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REPORT RESUMES ED 013 822 TE 000 064 A CURRICULUM FOR ENGLISH, STUDENT PACKET, GRACE 9. NEBRASKA UNIV., LINCOLN, CURRICULUM DEV. CTR. PUB DATE 65 CONTRACT OEC -2 -10 -119 FORS PRICE MF-.$1.25 HC NOT AVAILABLE FROM MRS. 336P. DESCRIPTORS-. *CURRICULUM GUIDES, *ENGLISH CURRICULUM, *ENGLISH INSTRUCTION, *GRADE 9, *INSTRUCTIONAL MATERIALS, COMPOSITION (LITERARY), COMEDY, DRAMA, EPICS, FABLES, LITERARY ANALYSIS, SATIRE, LANGUAGE, LITERATURE; DIALECTS, PHON01...OGY, SYNTAX, NEBRASKA CURRICULUM DEVELOPMENT CENTER THE FIRST UNIT Cf THE STUDENT PACKET FOR GRADE NINE CF THE NEBRASKA ENGLISH CURRICULUM IS A STUDY CC THE RELATIONSHIPS WHICH EXIST BETWEEN AUTHOR AND AUDIFKE, AND AN EXAMINATION CF THE EPIGRAM, LIMERICK, PARABLE, FABLE, AND ODE. WITH THIS BACKGROUND; STUDENTS CONSIDER "ON AVARICE" AND "ANIMAL FARM" AS EXAMPLES CF FORMAL AND MENIFFEAN SATIRE, ANTICIPATING LATER STUDY OF AUGUSTAN SATIRE. TO UNDERSTAND "THE IDEA OF A FLAY," STUDENTS EXAMINE "THE FROGS," "THE KNIGHT OF THE BURNING EESTLE," AND "OUR 'ICON," REPRESENTING GREEK, RENAISSANCE, ANC MODERN DRAMA RESPECTIVELY. THE "COMEDY" UNIT, INCLUDING "ARMS AND THE MAN," "TWELFTH NIGHT," AND "THE GREEN PASTURES," EXTENDS THIS STUDY CF DRAMA. "THE ODYSSEY," EXEMPLIFYING THE EPIC, AND TOO MOCK EPICS-'- "THE OWL" AND "THE WIND IN THE WILLOWS"-.-RELATE TO THE "EPIC NERCO AND "SATIRE" UNITS STUDIED PREVIOUSLY. LANGUAGE--COWOSITION UNITS INCLUDE (1) "DIALECT," (2)"PHONOLOGY," INTRODUCING THE CONCEPTS OF STRESS, FITCH, AND JUNCTURE,(3) "SYNTAX AND THE RHETORIC Cf THE SENTENCE," CONCERNED PRIMARILY WITH STUDENTS' REVISION Cf THEIR WRITING; AND (4) "THE USES OF LANGUAGE" -- IMAGINATIVE, EXPRESSIVE, DIRECTIVE, COHESIVE, INFORMATIVE, AND CONTRACTIVE. ALL UNITS CONTAIN OVERVIEWS, STUDY AND DISCUSSION QUESTIONS, COMPOSITION TOPICS; AND TEXTS OF LITERARY WORKS NOT IN CORE TEXTS USED WITH THE PACKET. THIS MANUAL IS AVAILABLE FROM THE UNIVERSITY Cf NEBRASKA CURRICULUM CENTER, 231 ANDREWS HALL, LINCOLN, NEBRASKA 68508. THE RELATED TEACHER PACKET FOR GRADE NINE IS TE 000 063. (RD) ; . / ti el 2 I U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLYAS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIALOFFICE OF EDUCATION POSITION OR POLICY. A CURRICULUM FOR ENGLISH Student Packet THE KINDS: ATTITUDE, TONE, PERSPECTIVE Grade9 1111111111111118 "PERMISSION TO REPRODUCE THIS 4(.1 COPYRIGHTED MATERIAL. HAS BEEN GRANTED BY ctild O It2A201/ TO ERIC AND ORGANIZATIONS OPERATING UNDER AGREEMENTS WITH THE U.S. OFFICE OF EDUCATION. FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PERMISSION OF THE COPYRIGHT OWNER." Copyright The University of Nebraska, 1965 Experimental Materials Nebraska Curriculum Developwent Center THE KINDS: ATTITUDE, TONE PERSPECTIVE Grade 9 CORE TEXTS: No basic texts. Thematerialsincluded in the lessons of this unit are to be read according to the assignmentsmade by your teacher. SUPPLEMENTARY TEXTS: Your teacher will no doubt assign reading insupplementary texts from time to time. OVERVIEW: This unit first discusses the general relationships whichexist between the author and his subject and audience. Then several distinct literary forma,or genres, are examined which have distinguishing features, but which also,as literature, display conscious and unconscious relationshipsbetween the author and his subject and audience. I. Attitude, Tone, Perspective: To the Student: We shall be concerned in this unit withdiscovering the nature of the attitude a writer takes toward his subject and hisreader and with the literary kind which he uses to communicate thisattitude. We will find this attitude not in the biographica] fact of the author'slife but in the work he has created. Let us therefore begin our unit by examining a fewshort selections as a means of discovering and becomingconscious of the ways a writer usesto establish the relationship between his subject and hiFreader and the kinds of relationships which he establishes. Read "Uncle Podger Hangs a Picture." Then answer the questions which follow this selection. By finding the answers to these questions, youwill be beginning to understand the relationships between the writerand his subject and the writer and you. UNCLE PODGER HANGS A PICTURE by Jerome K. Jerome Harris always reminds me of my poor Uncle Podger.You never saw such a commotion up and down a house, in all yourlife, as when my Uncle Podger undertook to do a job. A picture would have come home from theframe-maker's and