TCSS RL = Reading Literary RI = Reading Informational Troup County School System W = Writing English/Language Arts Curriculum Map SL = Speaking and Listening British Literature and Composition L = Language Thematic Unit # 6—Modern and Post-Modern: Time of Rapid Change

Alienation, Upheaval, and Justice

Big Idea / Unit Goal: Unit Essential Question(s):  The goal for this unit is to explore and analyze the themes of Alienation,  How does literature shape or reflect society? Upheaval, and Justice in Modern and Post-modern British literature and related  What is the relationship of the writer to tradition? informational texts with a focus on GSE priority standards.  What are the root causes of alienation within modern society and how do these juxtapose with alienation in our society? Length of Unit:  How does society react to upheaval?  30 Days  What does society value in this time, what values are consistent throughout time? Unit 6 Checklist Priority Standards:  RL1, RL2, RL3, RL4, RL6, RL9  RI1, RI2, RI3, RI4, RI6, RI7  W2, W3, W9  L1, L2, L4, L5. L6  SL1, SL2, SL4, SL5, SL6 Reading Focus: Literary Writing Focus: Informative/Explanatory

Text Resources: Primary Writing Tasks: Extended Text (Choose one of the following as your extended text):  Referring to at least 3 texts from the modern era, explain the causes of  And Then There Were None alienation within that time period.  Brave New World  Considering several poems about war from the Modern era as well as available resources from the media center, write brief essay detailing life for the British  Pygmalion World War I foot soldier. Be sure to refer to lines from the texts of the poems  Mrs. Dalloway and/or informational texts found in the media center in your response. Be sure

to have a clear introduction with a clear thesis statement. One page minimum. Short Texts (Mixture of Literary and Informational thematically connected texts)  Imagine you are the book reviewer for your local newspaper. Write a book  William Butler Yeats, T.S. Eliot, W.H. Auden, Louis MacNeice, Stephen review in response to And Then There Were None that provides information Spender, Wilfred Owen, Siegfried Sassoon, Rupert Brooke, Dylan Thomas, about the novel and reflects on its quality but that does not give away the Anita Desai surprise ending. (NOTE: This can be adapted to any of the extended texts in  New British Nonfiction pp. 1460-1461 this unit).  Connecting War Writings Past and Present pp. 1280-1281  “The Demon Lover” Narrative Writing Tasks:  “The Rocking Horse Winner”  Poets juxtapose an image of war with an image of another kind. Write a short  Theme of Alienation in Modern Literature response to war that you have observed. Include direct references from at least  How to Deal with Loneliness two poems.  Background information: Post Modernism  After reading Pygmalion, And Then There Were None, or Brave New World,  History of the Mystery Genre select a minor character from the text who still, even in a small way, plays an  The Mystery of Agatha Christie important role regarding the plot and/or theme of the text. Next, write a  Agatha Christie and the Detective Film thorough diary entry written by that character detailing an important scene from  Batman and the Problem With Vigilante Justice: A Love Story the novel that he witnesses. Make sure the character writes in detail about the TCSS  The Little Known World of the Vigilante event described and also expresses his reaction to this critical event.  History of the Vigilante  Brave New World and the Threat of Technological Growth Research Connections:  Aldous Huxley, Media, and Popular Culture  Each student will research the idea of vigilante justice and find informational articles for evidentiary support. Additional Materials:  Research the stories of soldiers who have fought in either Iraq or Afghanistan.  War poetry power point Write and present a brief monologue told in the voice of that soldier. Be sure to  World War I War Poetry video incorporate actual ideas, images, and or words relating to the soldier's  Teaching Guide for And Then There Were None experience at war.  Senior letter  Some critics have suggested that And Then There Were None is an especially  Senior Farewell Address enduring novel because it subverts some of the plot conventions evident in the  The Soundtrack to Senior Year classic murder mystery stories that helped establish the genre. After looking into what others have noted about the conventions and evolution of the murder  Senior Research mystery genre, write an essay that explains how And Then There Were None adjusts these conventions. Make sure to use specific evidence from your readings to support your ideas.

Routine Writing (Notes, summaries, process journals, and short responses across all genres):  Journals, notes, summaries, short responses Lessons for Unit 5 (all lessons are hyperlinked below):  ELA12.6: Capstone: Focus on presentation skills for Final Capstone Project (SL4, SL5, SL6)  ELA12.6.1: Focus on citing textual evidence, determining and analyzing themes, analyzing point of view or purpose, and reading foundational British works (RL1, RL2, RL6, RL9)  ELA12.6.2: Focus on citing textual evidence, determining and analyzing themes, analyzing point of view or purpose, and reading foundational British works (RL1, RL2, RL6, RL9)  ELA12.6.3: Focus on determining and analyzing themes, analyzing point of view, citing textual evidence, and analyzing author’s choices on how ideas are presented (RL2, RL6, RL1, RL3, RI3)  ELA12.6.4: Focus on determining and analyzing themes, citing textual evidence, determining point of view or purpose, analyzing authors choice, and writing narratives (RL2, RL1, RL3, RI6, W3)  ELA12.6.5: Focus on determining and analyzing themes, writing informative/explanatory texts, and citing textual evidence (RL2, W2, RL1)  ELA12.6.6: Focus on citing textual evidence and determining meanings of words and phrases (RL1, RL4, RI4)

Georgia Standards of Essential Questions Vocabulary Lessons and Resources Excellence (GSE) ELAGSE11-12RL1: Cite strong and How does one cite strong and thorough Cite ELA12.6.1 thorough textual evidence to support textual evidence to support analysis? Textual evidence ELA12.6.2 analysis of what the text says explicitly as Inferences ELA12.6.3 well as inferences drawn from the text, Explicit ELA12.6.4 including determining where the text Analysis ELA12.6.5 leaves matters uncertain. ELAGSE11-12RL2: Determine two or What is the central idea of a piece of Theme ELA12.6.1 more themes or central ideas of a text and literature and how do ideas interact and Central idea ELA12.6.2 analyze their development over the course build on one another? How does one Analyze ELA12.6.3 of the text, including how they interact and provide an objective summary of a text? Cite ELA12.6.4 build on one another to produce a complex Evidence ELA12.6.5 TCSS account; provide an objective summary of Support the text. Inferences Objective ELAGSE11-12RL3: Analyze the impact of What are the effects of an author’s choices Characters ELA12.6.3 the author’s choices regarding how to regarding setting, order, and character Analyze ELA12.6.4 develop and relate elements of a story or development? Development ELA12.6.5 drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). ELAGSE11-12RL4: Determine the What are figurative and connotative Diction ELA12.6.6 meaning of words and phrases as they are meanings? How do words and phrases Figurative used in the text, including figurative and impact an author’s meaning and tone? Connotation connotative meanings; analyze the impact How does an author’s word choice impact Denotation of specific word choices on meaning and engagement and beauty? Tone tone, including words with multiple Context meanings or language that is particularly Syntax fresh, engaging, or beautiful. (Include Engaging Shakespeare as well as other authors.)

