Meanwhile, the British issued a proclamation
signed by Arnold urging other American soldiers to
follow his example and become ghters for George
III. To Arnold’s embarrassment, only about 40 men
responded—far fewer from the thousands the traitor
had hoped to persuade.
Gradually, Washington and his ofcers
realized that Arnold’s treason had revealed the depth
and breadth of American loyalty to the Revolution.
In spite of the disappointments and defeats of the
year 1780, there was new reason for hope.
6103007
1. According to the passage, in what way were
George Washington and Benedict Arnold
alike?
A. Both were deeply in debt.
B. Both were wounded in battle.
*C. Both were admired as generals.
D. Both were motivated by patriotism.
6103011
2. Which best explains why the author uses
headings?
A. to switch focus from New York to
England
*B. to separate events involving Benedict
Arnold
C. toofferconictingviewsofBenedict
Arnold
D. tointroduceotherguresfromthe
Revolutionary era
6
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6103002
3. Why did Washington give Arnold command
of the fortress of West Point?
A. Arnold was reluctant to lead men into
battle.
B. Arnold had been acquitted of all charges
against him at his court martial.
C. Arnold deserved a reward for being one
of Washington’s favored generals.
*D. Arnold asked for it rather than serve as a
commander of the Continental Army.
6103016
4. What is the meaning of sloop in paragraph 17?
A. raft
*B. sailboat
C. carriage
D. scavenger
6103014
5. Which statement best describes Benedict
Arnold?
*A. He was greedy.
B. He was tired of war.
C. He was misunderstood.
D. He was a man of principle.
6103008
6. Which sentence from the passage is the
author’s opinion?
A. “Washington, meanwhile, did his utmost
to defend Arnold against his civilian
critics.”
B. “Washington wanted Arnold to serve
under him as commander of the left
wing of the Continental Army.”
*C. “Perhaps he was still hoping to persuade
him to take a ghting command.”
D. “Washington, still suspecting nothing,
arrived and ate breakfast.”
6103012
7. Which statement best expresses the main idea
of the passage?
A. Traitors are motivated by patriotism.
B. Itisdifcultforsoldierstosupporttheir
families.
C. Leadersareoftensuspiciousofone
another in wartime.
*D. Individualscanaffecttheoutcomeofa
warinunexpectedways.
6103001
8. What is the most likely reason the author
quotes Arnold’s claim that Peggy was as
“innocent as an angel”?
A. to show how Arnold tried to divert
Washington’s attention away from
himself
B. to emphasize that Peggy had nothing to
do with the plot to surrender West Point
*C. to use Arnold’s own words, contradicting
previous evidence, to prove he was a liar
D. to illustrate that Arnold knew how
to take advantage of Washington’s
sympathetic nature
7
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6103015
A. Explain why Benedict Arnold’s decision to commit treason was ironic. Provide at least three details or
examples from the passage to support your response.
READING OPEN-RESPONSE ITEM A
RUBRIC FOR READING OPEN-RESPONSE ITEM A
SCORE DESCRIPTION
4
The response explains why Arnold’s decision to commit treason was ironic and provides at
least three accurate and relevant details or examples from the passage to support the response.
3
The response explains why Arnold’s decision to commit treason was ironic and provides two
accurate and relevant details or examples from the passage to support the response.
2
The response explains why Arnold’s decision to commit treason was ironic and provides an
accurate and relevant detail or example from the passage to support the response.
1
The response explains why Arnold’s decision to commit treason was ironic.
0
The response is incorrect or irrelevant. There is no evidence that the student understands the
task, or the response may be off-topic.
B
Blank—No Response. A score of “B” will be reported as “NA.” (No attempt to answer the
item. Score of “0” is assigned for the item.)
8
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6115
Artistic Integrity
by Debbie Lamedman
RAY has recently won the “best artist in the school” contest for creating an original comic book character
named Dirtbag. CARLOS, however, claims that Dirtbag is his original creation and that RAY has ripped off his
idea. Here, CARLOS confronts RAY about it.
CARLOS: Congratulations, man. It must be nice being the best artist in the school.
RAY: Hey, it’s cool, ya know. Now everyone’s asking me to do different projects and stuff for them. It’s great!
CARLOS: Too bad it wasn’t even your idea that won you that contest.
RAY: Huh? What’s that supposed to mean?
CARLOS: It means you ripped me off, man. You stole my idea.
RAY: You’re crazy.
CARLOS: Oh really? If I’m crazy, then do me a favor. Tell me how you thought of it.
RAY: Thought of what?
CARLOS: The comic book character you created for the contest—Dirtbag. How did you come up with that
idea? What made you think of it?
RAY: Hey I don’t have to tell you nothin’.
CARLOS: You won’t tell me because you can’t tell me. Because it’s not your original idea. Dirtbag was my
idea. And you stole him.
RAY: Whatever, man. That’s just not true. And even if it was true, you couldn’t prove it anyway.