be standing in the dining-room, waiting to be put up; and AuntPodger would ask what was to be done with it, and Uncle Podger would say: "Oh, you leave that to me. Don't you, any of you worry yourselves about that. I'll do all that." And then he would take off his coat and begin. would send the girl out for sixpen'orth of nails, and then one of the boys after her to tell her what size to get; and, from that, he would gradually work down, and start the whole house. "Now you go and get me my hammer, Will," he would shout; "and you bring me the rule, Tom; and I shall went the step-ladder, and I had betterhave a kitchen-chair, too; and, Jim! you run round to Mr. Goggles,and tell him, 'Pa's kind regards, and hopes his leg's better; and will, he lend him his spirit-level?' And don't you go, Maria, because I shall want somebody to hold me the light; and when the girl comes back, she must go out again for a bit of picture-cord; and Tom -- where's Tam?--Tan, you come here; I shall want you to hand me up the picture." And then he would lift up the picture, and rope it, and it would come out of the frame, and he would try to save the glass, and cut himself; and then he would spring round the room, looking for his handkerchief. He could not find his handerchief, because it was in the pocket of the coat he had 2 taken off, and he did not know where he had put the coat,and all the house had to leave off looking for his tools, and start lookingfor his coat; while he would dance round and hinder them. "Doesn't anybody in the whole house know wLere my coat is?I never came across such a set in all my life--upon mgword I didn't. Six of you!- - and you can't find a coat that I put down not five minutes ago!Well, of all the--" Then he'd get up, and find that he had been sitting on it, and would car. out: "Oh, you can give it up! I've found it myself now. Might just as well ask the cat to find anything as expect you people to find it." And, when half an hour had been spent in tying up his finger, and a new glass had been got, and the tools, and the ladder, and the chair, and the candle had been brought, he would have another go, the whole family, including the girl and the charwoman, standing round in a semicircle, ready to help. Two people would have to hold the chair, and a third would help him up on it, and hold him there, and a fourth would hand him a nails and a fifth would pass him up the hammer, and he would take hold of the nail, and drop it. "There!" he would say, in an injured tone, "now the nail's gone." And we would all have to go down on our knees and grovel for it, while he would stand on the chair, and grunt, and want to know if he was to be kept there all the evening. The nail would be found at last, and by that time he would have lost the hammer. "Where's the hammer? What did I do with the hammer? Great heavens! Seven of you, gaping round there, and you don't know what I did with the hammer!" We would find the hammer for him, and then he would have lost sight of the mark he had made on the wall, where the nail was to go in, and each of us had to get up on a chair, beside him, and see if we could find it; and we would each discover it in a different place, and he would call us all fools, one after another, and tell us to get down. And he would take the rule, and re-measure, and find that he wanted half thirty-one and three- eights inches from the corner, and would try to do it in his head, and go mad. And we would all try to do it in our heads, and all arrive at different results, and sneer at one another. And in the general row, the original number would be forgotten, and Uncle Podger would have to measure it again. He would use a bit of string this time, and at the critical moment, when the old fool was leaning over the chair at an angel of forty-five, and trying to reach a point three inches beyond what was possible for him to 'reach, the string would slip, and down he would slide on to the piano, a really fine musical effect being produced by the suddenness with which his head and body struck all the notes at the same time. And Aunt Maria would say that she would not allow the children to stand round and hear such language. At last, Uncle Podger would get the spot fixed again, and put the point of the nail on it with his left hand, and take the hammer in his right hand. And, with the first blow, he would smash his thumb, and drop the hammer, with a yell, on somebody's toes.
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