ELAGSE11-12RL6: Analyze a case in How is point of view related to satire, Analyze ELA12.6.1 which grasping point of view requires sarcasm, irony, or understatement? Satire ELA12.6.2 distinguishing what is directly stated in a Sarcasm ELA12.6.3 text from what is really meant (e.g., satire, Irony sarcasm, irony, or understatement). Understatement ELAGSE11-12RL9: Demonstrate How does a work reflect its time period? Foundational works ELA12.6.1 knowledge of eighteenth-, nineteenth- and How do two texts from the same time Themes ELA12.6.2 early twentieth-century foundational works period treat similar themes or topics? Topics (of American Literature, British Literature, Compare/contrast World Literature, or Multicultural Literature), including how two or more texts from the same period treat similar themes or topics. ELAGSE11-12RI1: Cite strong and What are effective ways to cite textual Cite ELA12.6.6 thorough textual evidence to support evidence to best analyze literature? Textual evidence analysis of what the text says explicitly as Inferences well as inferences drawn from the text, Explicit including determining where the text Analysis leaves matters uncertain. ELAGSE11-12RI2: Determine two or What are central ideas in a text and how Central idea/main idea ELA12.6.3 more central ideas of a text and analyze do they develop over the course of that Analyze their development over the course of the text? How does one provide a summary of Complex text, including how they interact and build the text Objective on one another to provide a complex Summarize analysis; provide an objective summary of Outline the text. ELAGSE11-12RI3: Analyze a complex How are complex ideas or sequences of Sequence ELA12.6.3 set of ideas or sequence of events and events developed throughout a piece of Interact explain how specific individuals, ideas, or literature? Develop events interact and develop over the course of the text. TCSS ELAGSE11-12RI4: Determine the What are strategies used in clarifying the Diction ELA12.6.6 meaning of words and phrases as they are meaning of words and phrases as they are Figurative meaning used in a text, including figurative, used in a text? Connotative connotative, and technical meanings; Technical analyze how an author uses and refines the meaning of a key term or terms over the course of a text (e.g., how Madison defines faction in Federalist No. 10). ELAGSE11-12RI6: Determine an author’s How does the author’s point of view or Point of view ELA12.6.3 point of view or purpose in a text in which purpose impact the power of Purpose ELA12.6.4 the rhetoric is particularly effective, persuasiveness or beauty of his/her text? Rhetoric analyzing how style and content contribute Persuasiveness to the power, persuasiveness, or beauty of the text. ELAGSE11-12RI7: Integrate and evaluate How can I integrate multiple sources to Integrate ELA12.6.2 multiple sources of information presented best answer a question or reach a Evaluate in different media or formats (e.g., visually, solution? How does one determine the Media (visual, aural, quantitative, film) quantitatively) as well as in words in order quality of a source? to address a question or solve a problem. ELAGSE11-12W2: Write How does one choose the most significant Informative ELA12.6.5 informative/explanatory texts to examine and relevant facts appropriate to the Explanatory and convey complex ideas, concepts, and audience’s knowledge of the topic? Organization information clearly and accurately through Objectivity the effective selection, organization, and Transition analysis of content. Topic a. Introduce a topic; organize complex Concrete details ideas, concepts, and information so Quotations that each new element builds on Paraphrase that which precedes it to create a Cohesion unified whole; include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension. b. Develop the topic thoroughly by selecting the most significant and relevant facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience's knowledge of the topic. c. Use appropriate and varied transitions and syntax to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts. d. Use precise language, domain- specific vocabulary, and techniques such as metaphor, simile, and analogy to manage the complexity TCSS of the topic. e. Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing. f. Provide a concluding statement or section that follows from and supports the information or explanation presented (e.g., articulating implications or the significance of the topic). ELAGSE11-12W3: Write narratives to What is narrative writing? How does a Narrative ELA12.6.3 develop real or imagined experiences or writer use narrative techniques to convey Pacing ELA12.6.4 events using effective technique, well- meaning and engage the reader? Voice/narrative voice chosen details, and well-structured event Style sequences. Point of view a. Engage and orient the reader by Experience setting out a problem, situation, or Technique observation and its significance, Details establishing one or multiple point(s) Well-structured of view, and introducing a narrator Sequences and/or characters; create a smooth Imagery progression of experiences or Sensory language events. Aesthetics b. Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters. c. Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution). d. Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters. e. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative. ELAGSE11-12W6: Use technology, How can technology impact the writing Technology ELA12.6.5 including the Internet, to produce, publish, process? Produce ELA12.6.6 and update individual or shared writing Publish products in response to ongoing feedback, Ongoing including new arguments or information. Feedback TCSS Arguments ELAGSE11-12W9: Draw evidence from How do I use evidence from texts to Textual evidence ELA12.6.1 literary or informational texts to support support my analysis, reflection, and Analysis ELA12.6.2 analysis, reflection, and research. research? Reflection ELA12.6.3 a. Apply grades 11-12 Reading Research ELA12.6.4 standards to literature (e.g., ELA12.6.5 "Demonstrate knowledge of ELA12.6.6 eighteenth-, nineteenth- and early- twentieth-century foundational works of American literature, including how two or more texts from the same period treat similar themes or topics"). b. Apply grades 11-12 Reading standards to literary nonfiction (e.g., "Delineate and evaluate the reasoning in seminal U.S. texts, including the application of constitutional principles and use of legal reasoning [e.g., in U.S. Supreme Court Case majority opinions and dissents] and the premises, purposes, and arguments in works of public advocacy [e.g., The Federalist, presidential addresses]"). ELAGSE11-12W10: Write routinely over How do I write effectively for a range of Task ELA12.6.1 extended time frames (time for research, tasks, purposes, and audiences? Purpose ELA12.6.2 reflection, and revision) and shorter time Audience frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. ELAGSE11-12L1: Demonstrate How do I demonstrate command of the Standard English ELA12.6.3 command of the conventions of standard conventions of standard English grammar English grammar and usage when writing and usage? or speaking. a. Apply the understanding that usage is a matter of convention, can change over time, and is sometimes contested. b. Resolve issues of complex or contested usage, consulting references (e.g., Merriam-Webster's Dictionary of English Usage, Garner's Modern American Usage) as needed. ELAGSE11-12L2: Demonstrate How do I demonstrate command of the Standard English ELA12.6.3 command of the conventions of standard conventions of standard English Capitalization ELA12.6.4 English capitalization, punctuation, and capitalization, punctuation, and spelling? Punctuation ELA12.6.6 spelling when writing. How do I use a hyphen and/or dash Hyphen a. Observe hyphenation conventions. correctly? Dash b. Spell correctly. TCSS ELAGSE11-12L4: Determine or clarify What are effective strategies to determine Clarify ELA12.6.6 the meaning of unknown and multiple- or clarify meaning of unknown words and Multiple-meaning meaning words and phrases based on phrases? flexibility grades 11-12 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word's position or function in a sentence) as a clue to the meaning of a word or phrase. b. Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., conceive, conception, conceivable). c. Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, its etymology, or its standard usage. d. Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary). ELAGSE11-12L5: Demonstrate How does understanding of figurative Figurative language ELA12.6.1 understanding of figurative language, word language, word relationships, and nuance Nuances ELA12.6.2 relationships, and nuances in word affect word meaning? Hyperbole ELA12.6.6 meanings. Paradox a. Interpret figures of speech (e.g., Denotation hyperbole, paradox) in context and analyze their role in the text. b. Analyze nuances in the meaning of words with similar denotations. ELAGSE11-12L6: Acquire and use How do I acquire and use accurately General academic words and phrases ELA12.6.6 accurately general academic and domain- general academic and domain-specific Domain-specific words and phrases specific words and phrases, sufficient for words and phrases? reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. ELAGSE11-12SL1: Initiate and participate How do I participate in a range of Collaborative discussions ELA12.6.1 effectively in a range of collaborative collaborative discussions to express ideas Textual evidence ELA12.6.2 discussions(one-on-one, in groups, and and listen to others? Collegial discussions ELA12.6.4 teacher-led) with diverse partners on Response ELA12.6.5 grades 11-12 topics, texts, and issues, Diverse perspectives ELA12.6.6 building on others’ ideas and expressing Qualify TCSS their own clearly and persuasively. Justify a. Come to discussions prepared, having Evidence read and researched material under study; Reasoning explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas. b. Work with peers to set rules for collegial discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed. c. Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives. d. Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is required to deepen the investigation or complete the task. ELAGSE11-12SL2: Integrate multiple What are the appropriate sources of Integrate ELA12.6.2 sources of information presented in information used to make informed Diverse diverse formats and media (e.g., visually, decisions and solve problems? Credibility quantitatively, orally) in order to make Discrepancies informed decisions and solve problems, Data evaluating the credibility and accuracy of each source and noting any discrepancies among the data. ELAGSE11-12SL4: Present information, How does my presentation (style, Clarity ELA12.6: Capstone findings, and supporting evidence, organization, etc.) affect my audience’s Concise ELA12.6.6 conveying a clear and distinct perspective, understanding? How can I best present a Logical such that listeners can follow the line of clear and distinct perspective, such that Organization reasoning, alternative or opposing listeners can follow my reasoning? Development perspectives are addressed, and the Substance organization, development, substance, and Style style are appropriate to purpose, audience, Purpose and a range or formal and informal tasks. Audience Task ELAGSE11-12SL5: Make strategic use of How does digital media affect the Strategic ELA12.6: Capstone digital media (e.g., textual, graphical, understanding of a speech or Digital media audio, visual, and interactive elements) in presentation? Enhance presentations to enhance understanding of Reasoning findings, reasoning, and evidence and to Evidence add interest. TCSS ELAGSE11-12SL6: Adapt speech to a Why and how do I adapt my speech to Adapt ELA12.6: Capstone variety of contexts and tasks, content, task, audience, and purpose? Formal English demonstrating a command of formal English when indicated or appropriate. (See grades 11–12 Language standards 1 and 3 for specific expectations.)