CARLOS: I’m not gonna take away your precious title as best artist in the school. And you can keep the stinkin’
fty-dollar certicate too for all I care. But I want my character back. You saw my sketches a couple of
months ago, and I know you remember. You were asking me all these questions about how I came up with
the character of Dirtbag, the superhero. You even asked me if I planned on entering the contest and I told
you no. You totally stole him right out from under me.
RAY: Carlos, chill out, man. Nobody stole anything from anyone. I’ve been working on this character for
ages—maybe you helped me come up with the name, but the sketch is mine.
CARLOS: You copied him from me down to the last detail. The way his pants wrinkle, the boots, the
sunglasses. Even the ring he wears . . . it’s all mine!
RAY: I don’t know what to tell you, man. Maybe you saw my sketches and subconsciously drew him and now
you think he’s yours. I’ve been doodling Dirtbag since as long as I can remember. And I have no memory
of ever seeing you sketch a character that even slightly resembled him. You’re wrong, dude. Step up and
admit it.
2
3
17
Read this passage. Then answer multiple-choice questions 9 through 16 and open-response question B.
9
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
CARLOS: I admit nothing. You’re a thief and the worst kind too. Taking credit for someone else’s hard work. I
have Dirtbag drawings from a year ago. Signed by me! With the date on them. I wasn’t going to go to the
art committee, but now I think I will. Not only are you taking the praise for my work, you’re so frickin’
cocky about it. You’re the dirt bag!
RAY: You can report me but it’s not going to do any good. They’ll think you’re just a jealous wannabe. I won
that contest fair and square. I handed my portfolio in on time. Where was your portfolio, Carlos? There’s
no way you can prove this character belongs to you. Signed drawings from a year ago? How can you prove
that? You could have done those yesterday and put last year’s date on it. That’s no proof. Just let it go my
friend. I am the best artist in this school. If you want your own comic book character, I suggest you create
one—and stop saying Dirtbag is yours, because we both know the real truth.
CARLOS: Fine, Ray. I’ll create a new character. I think I’ll call him Ray the Rat. And when it comes time for
you to develop some new material, you’ll show your true colors. There you’ll be sitting in front of your
empty sketchbook with absolutely nothing to show for your time. Cause you’ve got no talent! You’ve got
to go rip off other people to make yourself look good. Ya know what? I feel sorry for you. One of these
days, it’s gonna catch up to you. You’re gonna rip off the wrong person. And people are gonna know you
for the fraud that you are.
RAY: Carlos, dude . . . you shouldn’t be so bitter. You should have just entered the contest and then it would
have been a fair ght. But now you’re making all these accusations after the fact and you’re the one who’s
gonna end up looking like a fool. Give it up, man.
CARLOS: (Suddenly remembering he has something over RAY.) Wait a minute. Did you copyright them?
RAY: Copyright what?
CARLOS: Your drawings. Dirtbag. Did you copyright him?
RAY: (Laughing uncomfortably.) Uh . . . no. I’m not even sure how to do that. Don’t you have to go to
Washington, D.C., or something? Fill out a lot of forms?
CARLOS: You think I’m gonna tell you how to do it? I’ve got a copyright on the comic I created. A year ago. It
was copyrighted a year ago. Dirtbag is mine. He will always be mine and I have the copyright to prove it.
You’re screwed.
RAY: I think you’re blufng.
CARLOS: Really? Try me.
RAY: (Worried for the rst time.) So what’re you going to do?
CARLOS: I told you I was ready to settle this peacefully, but you’re so full of yourself, I think you need to be
cut down to size.
RAY: Carlos, man . . . c’mon . . . I’m sorry. We can settle this peacefully. No need to drag all those other people
into it.
CARLOS: (Laughing; he is victorious!) I have totally got you where I want you. Now you’re worried. Are you
willing to admit Dirtbag is my creation?
RAY: (Trying to maintain dignity.) I’m willing to admit we collaborated.
CARLOS: Ray . . . do you want me to shame you in front of the entire school?
RAY: (He knows he’s lost the battle and completely loses his cool.) OK. OK. He’s yours. I copied him from a
page I swiped out of your sketchbook about a month ago. When you said you weren’t entering the contest,
I thought it was my big chance. I’m sorry.
CARLOS: Don’t you ever, ever touch my stuff again. I could sue you over this.
RAY: I’m sorry. I won’t touch your stuff again. Hey, I’m even willing to give you the fty bucks.
CARLOS: Keep it. You’ll need it. You’re never gonna earn another dime with your artwork.
33
10
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
RAY: Ya know you should be attered. Your work is totally worth stealing.
CARLOS: Guess what, Ray? I’m not attered. Stay away from me and my sketchbook. And consider yourself
very lucky that I don’t get you suspended for this.
RAY: Hey man, thanks. Thanks a lot. You’re really decent.
CARLOS: Yeah. I am. Too bad I can’t say the same about you.
END OF SCENE
6115014
9. Which element makes the passage a modern
drama?