TCSS

Lessons for British Literature Unit 6

The following pages are the lessons for the unit that have been linked at the beginning of the document. These lessons are based on identified GSE high-priority standards and incorporate unit texts and resources.

TCSS ELA12.6: Capstone Note: Second semester ELA will have the responsibility for having students complete the final journal entry for the Capstone Project as well as prepare for the Final Presentation. Reference this lesson for materials related to Capstone. Learning Target(s) I can:  identify and/or generate their own research question or problem  adapt the scope of topic (narrow or broaden) based on research findings  analyze and determine the relevance of data and information collected based on the research questions(s)  synthesize information gathered from multiple print and online sources  assess the strengths and limitations of a source used for research  evaluate sources to determine their strengths and weaknesses  evaluate sources' effectiveness in speaking to writer's task, audience, and purpose  recognize the value of using a variety of sources, rather than relying heavily on a single source  integrate evidence collected during research into their writing while avoiding plagiarism  use required format correctly Priority Standards: Priority Standards:  Support Standards ELAGSE11 -12SL4: Present information, findings, and supporting  Pre-requisite Learning evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range or formal and informal tasks. ELAGSE11-12SL5: Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest. ELAGSE11-12SL6: Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. (See grades 11–12 Language standards 1 and 3 for specific expectations.)

Resources for Instruction Capstone Manual Capstone Presentation Rubric

Time Allocated Days will be embedded throughout the second semester.

EQ  How does my presentation (style, organization, etc.) affect my audience’s understanding? How can I best present a clear and distinct perspective, such that listeners can follow my reasoning?  How does digital media affect the understanding of a speech or presentation?  Why and how do I adapt my speech to content, task, audience, and purpose?

TCSS Activator/Connection/Warm Up Provide students opportunities to present orally and make connections to the Capstone Project expectations. Instructional Delivery

 Teaching Point/Mini Expectations for the Capstone in this unit include: Lesson/Teacher  Work on building presentation skills by allowing students Input (I Do/Modeling) opportunities to work on Oral Presentations with feedback  Provide students with guidance in completion of the presentation.  Guided Instruction/ Differentiated It will be important to teach students the skills they will need to Instruction (We Do) successfully present information to an audience. Review the Capstone Presentation Checklist with the students to ensure their understanding of the expectations. ELA teachers will also be  Independent involved in having students sign up for the presentations, and this Practice (You Do) grade will be a Major grade for the ELA class. Summarizer/Closure/Evaluati Capstone Presentation Score will be a major grade for the ELA class. on of Lesson

TCSS ELA12.6.1 Learning Target(s): Students will be able to define and understand in context common poetic devices, such as rhyme and sound, interpret a poem and present that interpretation to other students, recognize and understand the poetic forms of elegy and villanelle, and compare and contrast poems via active class discussion and well-supported written analysis. Priority Standards: Priority Standards  Support Standards ELAGSERL.11-12.1 Cite strong and thorough textual evidence to  Pre-requisite Learning support analysis of what the text says explicitly as well as inferences drawn from the text. ELAGSE11-12RL2: Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. ELAGSE11-12RL6: Analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). ELAGSE11-12RL9: Demonstrate knowledge of eighteenth-, nineteenth- and early twentieth-century foundational works (of American Literature, British Literature, World Literature, or Multicultural Literature), including how two or more texts from the same period treat similar themes or topics. Support Standards ELAGSEW.11-12.9 Draw evidence from literary or informational texts to support analysis, reflection, and research. ELAGSE11-12W10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. ELAGSE11-12SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELAGSE11-12L5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Resources for Instruction To an Athlete Dying Young poem Do Not Go Gentle into That Good Night poem Venn Diagram Thomas death worksheet Housman death worksheet Green textbook: Housman page 1092; Thomas page 1390 Time Allocated 2 days EQ How do Housman and Thomas present death in their poems and how does the theme of death vary across poetry? Activator/Connection/Warm Up Perhaps the most important first step for students in closely analyzing a poem is to hear and/or read the poem aloud. This initial activity, which should take about 20 minutes, is meant to start a general discussion of the poems while also preparing students for their own in-depth analysis of both poems.

First have a student volunteer read "To an Athlete Dying Young" to the class, and then read the poem again yourself. Alternatively, to help visually set the stage of "To an Athlete Dying Young," have students stand and form two lines. Then ask for a student volunteer to read the poem while walking through the student lines; this reading set-up visually mimics the poem's two processionals: 1) cheering the young TCSS athlete after a victory and 2) carrying the coffin during a funeral procession.

Introduce the form of the elegy, including the rhyme scheme (aabb), stanza form of quatrains, and iambic tetrameter. Note that an elegy typically presents a speaker who both mourns and grieves the subject while also praising him or her as a way of acknowledging and sometimes even accepting the fact of death. Launch the initial discussion of this poem by focusing on the form: How does this form influence the tone of "To An Athlete Dying Young"? (Teacher Note: Although the poem is about the death of a young man, the tone is upbeat and positive. In the end, the subject actually is praised for dying before he grows too old for glory and honor).

Re-read the following two stanzas, asking students to pay attention to the sounds they hear the most prominently:

To-day, the road all runners come, Shoulder-high we bring you home, And set you at your threshold down, Townsman of a stiller town.