A. The main character is a tragic hero.
B. Themaincharacterhasafatalaw.
*C. The main character is an ordinary
person.
D. The main character has an aristocratic
background.
6115008
10. Which character is the antagonist?
*A. Ray
B. Carlos
C. Dirtbag
D. Ray the Rat
6115012
11. Which incident incites the conict?
A. Ray is asked to complete various art
projects.
B. Carlos tells Ray how he created Dirtbag.
*C. Ray is named “best artist in school.”
D. Carlos enters the art contest.
6115016
12. What is ironic about Ray’s suggestion that
Carlos could have backdated a recent drawing
of Dirtbag?
*A. Ray uses the same tactic when he claims
to have doodled Dirtbag for as long as he
can remember.
B. Ray assumes Carlos cannot prove he
drew Dirtbag earlier than Ray’s dated art
contest entry.
C. Ray thinks he must go to Washington,
D.C., to legally copyright something.
D. Ray is not embarrassed about taking
credit for another person’s work.
6115002
13. Which incident best shows Ray’s inability to
prove that he created Dirtbag?
A. He claims he doodles Dirtbag all the
time.
B. He states that he completed the
copyright forms.
C. He cannot recall seeing one of Carlos’s
sketches.
*D. He admits that Carlos helped him
develop the name.
11
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6115017
14. Which word is not considered slang as it is
used in the passage?
A. man (paragraph 2)
B. cool (paragraph 3)
*C. doodling (paragraph 17)
D. dude (paragraph 17)
6115009
15. What does the stage direction “Trying to
maintain dignity” in paragraph 33 reveal
about Ray?
*A. He is not quite ready to confess.
B. He is afraid of losing the prize money.
C. He is uncomfortable with being
dishonest.
D. He is certain that no one will believe
Carlos.
6115005
16. Which sentence is the best summary of the
passage?
A. Two boys collaborate on an art project.
B. A boy is jealous of his friend’s artistic
talent.
*C. A boy confronts the person who stole his
character.
D. Two boys come to an agreement about
some money.
12
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6115004
B. Most crimes are solved by proving that the criminal had means (a way to do the crime), motive (a reason
to do it), and opportunity (a chance to do it). Explain how Carlos discovers that Ray stole his creation.
Provide evidence from the passage that shows Ray had means, motive, and opportunity to commit the
crime.
READING OPEN-RESPONSE ITEM B
RUBRIC FOR READING OPEN-RESPONSE ITEM B
SCORE DESCRIPTION
4
The response explains how Carlos discovers that Ray stole his creation and provides evidence
from the passage of means, motive, and opportunity.
3
The response explains how Carlos discovers that Ray stole his creation and provides evidence
of two proofs of guilt OR provides evidence of three proofs of guilt.
2
The response explains how Carlos discovers that Ray stole his creation and provides evidence
of one proof of guilt OR provides evidence of two proofs of guilt.
1
The response explains how Carlos discovers that Ray stole his creation OR provides evidence
of one proof of guilt.
0
The response is incorrect or irrelevant. There is no evidence that the student understands the
task, or the response may be off-topic.
B
Blank—No Response. A score of “B” will be reported as “NA.” (No attempt to answer the
item. Score of “0” is assigned for the item.)
13
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6111
Discoveries and Inventions
by Jonathan Hancock
The following excerpt is from a book about how to be a genius.
It only takes one moment of genius to change the world, as long as you’re brave enough to take a few risks.
You, too, can change the world with your genius. Just study the Eight Secrets of Invention and you will be
well on your way.
1. Delight in Your Chosen Subjects
Most of the geniuses in this book were completely obsessed with their subject. Some wanted to nd the
answers to questions, or solve problems, that had puzzled people for years, sometimes centuries. Others pursued
new ideas or creative visions that only they could see.
2. Learn from Past Geniuses
Geniuses think new thoughts and dream up original ideas, but they need to start with information already
available. They must be able to learn from their predecessors.
In ancient Greece, each great thinker learned from the last. Socrates taught Plato, the “grandfather of
philosophy,” who taught Aristotle, the inventor of logical reasoning, who in turn taught Alexander the Great,
perhaps the most powerful ruler in history.
In his early twenties, Albert Einstein sent out letter after letter asking famous scientists to take him on as
an assistant so that he could learn from them. Not one of them replied. Instead he had to read as many of their
books as he could get hold of.
When Einstein’s career later took off, he made use of the discoveries of two geniuses from the past, Isaac
Newton and James Clerk Maxwell. These men had very different theories about time and space, but Einstein
took a fresh look at them and came up with a new way of looking at the universe: his General Theory of
Relativity, with its centerpiece, E = mc
2
.
Pay great attention to the work others have done before you, because only then will you be able to take it a
step further.
3. Learn Your Subject Matter Thoroughly
Once you’ve decided on the areas that interest you, do everything you can to learn all there is to know
about them. Don’t restrict yourself: read and learn as widely as possible. Here are just some of the varied
subjects great geniuses have studied.