Smart lad, to slip betimes away From fields where glory does not stay, And early though the laurel grows It withers quicker than the rose. Continue the initial discussion of the poem, using the following questions:

What sounds stand out in these lines? [Teacher Note: point out the consonance of "s" sounds: Shoulder, set, threshold, townsman, stiller, smart, slip, betimes, fields, does, stay, grows, withers, rose.] What kind of mood do these sounds create? What visual images do these sounds evoke? What is the relationship between sound and the stanza's meaning? [Teacher Note: The soft "s" alliteration and consonance (in a general sense, repeated consonants) creates a sense of calm and quiet, readying the dead subject for "the stiller town."] Now ask students to contrast the prominent sounds in these stanzas to the fourth stanza, using the following questions:

What sounds stand out in these lines? [Teacher Note: point out the consonance of "hard c" sounds: cannot, record, cut.] What kind of mood do these sounds create? What visual images do these sounds evoke? [Cheering]. What is the relationship between sound and the stanza's meaning? [Teacher Note: The hard "c" consonance reminds readers of the cheering when the young athlete first was carried "shoulder-high" through town; now the cheering has been displaced by silence.]

Before turning to Thomas' poem, introduce the villanelle form. Point out that a villanelle, by contrast to an elegy, is a rigid form that historically featured more light-hearted and simple themes. Ask students to pay attention to the form as they hear the poem, considering the following guiding question: Why do you think Thomas chose this form for "Do Not Go Gentle into That Good Night"? (Teacher Note: The characteristic refrains allow Thomas' poem to build momentum, ultimately fortifying the subject as he faces his father's death. The form's rigid rhyme scheme allows the poem to take on a meditative quality, turning the form's historical dance song qualities into a solemn "song" about death TCSS and dying).

Next play for students the audio clip of Thomas reading "Do Not Go Gentle into That Good Night", a link from Modern American Poetry. Play the audio clip a second time, asking students at this point just to write down repeated words. After playing the clips, ask students the following questions to continue the initial discussion of these poems:

What repeated phrases and words did you hear and write down? What emotions do you think the poet conveys as he is reading the poem? What did you notice about this poem's form? What are the effects of the repetition on the poem's mood or tone? Why do you think Thomas turned to the villanelle form instead of the traditional elegy? Can you identify stages of loss throughout Thomas' villanelle? Instructional Delivery Small Group Analysis To transition to this small group activity, review the following poetic  Teaching Point/Mini terms, available via a link from the American Academy of Poets, with Lesson/Teacher Input (I students. First ask students to define the terms, and then fill in any Do/Modeling) gaps in their understanding. This step should take about 7–8 minutes.

Metaphor  Guided Instruction/ Refrain Differentiated Instruction Repetition (We Do) Rhyme Speaker (Persona) Stanza  Independent Practice Tone (You Do) After introducing students to the poems and common terms, break students into four small groups to have them conduct in-depth analysis of the poems' form and meaning. Assign two groups to "To an Athlete Dying Young" and two groups to "Do Not Go Gentle into That Good Night." Hand out the corresponding student analysis worksheet to each group. Ask each student group to analyze its assigned poem in small groups via active discussion. Tell each group select a note taker to record the group's response on the worksheet, and point out that each group will present its worksheet responses to the full class.

Housman Death Poetry Worksheet Thomas Death Poetry Worksheet

This activity should take about 15–20 minutes. As students are participating in their small group discussion, visit each group for 4–5 minutes to listen and offer assistance as needed. Make sure all students are participating in the discussion. Be sure to help the Thomas groups understand the villanelle form.

Summarizer/Closure/Evaluation Student Presentations and Class Discussion of Lesson During this full class activity (Day 2 of the lesson), first have each Housman group present its responses (as recorded in the worksheet), followed by the Thomas groups; a different person can present each response. Encourage the second group for each poem to respond to each other during each group presentation, and vice versa. Allow 6-7 TCSS minutes for each group presentation. After each poem is presented by both groups, ask for questions and fill in any gaps in understanding.

After all groups have presented their responses, hand out a Venn Diagram worksheet to each small group. Direct the groups to compare and contrast the poems by completing the Venn diagrams using the following guiding questions (allow 15 minutes for this activity):

How do the speakers differ? How are they similar? How would you describe the tone of each poem? How does the tone of each poem differ? Is the tone the same at certain parts of the poem? How is the use of sound devices similar in each poem? How is it different? What are the similarities and differences of the poems' rhyme schemes? What effect does Thomas' use of the villanelle form have on the tone of "Do Not Go Gentle into That Good Night" in contrast to "To an Athlete Dying Young"? What are the similarities and differences between each poem's presentations of death? How else would you compare and contrast these poems? Wrap up this activity by reviewing the similarities and differences of the poems, asking for student input during this final discussion.

TCSS ELA12.6.2 Learning Target(s): Students will explore the historical context of "World War I poetry,” define and understand in context common poetic devices, compare and contrast poems via active class discussion, and provide a well- supported, written analysis of the relationship between a poem's form and its content. Priority Standards: ELAGSE11-12RL1 Cite strong and thorough textual evidence to  Support Standards support analysis of what the text says explicitly as well as inferences  Pre-requisite Learning drawn from the text. ELAGSE11-12RL2: Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. ELAGSEW.11-12.9 Draw evidence from literary or informational texts to support analysis, reflection, and research. ELAGSE11-12RL6: Analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). ELAGSE11-12RI7: Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem. ELAGSE11-12RL9: Demonstrate knowledge of eighteenth-, nineteenth- and early twentieth-century foundational works (of American Literature, British Literature, World Literature, or Multicultural Literature), including how two or more texts from the same period treat similar themes or topics. ELAGSE11-12W10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. ELAGSE11-12SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELAGSE11-12L5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. ELAGSE11-12SL2: Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data. Resources for Instruction Poetry of the Great War A Documentary Chronology Imageshttp://edsitement.neh.gov/lesson-plan/images-war of War WWI Photoessay Poster Analysis Worksheet Break of Day in the Trenches Poetic Devices Worksheet Lit Web Glossary The Things That Make a Soldier Great Dulce et Decorum est

Time Allocated 2 days EQ What are some common poetic devices, and how are they used to present and interpret WWI? TCSS What is the relationship between a poem's form and its content? Activator/Connection/Warm Up Activity 1. The War in Context If time allows, consider using the following EDSITEment lesson plans to provide an overview of World War I:  "A Documentary Chronology of World War I." (See in particular the Chronology of WWI)  "The Images of War" as a general context of the power of war images. For further overview of the war, consider having students review the WWI Photoessay to gain a general sense of the Great War. Students might consider the following questions: What do these photos suggest about the mood of the new soldiers? The mood of the civilians? What is the overall feeling that these photos evoke? How would you describe the weaponry of the photos of "The Somme, 1916."? Please note that some of these photos have potentially disturbing images of wounded and killed soldiers

Instructional Delivery Activity 2. Poetic Analysis Warm-up Exercises Symbolism and Imagery: "Through Darkness to Light"  Teaching Point/Mini  Many poetic devices, such as symbolism and imagery, can be used Lesson/Teacher Input (I and understood outside the context of poetry. Ask students to provide a Do/Modeling) general definition for symbolism and imagery. The Purdue Online