Read this passage. Then answer multiple-choice questions 17 through 24 and open-response question C.
14
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
William Shakespeare: history, languages, law, literature, math, music, politics, psychology, science, sports.
Nicolaus Copernicus, the great astronomer: art, astronomy, languages, law, math, medicine, optics.
Leonardo da Vinci: acoustics, anatomy, botany, conjuring, geology, horses, geometry, mechanics, music,
painting, sculpture, weather-forecasting.
Martha Graham, American dancer and choreographer, whose brilliance changed dance forever: animals,
art, history, literature, myths and legends, poetry, psychology, religion.
Geniuses are good at nding inspiration in everything they read and learn about. They are naturally
inquisitive, so they build up huge stores of information on many different subjects. To be a genius in any one
subject, you need to harvest information from many elds. Read widely, then focus your knowledge in the
direction of your genius.
4. The Power of Cooperation
There are many well-known genius partnerships and groups. Great thinkers seem to be naturally drawn to
other great thinkers, and together they achieve amazing things.
Francis Crick and James Watson worked together to unravel the structure of deoxyribonucleic acid (DNA),
the complicated chemical that contains the biological “blueprint” for every living being. Watson got Crick
interested in DNA. They bounced ideas off each other, discussed many different theories, and made a joint
discovery through powerful teamwork. Together they revolutionized biology, as well as our understanding of
human life.
Orville and Wilbur Wright worked together to build the rst airplanes. Marie Curie formed a team with
her husband, Pierre, and they made crucial discoveries about radioactivity and X rays. Even Michelangelo had a
team behind him when he painted the Sistine Chapel. He’s the only name people remember, but there were many
other people helping him.
Find friends who are interested in the same things as you, and work with them to give even more energy to
your work.
5. Create a Thinking Zone
Put some thought into where you do your best thinking. Geniuses often use special “thinking zones” to
boost their brainpower.
The great French novelist Marcel Proust lined his study with cork to create perfect silence. British
dictionary writer Samuel Johnson did his best work listening to the purring of his cat.
Perhaps you prefer listening to music while you work. If so, try Mozart. Recent research suggests that
listening to Mozart’s music can boost intelligence and creativity.
Some geniuses nd that water helps them think. Einstein was an avid sailor. One modern-day inventor has
many of his best ideas while he’s in the swimming pool. A Japanese inventor named Naka Mats holds his breath
and sinks underwater when he needs to do some really deep thinking. Mats also has a whole range of different-
colored rooms for tackling different kinds of problems. It must work, because his inventions have made him a
billionaire!
Where you think can be an important factor in how well you think.
6. Ask the Right Questions
Questioning is a very important part of inventing. Here are some of the most useful things you can ask:
• What can be added? A chemist once knocked over a bottle of collodion, a plastic substance. The
collodion stuck some of the pieces of broken bottle together. He realized that it could be added to glass to make
it safer. Now many panes of glass have a plastic layer in the middle, thanks to this chemist’s clever idea.
16
15
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
• How else could this be used? In 1971, Bob Brown was tinkering with an electric guitar in his garage.
He accidentally crossed two wires, and there was a high-pitched shriek of sound that sent a group of rats
scurrying away in terror. Bob realized that his amplifying equipment could be put to another use, and he
designed a gadget for repelling rats. He’s now a millionaire.
• What can be adapted for a new use? A wafe-seller at the 1904 World’s Fair spotted an ice cream stand
nearby and had a brilliant idea. He molded one of his at wafes into a cone, lled it with ice cream—and the
rest is history.
• What if mistakes are lucky? When Clarence Crane’s mint-making machine malfunctioned and started
stamping holes in the mints, he could have thrown them all away and started again. Instead, he noticed that
these new mints-with-holes were even better, and now around 30 billion packets are sold every year.
• Can the same thing be done more cheaply? Antoine Feuchtwanger was selling sausages in the United
States in the 1880s. Rather than giving customers at his stand plates and cutlery, he wanted to save money—and
dishwashing—so he started selling the sausages inside bread rolls. And so the hot dog was born!
Geniuses are constantly asking questions. Can it be done faster, made bigger, combined with other ideas,
rearranged?
Don’t worry about the right answers. First make sure you’re asking the right questions.
7. Be Ready for Revelation
When something catches your interest, it might be telling you something important.
Galileo, the Italian mathematician, physicist, and astronomer, was daydreaming in church when he spotted
a chandelier swaying from side to side. Suddenly something clicked in his brain, and he knew the answer to the
laws ruling how pendulums swing.
It’s very important that you recognize your good ideas. Great thoughts can occur any time, any place.
Archimedes was supposedly taking a bath when he had one of his best ideas, inspired by the way the water
level moved up the tub as he got in. He shouted “Eureka!” (“I’ve found it!”), and was so excited that he forgot he
wasn’t wearing any clothes and ran down the road stark naked!
8. Publicize Your Discoveries
In 1482, Leonardo da Vinci wrote a long letter to a nobleman in Milan, asking for a job. In the letter he
described some of his inventions and ideas, including
• portable bridges
• ladders
• cannons
• tanks
• catapults
• viaducts
• sculptures
Not surprisingly, he got the job.
Once you’re sure of your inventions and ideas, tell people about them. Nobody’s going to know about your
genius—or benet from it—unless you make some noise.
16
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6111003
17. What is the purpose of the passage?
A. to boast
*B. to inspire
C. to predict
D. to entertain
6111008
18. What is distinctive about the ideas of
geniuses?
*A. The ideas are original.
B. The ideas help people.
C. The ideas are complex.
D. The ideas make money.
6111011
19. What is the most important reason for a
person to publicize his or her discoveries?
A. toduplicateothers’ndings
B. to become prosperous and famous
C. to create a competitive environment
*D. toallowotherstobenetfromthework
6111002
20. What is the purpose of including examples of
famous geniuses in the passage?
A. to vary the content
*B. to establish credibility
C. to determine the best kind of genius
D. to provide a reason to become a genius
6111010
21. “Naka Mats holds his breath and sinks
underwater when he needs to do some really
deep thinking” is an example of which gure
of speech?
*A. pun
B. metaphor
C. oxymoron
D. understatement
6111017
22. What does revolutionized mean in
paragraph 16?
A. turned
B. inspired
*C. changed
D. revealed
6111005
23. What do the Wright brothers have in common
with Marie Curie and her husband?
A. They tried to educate other people.
*B. They partnered to accomplish their
goals.
C. They made discoveries based on
photography.
D. They did not become famous until after
they died.
6111006
24. What was most likely the primary focus of the
author’s research in preparation for writing the
passage?
*A. successful people
B. modern inventions
C. biological blueprints
D. mechanical processes
17
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
6111016
C. Why should potential geniuses study many topics? How does studying many topics appeal to the natural
inclinations of a genius? Provide at least two examples from the passage to support your response.
READING OPEN-RESPONSE ITEM C
RUBRIC FOR READING OPEN-RESPONSE ITEM C
SCORE DESCRIPTION
4
The response states why geniuses should study many topics, tells how studying many topics
appeals to the natural inclinations of a genius, and provides at least two accurate and relevant
examples from the passage to support the response.
3
The response states why geniuses should study many topics, tells how studying many topics
appeals to the natural inclinations of a genius, and provides one accurate and relevant example
from the passage to support the response OR states why geniuses should study many topics
and provides two accurate and relevant examples from the passage to support the response OR
tells how studying many topics appeals to the natural inclinations of a genius and provides two
accurate and relevant examples from the passage to support the response.
2
The response states why geniuses should study many topics and tells how studying many topics
appeals to the natural inclinations of a genius OR states why geniuses should study many topics
and provides one accurate and relevant example from the passage to support the response OR
tells how studying many topics appeals to the natural inclinations of a genius and provides one
accurate and relevant example from the passage to support the response.
1
The response states why geniuses should study many topics OR tells how studying many topics
appeals to the natural inclinations of a genius.
0
The response is incorrect or irrelevant. There is no evidence that the student understands the
task, or the response may be off-topic.
B
Blank—No Response. A score of “B” will be reported as “NA.” (No attempt to answer the
item. Score of “0” is assigned for the item.)
18
Acknowledgments
The Arkansas Department of Education would like to thank those who have granted permission to
reproduce the following copyrighted material:
Pages 3–5: “The Traitor” © Thomas Fleming.
Pages 8–10: “Artistic Integrity” by Debbie Lamedman from 55 Short Scenes: The Ultimate Scene Study Series
for Teens, Smith & Kraus Publishers.
Pages 13–15: “Discoveries and Inventions” Extract from How to be a Genius by Jonathan Hancock illustrated
by Scoular Anderson (OUP, 2000), text copyright © Jonathan Hancock 2000, reprinted by permission of Oxford
University Press.
PaRt II Released ReadInG Items – 2011 GRade 11 lIteRaCy
19
PaRt II Released wRItInG PRomPt – 2011 GRade 11 lIteRaCy
The yearbook committee has asked students to write about their favorite school memory. The essays will be
published in the new yearbook.
Before you begin to write, think about your time in school. What is your favorite memory? Why is it your
favorite?
Now write an essay for the yearbook committee about your favorite school memory. Give reasons and
enough detail so that your classmates will understand.
WRITER’S CHECKLIST
1. Look at the ideas in your response.
_
Have you focused on one main idea?
_
Have you used enough detail to
explain yourself?
_
Have you put your thoughts in order?
_
Can others understand what you are
saying?
2. Think about what you want others to know
and feel after reading your paper.
_
Will others understand how you think
or feel about an idea?
_
Will others feel angry, sad, happy,
surprised, or some other way about
your response? (Hint: Make your
reader feel like you do about your
paper’s subject.)