Writing Lab, available through the EDSITEment-reviewed Internet

 Guided Instruction/ Public Library, provides a useful worksheet detailing these literary Differentiated Instruction terms. While imagery helps set the tone and mood in a work, symbols (We Do) tend to create a more pointed, one-to-one relationship between a symbol and the feeling or object to which it refers. In a western film, for example, the imagery of tumbleweed sets a tone of desolation and  Independent Practice (You tension, while the hero's white hat and the villain's black hat are Do) symbols of good and evil. Point out to students that symbolism in WWI posters can help us understand the general mood of the U.S. and Great Britain during the era of "The Great War"—before, during, and after the War. Show, for example, the "A Wonderful Opportunity for You" American solider recruitment poster housed at the National Archives and the "Only Road for an Englishman: Through Darkness to Light" poster from the Library of Congress' American Memory Project. Using the National Archives Poster Analysis Worksheet as a guide, discuss the posters' textual and visual rhetoric with your class at large. Then focus on the symbolism of light and darkness as students discuss the posters in more detail.  o Symbolism and Imagery: Working with the posters and analysis worksheet, ask students to point out and discuss the symbols and imagery they identify in each poster. Additional considerations: o For the first poster, focus on the circular image behind the solider. Point out how that image evokes the sun (via its color, the circle, etc.). Discuss the sun's symbolism within the context of this poster. Then ask students to describe the soldier's mood by pointing to additional aspects of the poster that lead to their conclusions (e.g., the soldier's smile, his hurried pace, etc.). o For the second poster, ask students to describe the textual and visual references to darkness and light, and discuss how darkness and light are used symbolically in this poster. o In the Trenches  Mention to students that trench warfare was a defining aspect of WWI. TCSS Ask students to keep in mind the symbolism of darkness and light as they are learning more about WWI in and from the trenches. o Show students the following trench photos from the EDSITEment resource Photos of the Great War and videos from The Wilfred Owen Multimedia Digital Archive, a link from the EDSITEment-reviewed Academy of American Poets site, and ask them first to imagine and then discuss what life in the trenches must have been like (e.g., darkness, underground, cramped quarters, rats, sounds, etc.). You might consider putting students into groups for this exercise, asking each to examine a single photograph or film before returning to a larger discussion about the war. o French soldiers in Alsace using trench periscope o British troops August 1916 during the Battle of the Somme o Belgian troops entrenched along a railway line o Panning shot over a wrecked trench with entrances to intact dugouts, 1916 (when you reach the page, click on the numbered ID link to access the video) o Trench junction at Martinpuich with infantry, some carrying boxes of grenades, moving up, presumably to the front line, 1916 (when you reach the page, click on the numbered ID link to access the video) o High angle shot of trench, 1916 (when you reach the page, click on the numbered ID link to access the video) o Have student volunteers read the following first-hand retrospective accounts of life in the trenches from the EDSITEment-reviewed WWI Primary Documents Archive, and then lead a class discussion to sum up the symbolism of darkness vs. light. Ask students whether certain symbols can change over time. To give this question some context, you can discuss the image of "dawn" in the second account of the trenches. The following questions can help generate discussion: o How does the soldier describe "yesterday's dawn" at the end of this excerpt? o How does his description of dawn change by the next day? Revisit the "A Wonderful Opportunity for You" poster, and compare MacGill's description of dawn to the symbol of the sun in the poster. A larger question is "In what ways did WWI change the symbolism of sun/light/dawn?" o From WWI Primary Documents Archive: o By Philip Curme: By January the Battalion had moved to the front line— arriving at night. "The darkness was continually illuminated, for a thousand very lights hung from the black velvet sky. Rifle shots and the traversing fire of machine-guns startled the air; monstrous rats came to life from behind the sandbags, scampering boldly ... through the mud. A door opened or a sackcloth curtain swung aside, revealing a candlelit dugout ... Gradually imperceptibly, the black & white pictures of the night were coloured by the sun. A dark phantasmal mass became a hooded farm wagon, derelict. For a space the war slept. By day there was stillness, broken now and then by a sniper firing suddenly ... or by a bombardment scattering men & things. Day was appallingly prosaic but night was beautiful & romantic. When the lights shot up into the sky the trenches became like fairyland." "Though only a thousand yards away from the German trenches, this spot seemed far away from the war. The undergrowth round the chateau was a riot of wild & garden flowers. Dogs barked at the guns, the vagrant cuckoo called to its mate and nightingales sang through the hours of darkness." o By Patrick MacGill: A RIM of grey clouds clustered thick on the horizon as if hiding some wonderful secret from the eyes of men. Above my TCSS head the stars were twinkling, a soft breeze swung over the open, and moist gusts caught me in the face as I picked my way carefully through the still figures in brown and grey that lay all over the stony face of the level lands. A spinney on the right was wrapped in shadow, and when, for a moment, I stood to listen, vague whispers and secret rustlings could be heard all around. The hour before the dawn was full of wonder, the world in which I moved was pregnant with mystery. "Who are these?" I asked myself as I looked at the still figures in khaki. "Where is the life, the vitality of yesterday's dawn; the fire of eager eyes, the mad pulsing of roving blood, and the great heart of young adventure? Has the roving, the vitality and the fire come to this; gone out like sparks from a star-shell falling in a pond? What are these things here? What am I? What is the purpose served by all this demolition and waste?" Like a child in the dark I put myself the question, but there was no answer. The stars wheel on their courses over the dance of death and the feast of joy, ever the same. o Read out loud Isaac Rosenberg's poem "Break of Day in the Trenches" (1916). Define the terms metaphor and simile, and ask students what comparison Rosenberg makes to describe the trenches. Ask students to make comparisons between life in the trenches and more familiar settings/experiences, etc. How does Rosenberg feel about life in the trenches? How is nature portrayed in this poem? In an earlier exercise, students explored the use of light and dark in recruitment posters—how does light and dark work as symbols in this poem? Students should support their answer with concrete details from the poem. Activity 3. Close Analysis of Poetic Form and Content Poetic Devices  Hand out the Poetic Devices Worksheet. Work with students to define the literary terms, and ask students to take notes in the definitions section of the worksheet. Norton's LitWeb Glossary.  Assign the following two poems for students to read for the next class period, and ask students to find examples of each poetic device from the assigned poems as they are reading the poems on their own time. Point out to students that they should consider as well the effects a poem's lack of certain devices has on the poem at large (e.g., the lack of meter, rhyme, etc.) Mention to students that they should be prepared to discuss the poems during the next class period. o Poems: o Edgar Guest's "The Things That Make a Soldier Great" (1918) o Wilfred Owen's "Dulce et Decorum Est" (1917) o Poetic Devices: o metaphor/simile o symbol o imagery o rhyme o meter/pacing o tone o alliteration o consonance o assonance  Devote the second class period to close analysis of the selected WWI poems. Start by reading out loud Edgar Guest's "The Things That Make a Soldier Great" (1917). You should read the poem out loud, and then have a student volunteer read the poem again. Use the following questions to generate a class discussion:  TCSS o Meter: You can use this poem to give a basic overview of how a poem's meter fundamentally is tied to the poem's syllable count per line. Ask students if they noticed a consistent syllabic pattern. Count the number of syllables with students, and then define meter as the number of stressed beats per line. There is no need to go into an advanced lesson on meter and scansion; instead, point out how Guest's lines have a consistent pattern of "beats." Ask students to notice how the consistent beat of Guest's poem evokes the consistent beat of marching soldiers, thereby adding to the poems patriotic call for soldiers to join the fight. For an extended lesson on meter, refer to the EDSITEment lesson "Listening to Poetry: Sounds of the Sonnet." You can note that this poem is a ballad (printed with long ballad lines of iambic heptameter), a form that is meant to sound song-like. o Rhyme: Use this poem to discuss rhyme. Ask students the following questions: o As you were listening to the poem, did you hear the rhyme scheme? o How would you describe this rhyming? (Song-like or "sing-songy")? o Where have you heard this type of rhyming? (Note that children's songs, or nursery rhymes, often are in short ballad form). o What emotional response does this poem's rhyme scheme elicit? How do the meter and rhyme scheme contribute to the poem's mood? o Write the first two lines of the poem on a whiteboard or chalkboard as follows: o The things that make a soldier great and send him out to die, To face the flaming cannon's mouth nor ever question why, o Now compare the poem as written above to "Mary Had a Little Lamb": Mary had a little lamb its fleece was white as snow and everywhere that Mary went The lamb was sure to go o o Tone and Images: Building on the questions above, be sure to elaborate on the poet's tone. Ask students the following questions: o How would you describe the poet's mood and/or the emotions the poem evokes? o What specific images contribute to the poet's tone (e.g., lilacs, tulips, children, flag, home, garden)? Why or how do these images affect the tone at large?  Note that "[The established poet] Robert Graves criticised [Poet Wilfred] Owen for not abiding by the rules of metre, and it is true that "Disabled" seems loosely organised with its apparently arbitrary irregularities of stanza, metre and rhyme. Perhaps Owen felt, not unreasonably, that a poet was entitled to break the rules as long as he knew them first" [Noted by Literary Critic Kenneth Simcox, 2001]. Keeping Owen's use of meter in mind, read out loud Wilfred Owen's "Dulce et Decorum Est" (1917). Have students note and compare the titles of these poems; "Dulce et Decorum Est" roughly translates as "It is sweet and proper to die for one's country."  Lead another class discussion about this poem based on the following questions:  o Meter/Rhyme: o Ask students if they hear a clear meter and rhyme scheme when this poem is read aloud? [Mention how the lack of consistent beats detracts from the rhyme scheme that is actually present in the poem.] Ask students to review the first stanza of Owen's poem, and compare it to the first stanza of "The Things That Make a Soldier Great." o Bent double, like old beggars under sacks, Knock-kneed, TCSS coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five-Nines that dropped behind. o The things that make a soldier great and send him out to die, To face the flaming cannon's mouth nor ever question why, Are lilacs by a little porch, the row of tulips red, The peonies and pansies, too, the old petunia bed, The grass plot where his children play, the roses on the wall: 'Tis these that make a soldier great. He's fighting for them all. o Does this poem sound song-like as "The Things That Make a Soldier Great"? Why not? [Note that the heavy ballad beats are not present in this poem]. What is the mood/tone of this poem? Discuss how this lack of clearly organized beats changes the tone of the poem; it is far from "sing-songy." o Alliteration, Consonance, Assonance: Ask students to define alliteration (repetition of initial sounds), consonance (repetition of consonant sounds initially and/or within a word), and assonance (repetition of vowel sounds initially and/or within a word). Focus of the first four lines of Owen's poem: Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. o Discuss, for example, the hard "c" consonance of within the first few lines of "Dulce" (sacks, Knock-kneed, coughing, like, cursed, backs). Ask students what this consonance brings to mind (i.e., the sound of coughing itself): o As an example of assonance, point to the "u" sounds within the first few lines (including the ending of lines 2 and o Explain to students that this case of assonance, the "u" sounds slow down and therefore draw out the lines. Again form marries content as the soldiers "trudge" through "sludge."