_
Do you have sentences of different
lengths? (Hint: Be sure you have a
variety of sentence lengths.)
_
Are your sentences alike? (Hint: Use
different kinds of sentences.)
3. Look at the words you have used.
_
Have you described things, places
and people the way they are? (Hint:
Use enough detail.)
_
Are you the same person all the way
through your paper? (Hint: Check your
verbs and pronouns.)
_
Have you used the right words in the
right places?
4. Look at your handwriting.
_
Can others read your handwriting with
no trouble?
PROMPT
20
Content (C)
The Content domain includes the focusing, structuring, and elaborating that a writer does to construct an effective message
for a reader. It is the creation of a product, the building of a composition intended to be read. The writer crafts his/her
message for the reader by focusing on a central idea, providing elaboration of the central idea, and delivering the central
idea and its elaboration in an organized text. Features are:
• Central idea • Elaboration • Unity • Organization
Style (S)
The Style domain comprises those features that show the writer purposefully shaping and controlling language to affect
readers. This domain focuses on the vividness, specicity, and rhythm of the piece and the writer’s attitude and presence.
Features are:
• Selected vocabulary • Sentence variety • Tone • Voice
• Selected information
Sentence Formation (F)
The Sentence Formation domain reects the writer’s ability to form competent, appropriately mature sentences to express
his/her thoughts. Features are:
• Completeness • Absence of fused
sentences
• Expansion
through standard
coordination and
modiers
• Embedding
through standard
subordination and
modiers
• Standard word order
Usage (U)
The Usage domain comprises the writer’s use of word-level features that cause written language to be acceptable and
effective for standard discourse. Features are:
• Standard inections • Agreement • Word meaning • Conventions
Mechanics (M)
The Mechanics domain includes the system of symbols and cueing devices a writer uses to help readers make meaning.
Features are:
• Capitalization • Punctuation • Formatting • Spelling
Scoring Scale
Each domain is scored independently using the following scale.
4 = The writer demonstrates consistent, though not necessarily perfect, control* of almost all the domain’s features.
3 = The writer demonstrates reasonable, but not consistent, control* of most of the domain’s features, indicating some
weakness in the domain.
2 = The writer demonstrates inconsistent control* of several of the domain’s features, indicating signicant weakness
in the domain.
1 =The writer demonstrates little or no control* of most of the domain’s features.
*Control: The ability to use a given feature of written language effectively at the appropriate grade level. A response
receives a higher score to the extent that it demonstrates control of the features in each domain.
The application of the scale, using actual student writing, is done with the assistance of a committee of Arkansas teachers,
language arts supervisors, and representatives of the Arkansas Department of Education.
Nonscoreable and Blank Papers
Nonscoreable papers include student responses that are off-topic, illegible, incoherent, written in a language other than
English, or too brief to assess. Nonscoreable papers will receive a score of “0.” Blank papers indicate no response was
written and will be reported as NA (no attempt), which translates into a score of “0.”
Domain Scoring Rubric
PaRt II Released wRItInG PRomPt – 2011 GRade 11 lIteRaCy
21
PaRt II Released wRItInG Items – 2011 GRade 11 lIteRaCy
6000101
4. Which details would most likely interest a
reader in a biography about a famous person?
A. a transcript of the person’s high school
classes and grades
*B. anecdotes about the person’s failures and
successes
C. dates of the person’s birth, marriage, and
death
D. a list of all the person’s acquaintances
6000168
5. A student wrote a literary analysis of a book
and called the ending of the story ambiguous.
What did the student indicate about the story’s
ending?
A. It was rather abrupt.
B. It was entertaining to read.
C. It was too long for the length of the
story.
*D. It could be interpreted in more than one
way.
6000134
1. Which reads most smoothly?
A. Mrs. Rydell saw me talking to Justin, so
she assumed we were cheating, but I was
working on the assignment and Justin
asked me a question, so I turned around
to answer him.
B. I was working on the assignment when
Justin asked me a question so that I
turned around to answer it as Mrs.
Rydell saw him talking to me and
assumed we were cheating.
C. Justin asked me a question. I was
working on the assignment. I turned
around to answer him. Mrs. Rydell
saw us talking and assumed we were
cheating.
*D. Mrs. Rydell assumed we were cheating
because, as I was working on the
assignment, I turned around to answer
when Justin asked me a question.
6000175
2. Which sentence is correctly capitalized?
A. My mother went to visit aunt Mary and
my cousin on sunday.
*B. My mother went to visit Aunt Mary and
my cousin on Sunday.
C. My Mother went to visit Aunt Mary and
my cousin on Sunday.
D. My Mother went to visit Aunt Mary and
my Cousin on Sunday.
6000152
3. Which is the best example of formal writing?
A. 2nite @ 6. TTYL!
B. Hey, Brian! How did you do on the
chemistry test?
C. Mom—cheerleading practice after
school—home by 5. P.S. Math test = A!
*D. Mr. Hopkins, I would be grateful if you
would write a letter of recommendation
for me.