Summarizer/Closure/Evaluation of Pacing: Turn to the lines "Gas! Gas! Quick, boys!-An ecstasy of Lesson fumbling," to draw attention to the changed pace of the poem. Ask students what effect the use of one syllable words has on the poem's pace. Additional Analysis: Break students into small groups, and have each group discuss the last two stanzas of the poem for 10 minutes. Regroup for full class discussion of the remainder of the poem.

TCSS

ELA12.6.3 Learning Target(s): Students will understand the nature of stream of consciousness narration and its impacts upon the readers’ understanding of a text. Students will produce an example of stream of consciousness writing. Priority Standards: Priority Standards  Support Standards ELAGSE11-12RL2: Determine two or more themes or central ideas of  Pre-requisite Learning a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. ELAGSE11-12RL6: Analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). ELAGSERL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. ELAGSERL.11-12.3 Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). ELAGSERI.11-12.2 Determine two or more central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to provide a complex analysis; provide an objective summary of the text. ELAGSERI.11-12.3 Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of the text. ELAGSERI.11-12.6 Determine an author's point of view or purpose in a text in which the rhetoric is particularly effective, analyzing how style and content contribute to the power, persuasiveness, or beauty of the text. ELAGSEW.11-12.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. Support Standards ELAGSE11-12W9 Draw evidence from literary or informational texts to support analysis, reflection, and research. ELAGSE11-12SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELAGSE11-12L2: Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Resources for Instruction Stream of Consciousness PowerPoint Stream of Consciousness writing practice power point Bread by Margaret Atwood Time Allocated 1 day EQ What is stream of consciousness? How does it impact the readers’ understanding/appreciation of a text? Activator/Connection/Warm Up Stream of Consciousness informational slides Practice writing stream of consciousness TCSS Instructional Delivery Students should read "Bread" by Margaret Atwood.

 Teaching Point/Mini After reading the passage, students should pair up and complete the Lesson/Teacher Input (I following: Do/Modeling)

Discuss the meaning and purpose of the work.

 Guided Instruction/ Highlight (in yellow) any words or phrases that are repeated throughout Differentiated Instruction the essay. (We Do) Student pairs should complete a basic “storyboard” analyzing the development of Atwood’s essay. Each frame should include the  Independent Practice (You following: Do) --The first sentence from each paragraph should be in the top row.

--An illustration of the activity in the paragraph should be in the second row.

--The setting and action involving the bread should be in the third row.

As a class, students should discuss the use of stream of consciousness in “Bread.” Students should be able to explain how Atwood does not follow a chronologic time line in the selection.

On their individual "hard copies" of the essay, students should draw a slash (/) each time Atwood shifts thoughts or ideas. Students should turn to the person sitting next to them and compare annotations.

As a class students should explore how Atwood depicts her “multitude of thoughts” throughout the passage.

As a class students should also discuss how the bread takes on greater significance throughout the passage.

Students will be able to explain how Atwood develops the “bread” motif throughout her essay. Summarizer/Closure/Evaluation of Journaling Prompt - Close your eyes for a minute and imagine you are Lesson skydiving. Write about the physical sensations and the thoughts you have.

Journaling Prompt - Sit yourself in a favorite spot, or imagine an ideal place and describe it as an expanding bubble or sphere. Start with the center which is you, how you feel, your thoughts. Slowly expand, taking note of subtle nuances around you. Expand the sphere beyond your field of vision.

Journaling Prompt - Hold your hands out in front of you, palms down. Imagine that you have a total of six strings tied around your fingers. Write about the objects that are dangling from the strings.