22
PaRt II Released wRItInG Items – 2011 GRade 11 lIteRaCy
6000196
6. In winter, everything is white.
For the sentence above, which revision best
achieves a light-hearted tone?
A. Snowdrifts conceal the road to safety
and prevent rescue.
*B. Frozen fog changes our hedge into a
ock of eecy lambs skipping around
the yard.
C. Icy ponds resemble crystal paperweights,
entombing all life lying frozen in their
depths.
D. We prepare to be swallowed as we
enter the vacant house with icicle fangs
hanging from its porch.
6000191
7. Which is true of good writing?
*A. It has style and voice.
B. The language is formal.
C. It provides a surprise ending.
D. Sentence patterns are consistent.
6000108
8. Which sentence is punctuated correctly?
A. She hates to swim because she is afraid
of the water however many of her friends
love to swim and go to the pool often.
*B. Mrs. Dawson, my English teacher, told
us to read a book from her list by next
week and to prepare an oral book report.
C. Emma’s parents told her she could not go
to the party, she went to the movies with
us instead.
D. My family and I, after school ended last
May went to Mexico for two weeks.
23
PaRt III Item CoRRelatIon wIth CuRRICulum fRamewoRk – 2011 GRade 11 lIteRaCy
The Arkansas English Language Arts Curriculum Framework – Reading Strand*
Content Standards Student Learning Expectations
9. Comprehension: Students
shall apply a variety of
strategies to read and
comprehend printed
material.
2. Analyze style and diction to determine author’s purpose.
3. Explain the use of appropriate strategies to support active reading and engagement.
4. Analyze how works of a given period reflect author’s background, historical events, and cultural influences.
5. Draw inferences from a complete selection (including conclusions, generalizations, and predictions) and support them with
text evidence.
6. Summarize, paraphrase, and critique complex structures in informational and literary texts, including relationships among
concepts, details, and visual components.
7. Compare and contrast aspects of texts, including themes, conflicts, and allusions, both within and across texts.
8. Analyze point of view and its influence on elements of the text (e.g., tone, theme, and purpose).
11. Analyze and compare the author’s use of figures of speech and sound devices.
12. Examine the way in which clarity of meaning is affected by the patterns of organization, repetition of the main ideas,
organization of language, and word choice in the text.
10. Variety of Text: Students
shall read, examine, and
respond to a wide range
of texts for a variety of
purposes.
1. Read across the curriculum a variety of such practical texts (informational and technical texts) as advertisements,
warranties, manuals, job and career descriptions, applications, college catalogs and financial documents.
2. Interpret and use information in practical, informational, and technical texts to:
• follow instructions to perform specific tasks, answer questions, or solve problems;
• identify the main ideas and determine the essential elements that support the main ideas;
• summarize the texts and explain the relationship of visual components to the texts;
• distinguish between a summary and a critique;
• interpret and use information in maps, charts, graphs, timelines, tables, and diagrams;
• identify interrelationships between and among ideas and concepts within a text;
• evaluate information from multiple sources;
• draw conclusions based on evidence from texts;
• analyze the ways in which a text’s organizational structure supports or confounds its meaning or purpose;
• recognize the use or abuse of ambiguity, contradiction, paradox, irony, incongruities, overstatement, and
understatement in text, and explain their effect on the reader;
• evaluate information and technical texts for their clarity, simplicity, and coherence, and for the
appropriateness of their graphics and visual appeal.
13. Describe the dramatic conventions or devices used by playwrights to present ideas.
16. Recognize and examine the elements of modern drama.
17. Compare and contrast the hero of a modern drama to the tragic hero.
21. Use literary terms to critique a work.
22. Analyze the impact of diction, imagery, style, and figurative language on tone, mood, and theme using literary terminology.
23. Analyze literary elements such as setting, plot, theme, characterization, and narration in a work.
24. Analyze the impact of irony on a text.
11. Vocabulary, Word Study,
and Fluency: Students
shall acquire and apply
skills in vocabulary
development and word
analysis to be able to read
fluently.
1. Recognize and apply specialized vocabulary.
2. Analyze roots and word parts to draw inferences about meaning.
4. Analyze the connotative power of words.
*TheContentStandardsandStudentLearningExpectationslistedarethosethatspecicallyrelatetotheitemsinthe
2011 Grade 11 Literacy Examination.
24
Released Items for Reading*
Item
Content
Standard
Student
Learning
Expectation
Passage
Type
1 09 07 Content
2 10 02 Content
3 09 03 Content
4 11 01 Content
5 10 23 Content
6 09 07 Content
7 10 02 Content
8 09 02 Content
A 10 24 Content
9 10 17 Literary
10 10 13 Literary
11 10 16 Literary
12 10 24 Literary
13 09 05 Literary
14 11 01 Literary
15 10 13 Literary
16 09 06 Literary
B 09 05 Literary
17 09 02 Practical
18 09 05 Practical
19 10 02 Practical
20 09 02 Practical
21 09 11 Practical
22 11 02 Practical
23 09 03 Practical
24 09 04 Practical
C 10 02 Practical
* OnlythepredominantStrand,ContentStandard,andStudentLearningExpectationarelistedfortheEnglishLanguage
Artsitems.