TCSS ELA12.6.4 Learning Target(s): Students will explore the concept of genre and generate a list of conventions for a given genre, critique a list of genre conventions to reveal the social norms behind them, generate a list of genre conventions with awareness of the social norms that inform them, compose a text that responds to a list of genre conventions, and reflect on their text and the ways in which it adheres to and deviates from genre conventions for effect. Priority Standards: Priority Standards  Support Standards ELAGSE11-12RL2: Determine two or more themes or central ideas of  Pre-requisite Learning a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. ELAGSERL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. ELAGSERL.11-12.3 Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). ELAGSERI.11-12.6 Determine an author's point of view or purpose in a text in which the rhetoric is particularly effective, analyzing how style and content contribute to the power, persuasiveness, or beauty of the text. ELAGSEW.11-12.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. Support Standards ELAGSE11-12W9 Draw evidence from literary or informational texts to support analysis, reflection, and research. ELAGSE11-12SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELAGSE11-12L2: Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Resources for Instruction Genre Defining Sentences Mystery Peer Feedback Guide Knox’s 10 Commandments of Detective Fiction The Hound of the Baskervilles teacher’s guide Arthur Conan Doyle Genre Definition Genre List Genre Study (ReadWriteThink lesson plans) Guide to the Study of Literature Other Sherlock Holmes stories Everyone Loves a Mystery (ReadWriteThink lesson plans) Mystery Cube Planning Sheet Time Allocated 4-5 days EQ What are the elements of the mystery genre? What social norms influence the mystery genre? Activator/Connection/Warm Up SESSION ONE 1. After reading, viewing, or listening to a mystery such as The Hound of the Baskervilles, ask students to write down all the TCSS ways they knew the story was a mystery. 2. Have students share some of the features or characteristics they listed. Record the examples on the board, a projector, or a piece of chart paper. 3. Review with students the concept of genre, making sure that that students have an acceptable grasp—both in terms of its rigidity (guidelines that examples within a genre tend to follow or characteristics that they tend to share) and flexibility (rarely does an example follow all guidelines). 4. Share with students some background on the subgenre of traditional detective fiction, the genre they have been describing, and the essay "The Mystery Genre" which is part of the Masterpiece Teacher's guide before projecting the “Ten Commandments of Detective Fiction” from Ronald Knox, a British mystery writer active in the 1920s. 5. Read over the commandments with students, clarifying any unfamiliar words or concepts. Ask them to share their responses regarding the validity or applicability of Knox’s rules. Students will inevitably, and rightly, be surprised and offended at the fifth commandment. Use his racist comment to begin a conversation about genre as a construction of a certain period and set of beliefs, not something that is rigid and unchangeable. 6. Elicit from students ways in which The Hound of the Baskervilles follows and does not follow the guidelines Knox suggested, reinforcing the understanding that genre conventions are not completely rigid. 7. Then, using Knox’s Genre Commandments as an example, work with students to generate an updated list of rules for a “traditional mystery” that suits the realities of the present day. For example, students might think about ways technology and social networking should and should not be allowed to function in a mystery. 8. Record students’ ideas on the board, a projector, or a piece of chart paper. Ask students to think about this list—including anything they would want to change or add—for the next session. Instructional Delivery SESSION TWO 1. Begin the session by reviewing the list of genre conventions for a  Teaching Point/Mini contemporary mystery that the class generated in the previous Lesson/Teacher Input (I session. Ask if students have any additional ideas they want to Do/Modeling) share.

2. Facilitate a vote to select ten genre conventions that will be the  Guided Instruction/ focus for the creative writing portion of the lesson. Differentiated Instruction 3. Have students copy down the ten agreed-upon conventions so they (We Do) can refer to them as they work. Assure students that they do not need to agree with every characteristic, since the notion of genre is flexible and they will have the opportunity to bend and play with  Independent Practice (You characteristics in their own original writing. Do) 4. Share with students that they will be getting the opportunity to write their own mystery, using the conventions as a guide. 5. If you wish, provide students with the list of Genre-Defining Sentences from a recent film adaptation of The Hound of the Baskervilles that they can use as story starters or incorporate throughout their story. 6. Challenge students to be aware of when they are purposefully using a genre convention (from the list of conventions the class TCSS generated, Traditional Detective Fiction “Commandments”, or the Genre-Defining Sentences handout) to make their story function as a mystery—or when they are breaking, altering, or bending a convention to make their story fresh and new. 7. Consider letting students use the Mystery Cube or provide the Mystery Cube planning sheet to help students as they plan and write their mystery. 8. Determine with students a date for a future session when students will share their mysteries with a small group of peers. On the determined date, students should bring three copies of their completed mystery. Summarizer/Closure/Evaluation of SESSION THREE Lesson 1. After students have had time to write their mysteries, select—or have students select—groups of three for sharing their writing. 2. Distribute the Original Mystery Peer Feedback Guide and explain to students that they will use this handout to record some comments that they will eventually share with their peers. Each student will give copies of his or her mystery to the others in the group. The author will read his or her mystery as peers follow along; stopping occasionally to record comments they wish to offer. 3. After all three group members have read, students should take turns offering their comments. They should use the space a the bottom of the guide to record ideas they have for their own writing now that they have listened to and commented on two other mysteries. 4. Ask students to make any revisions or additions they feel are appropriate based on the comments from their peers. 5. Have students write a reflective piece that highlights the intentions behind their mystery’s adherence to and deviation from the expectations for the genre.

STUDENT ASSESSMENT/REFLECTIONS Focusing more on students’ reflective writing that the mystery itself, look for evidence of students’ blind adherence to genre standards or capricious or ineffective deviation from them and provide appropriate corrective feedback on their drafts. Also look for evidence of thoughtful use of the conventions to make the story identifiable as and function as a mystery and justifiable deviations that enhance the effectiveness of their story.

TCSS ELA12.6.5

Learning Target(s): Students will work in pairs to cast their own movie version of the novel. Students must have knowledge of the characters and setting from the novel. Casting of the characters must correlate with the character traits mentioned in the book. Students will collaborate on a multimedia presentation that demonstrates understanding of characterization presented in a novel. Priority Standards: Priority Standards  Support Standards ELAGSE11-12RL2: Determine two or more themes or central ideas of  Pre-requisite Learning a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. ELAGSE11-12W2: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. ELAGSERL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. ELAGSERL.11-12.3 Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). Support Standards ELAGSE11-12W9 Draw evidence from literary or informational texts to support analysis, reflection, and research. ELAGSE11-12SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELAGSE11-12W6: Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information. Resources for Instruction Agatha Christie project Project Group Evaluation Multimedia Project Rubric And Then There Were None character review Character review quiz Time Allocated 2-3 days EQ How do authors use characterization to develop characters in a story? What purpose is served, what comments on society does the author make by having the main characters come from such varied social classes? Activator/Connection/Warm Up 9. Character match quiz TCSS Instructional Delivery Step 1. Students will be placed in pairs.

 Teaching Point/Mini Step 2. Students will decide on the responsibilities of each person. (See Lesson/Teacher Input (I Handout) Do/Modeling)

Step 3. Each student will research and gather information for 7 slides.  Guided Instruction/ Differentiated Instruction Step 4. Students will work together and create a slide show of the (We Do) characters and setting of the novel.