PaRt III Item CoRRelatIon wIth CuRRICulum fRamewoRk – 2011 GRade 11 lIteRaCy
25
Non-Released Items for Reading*
Item
Content
Standard
Student
Learning
Expectation
Passage
Type
1 09 02 Practical
2 09 03 Practical
3 11 02 Practical
4 09 05 Practical
5 11 04 Practical
6 10 02 Practical
7 10 02 Practical
8 09 05 Practical
A 10 02 Practical
9 09 11 Literary
10 09 08 Literary
11 10 22 Literary
12 09 11 Literary
13 11 02 Literary
14 09 12 Literary
15 11 02 Literary
16 10 23 Literary
B 09 05 Literary
17 09 08 Content
18 10 21 Content
19 10 02 Content
20 10 22 Content
21 10 01 Content
22 09 05 Content
23 10 23 Content
24 09 06 Content
C 09 02 Content
* OnlythepredominantStrand,ContentStandard,andStudentLearningExpectationarelistedfortheEnglishLanguage
Artsitems.
PaRt III Item CoRRelatIon wIth CuRRICulum fRamewoRk – 2011 GRade 11 lIteRaCy
26
The Arkansas English Language Arts Curriculum Framework – Writing Strand*
Content Standards Student Learning Expectations
4. Process: Students shall
employ a wide range of
strategies as they write,
using the writing process
appropriately.
3. Write clear and varied sentences.
4. Elaborate ideas clearly and accurately through word choice, vivid description, and selected information.
7. Revise content of writing for central idea, elaboration, unity, and organization.
8. Revise style of writing for selected vocabulary, selected information, sentence variety, tone, and voice.
5. Purposes, Topics, Forms,
and Audiences: Students
shall demonstrate
competency in writing
for a variety of purposes,
topics, and audiences
employing a wide range of
forms.
1. Use effective rhetorical techniques and demonstrate understanding of purpose, speaker, audience, and form when
completing expressive, persuasive, or literary writing assignments.
2. Write expository compositions, including analytical essays and research reports, that:
• assemble and convey evidence in support of the thesis;
• make distinctions between the relative value and significance of data, facts, and ideas;
• employ visual aids when appropriate.
3. Write using rhetorical strategies with special emphasis on comparison/contrast, cause/effect, classification, and
argumentation/persuasion that demonstrate logic.
7. Write responses to literature that:
• articulate the significant ideas of literary works
• support important ideas and viewpoints
• analyze the author’s use of stylistic and literary devices
• determine the impact of ambiguities, nuances, and complexities using evidence from the text
• analyze conflicts (character dilemmas) as revealed by characters’ motivations and behaviors.
6. Conventions: Students
shall apply knowledge
of Standard English
conventions in written
work.
1. Use a variety of sentence structures, types, and lengths for effect in writing.
3. Apply conventional spelling to all pieces.
4. Apply conventional rules of capitalization in writing.
5. Apply the punctuation rules appropriately in writing.
7. Craftsmanship: Students
shall develop personal
style and voice as
they approach the
craftsmanship of writing.
1. Use figurative language effectively with emphasis on extended metaphor and symbolism.
2. Use a variety of sentence structures, types, and lengths to contribute to fluency and interest.
6. Combine concrete and commentary information for elaboration.
10. Evaluate own writing and others’ writing to highlight the individual voice, improve sentence variety and style, and enhance
subtlety of meaning of tone in ways that are consistent with the purpose, audience, and form of writing.
*TheContentStandardsandStudentLearningExpectationslistedarethosethatspecicallyrelatetotheitemsinthe
2011 Grade 11 Literacy Examination.
PaRt III Item CoRRelatIon wIth CuRRICulum fRamewoRk – 2011 GRade 11 lIteRaCy
27
Released Items for Writing*
Item
Content
Standard
Student
Learning
Expectation
1 07 02
2 06 04
3 05 01
4 04 04
5 05 07
6 04 08
7 07 10
8 06 05
Non-Released Items for Writing*
Item
Content
Standard
Student
Learning
Expectation
1 04 03
2 06 01
3 05 02
4 04 07
5 07 06
6 07 01
7 05 03
8 06 03
*OnlythepredominantStrand,ContentStandard,andStudentLearningExpectationarelistedfortheEnglishLanguage
Artsitems.
PaRt III Item CoRRelatIon wIth CuRRICulum fRamewoRk – 2011 GRade 11 lIteRaCy
develoPed foR the aRkansas dePaRtment of eduCatIon, lIttle RoCk, aR 72201
QAI-08673 Lit-RIB AR1108
A TAAP
Arkansas Comprehensive Testing, Assessment, and Accountability Program