Step 5. Students will work together to revise and edit their  Independent Practice (You project. Teacher assistance will also be used. Do) Summarizer/Closure/Evaluation of Step 6. Students will present their slide shows to the class. Each Lesson student will present the components he or she was responsible for completing Student evaluation Project Rubrics (assessment)

TCSS

ELA12.6.6 Learning Target(s): Students will define the literary terms utopia and dystopia, identify dystopian characteristics in a film, and explain how dystopias criticize contemporary trends, societal norms, or political systems. Priority Standards: Priority Standards  Support Standards ELAGSE11-12RL4: Determine the meaning of words and phrases as  Pre-requisite Learning they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.) ELAGSE11-12RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. ELAGSE11-12RI4: Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze how an author uses and refines the meaning of a key term or terms over the course of a text (e.g., how Madison defines faction in Federalist No. 10). Support Standards ELAGSE11-12SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELAGSE11-12SL4: Present information, findings, and supporting evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range or formal and informal tasks. ELAGSE11-12L4: Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 11-12 reading and content, choosing flexibly from a range of strategies. ELAGSE11-12L5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. ELAGSE11-12L6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. ELAGSE11-12W6: Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information. ELAGSE11-12W9: Draw evidence from literary or informational texts to support analysis, reflection, and research. ELAGSE11-12L2: Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. ELAGSE11-12SL2: Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data. TCSS Resources for Instruction Dystopia Definition and Characteristics Dystopia Character Chart Dystopian film clip guide Youtube clip “The Real World” from the Matrix Venn Diagram Youtube Clip “Morpheus’ Proposal” from the Matrix Youtube Clip “Down the Rabbit Hole” from the Matrix Identifying Characteristics of the Dystopian Protagonist Youtube Clip “Slimy Birth” from the Matrix Youtube Clip “Gatekeepers” from the Matrix Time Allocated 3-4 days EQ How is a dystopian society different from a utopian society? Is our country more of a dystopia or a utopia? Activator/Connection/Warm Up 1. Ask students to brainstorm lists of characteristics that describe a perfect society silently in their notebooks. 2. Once everyone has had a chance to jot down some answers, ask students to share the characteristics with the class. Record their responses on the board or on chart paper. Instructional Delivery SESSION ONE 3. Introduce the following definition of utopia from the Dystopias:  Teaching Point/Mini Definition and Characteristics: Lesson/Teacher Input (I A place, state, or condition that is ideally perfect in respect of politics, Do/Modeling) laws, customs, and conditions. 4. Have students identify connections between the class list of characteristics for a perfect society and the definition of a  Guided Instruction/ utopian society. Encourage students to fit the items from the Differentiated Instruction brainstormed list into the definition. Ask students whether the (We Do) items on their lists are aspects of politics, laws, customs, conditions, or something else. 5. Show “The Real World” (Chapter 12, counter 0:38:39 to  Independent Practice 0:44:22) from The Matrix, and ask students to think about their (You Do) list of the perfect society and the definition of utopia as they view the clip. 6. Ask students to compare the society depicted in the film clip to the utopias that they have described. Students should readily point out that the world of the film is quite opposite from their ideas of a perfect society. 7. Introduce the definition of a dystopia from Dystopias: Definition and Characteristics: A futuristic, imagined universe in which oppressive societal control and the illusion of a perfect society are maintained through corporate, bureaucratic, technological, moral, or totalitarian control. Dystopias, through an exaggerated worst-case scenario, make a criticism about a current trend, societal norm, or political system. 8. Pass out Dystopias: Definition and Characteristics and Identifying Dystopian Characteristics. 9. Go over the information on the Dystopias: Definition and Characteristics sheet, answering any questions. 10. Ask students to use the Dystopias: Definition and Characteristics sheet to fill out the Identifying Dystopian Characteristics chart. If desired, students can complete the sheet in small groups rather than working individually. 11. Once students have completed the chart, gather the class and have students share their findings. 12. Have students save their charts for use during later sessions. 13. For homework, have students use a venn diagram to compare TCSS and contrast the definitions for dystopia and utopia.

SESSION TWO 1. Review the material covered in the previous session by asking students to share their Venn diagram printouts with the class. 2. Show “Morpheus’ Proposal” and “Down the Rabbit Hole” (Chapters 8 and 9, counter #0:25:10-029:50) from The Matrix. 3. Identify the protagonist in the clips. 4. Discuss the difference between direct and implied information. To provide an example, compare what is directly stated to what is implied by the characters’ comments. 5. Arrange students in small groups. 6. Pass out copies of the Identifying Characteristics of a Dystopian Protagonist chart, and ask students to use the information on the Dystopias: Definition and Characteristics to fill out the sheet. Ask students to focus both on direct and indirect information that is communicated in the clip. 7. Gather the class, and ask groups to share their finding with the class. Encourage discussion and exploration of the ways that the clips extend and confirm their understanding of the characteristics of a dystopia. 8. Review the types of dystopian controls listed on Dystopias: Definition and Characteristics.

SESSION THREE 1. Have students share their journal observations with the class. Encourage students to connect their thoughts to the types of dystopian controls listed on the Dystopias: Definition and Characteristics sheet. 2. Show students “Slimy Rebirth” (Chapter 10, 0:32:25 to 0:35:23) and “The Gatekeepers” (Chapter 17, 0:56:30 to 0:58:53) from The Matrix. Allow discussion of the dystopian characteristics the clips exhibit between the clips. 3. Ask students to identify the aspects of dystopian society that these clips focus on. 4. Return to the definition of dystopia: A futuristic, imagined universe in which oppressive societal control and the illusion of a perfect society are maintained through corporate, bureaucratic, technological, moral, or totalitarian control. Dystopias, through an exaggerated worst-case scenario, make a criticism about a current trend, societal norm, or political system. 5. Ask students to focus on the second sentence of the definition. 6. Ask students to identify the “worst-case scenarios” that the film clips explore. List their observations on the board or on chart paper. 7. Review the list, and ask students to make some initial suggestions of the trends, norms, and/or systems that the film clip criticizes. Record their responses on the board or on chart paper. 8. Arrange students in small groups and ask each group to consider one or more of the following questions, referring to notes and charts from previous sessions: o What illusion of a perfect society is depicted in the clips the class has viewed? What is the society like in reality? o How are the members of this society being oppressed? o What kind of control is used to keep the members of this TCSS society oppressed? o What current trend, societal norm, or political system is exaggerated in this world? o What criticism is made through this exaggeration in the clips? What current trend, societal norm, or political system is addressed? 9. Gather the class, and have students share their observations and discussion. 10. Have students compare their findings to the lists gathered at the beginning of the session. 11. Ask students to discuss how to apply what they have learned about dystopias in this exploration to future readings. Begin by asking students to brainstorm suggestions that they would give to someone who was reading (or viewing) a dystopian work for the first time. 12. Work students’ suggestions into a set of guidelines, and record the ideas for use as the class reads and views additional texts. Summarizer/Closure/Evaluation Ticket Out the Door for Session Two: Ask students to complete a of Lesson journal entry in response to the following question: “What does this film communicate about the world in the film? What controls the world in this film and the people who live in that world?”

EXTENSIONS  Use the handout Dystopian Film Clip Guide to identify one or two additional dystopian film clips. Show the film clips to the students. Ask students to use their knowledge of dystopian characteristics to gather information, and use it to answer the following questions:  What illusion of a perfect society is depicted in this clip? What is the society like in reality?  How are the members of this society being oppressed?  What kind of control is used to keep the members of this society oppressed?  What current trend, societal norm, or political system is exaggerated?  What criticism is made through this exaggeration? What current trend, societal norm, or political system is addressed?