Course Profile English, Grade 11, University Preparation, Public
Unit
1: Short Pieces: Form and Method
Time: 25 hours
Activity 1.1 | Activity
1.2 | Activity 1.3 | Activity 1.4 | Activity
1.5
Students review and extend their understanding of literary forms and devices through engagement with a variety of short written and media texts. Students apply their understanding in a variety of writing activities, which provides an opportunity for diagnostic and formative assessment. Emphasis is placed on the ability to identify and connect themes. In the final activity of the unit, students produce a polished narrative piece of writing on a chosen theme, and demonstrate their ability to respond to a sight passage. Various interpretive strategies are presented with an emphasis on links to the novel study in Unit 2, the play study in Unit 3, poetry and media in Unit 4, and Unit 5 or Culminating Unit.
Sequence
of Activities: for details on expectations, tasks and assessment see the Unit
Overview Chart in the Course Overview.
|
Activity 1.1 |
Anticipation |
360
minutes |
|
Activity 1.2 |
Conscience |
300
minutes |
|
Activity 1.3 |
Alienation |
300
minutes |
|
Activity 1.4 |
States
of Mind |
300
minutes |
|
Activity 1.5 |
Universal
Themes |
240
minutes |
·
Review
the activities and identify the stories, poems and other literary forms that
are used as suggestions. In most cases, the activities are generic and will
work with other choices as well. Teachers are encouraged to use what they know
and have on hand.
·
Plan
the process for student editing of written work, creating checklists where
possible directly from the specific expectations for the course.
·
Consult
with the library staff regarding additional resources, especially visual and
other media pieces.
·
Review
the assessment tasks and plan the approach for using them as diagnostic tools,
as well as to provide early formative feedback to the students.
·
As
the unit progresses, collect examples of student work to be used as exemplars
(with permission) for future classes.
·
Develop
a checklist to be used for editing based on the grammar and usage, spelling and
punctuation requirements listed in WR5.04.
Time: 360 minutes
These first classes serve as a
review of the basic elements of the narrative and literary devices studied in
English, Grade 10, Academic and as an introduction to the structure and focus
of this course. Reading a variety of forms, and writing in response, both on a
reflective and analytical level, is the focus for these lessons. The four
central themes of the unit are introduced. However, this activity centres on
themes that address the topic of anticipation.
Strand(s): Literature
Studies and Reading; Writing; Language; Media Studies
Learning
Expectations
LSV.01 -
read and demonstrate an understanding of texts from various periods, with an
emphasis on analysing and assessing information, ideas, themes, issues, and
language;
LSV.02 -
demonstrate an understanding of the elements of fiction, drama, poetry, and
non-fiction, with an emphasis on novels and poems;
LSV.03 -
describe the elements of style in texts from various periods, and analyse their
effects;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences
with a focus on essays and on narratives or poems;
LAV.02 -
use listening techniques and oral communication skills to participate in
classroom discussions and more formal activities, with a focus on using
academic language appropriately in panel discussions, speeches, and group
presentations;
MDV.01 -
demonstrate an understanding of a variety of media texts, audiences, and
industry practices by analysing representations, forms, and techniques in media
works;
LS1.01 -
analyse and interpret information, ideas, themes, and arguments in print and
electronic texts;
LS1.03 -
select and use a range of effective reading strategies;
LS2.01 -
analyse and explain how key elements of the novel and poetic forms influence
their meaning (intensive study);
LS3.01 -
analyse how language and syntax are used in texts to create a voice appropriate
to the purpose and audience;
LS3.02 -
describe how authors use rhetorical and literary devices, such as pun,
caricature, cliché, hyperbole, antithesis, paradox, wit, sarcasm, and
invective, to enhance the meaning of texts;
WR2.01 -
demonstrate an understanding of the uses and conventions of various forms by
writing persuasive and literary essays, reviews, short narratives or poems, and
summaries;
WR2.03 -
analyse the characteristics of literary and informational texts as models of
writing for specific purposes and audiences;
LA2.01-
communicate orally in large and small groups for a variety of purposes, with a
focus on listening for main ideas and significant supporting details;
clarifying and extending the ideas of others; using appropriate academic and
theoretical language; and evaluating implicit and explicit ideas using criteria
such as relevance, accuracy, and bias;
MD1.02 -
explain how the form, technique, style, and language of a variety of media
forms create meaning.
·
Collect
a series of objects, songs, clothing, and novels considered classics, which
have a personal connection to the teacher to encourage students to choose in
the same manner.
·
Collect
short stories, poems, songs, articles, and videos, which illustrate the themes
related to anticipation or expectations. See Resources. When using videos as
films, follow school or board policy about copyright.
·
Develop
focus questions for a review and extension of elements of the narrative and
literary/poetic devices appropriate for Grade 11 University Preparation.
·
Develop
Response Journal topics or use suggestions given in the Teaching/Learning
notes.
·
Compile
a list of literary/poetic/media terms as a beginning for the Glossary of Terms.
·
Basic
knowledge of narrative elements and literary devices from English, Grade 10,
Academic.
·
Skills
in writing personal response and literary analysis from English, Grade 10,
Academic.
1.1.1
Student Activity:
As a class, brainstorm examples of classics in television, movies, music and
books. Then, in small groups students choose what they think are their best
examples of classics and develop a list of criteria for identifying a classic.
Each group reports on their criteria and examples. Individually write a short
piece on the nature of a classic.
Teacher
Facilitation:
Introduce the course and explain the focus is on a study of the classics and
the development of writing skills as preparation for university courses. Begin
the brainstorming by asking “What is a classic?” and “What are some examples of
classics?”. If necessary, provide examples to get things started, such as
Levi’s jeans, Star Trek the original series, Pink Floyd “Dark Side of the Moon”
or Lord of the Flies and Romeo and Juliet, and then record the
ideas generated. Set up the groups, review group work protocol, assign the
group task, and circulate to ensure groups remain on task and moderate the report
backs. Assign the diagnostic writing task and provide anecdotal feedback.
1.1.2
Student Activity:
Review the course outline and requirements. Review feedback on their writing
and identify areas needing improvement. Begin reading Frankenstein.
Teacher
Facilitation:
Present the course outline, the nature of ongoing activities (Response Journal,
Glossary of Terms, and Reader’s Notes), and the means of assessment and
evaluation. Introduce the course philosophy, overview of units, and the
independent work that will be required as students prepare for the Culminating
Unit. Indicate the need to read Frankenstein before the start of Unit 2.
Review writing process and outline the approach for writing, editing and
revising using their initial piece as an example.
1.1.3
Student Activity:
Review the outline for Unit 1. View visuals and participate in a class
discussion of incidents in life which involve anticipation, including those
dreaded, those with surprising results, and those which are disappointing.
Develop note on the nature of themes.
Teacher
Facilitation:
Introduce the focus for Unit 1 and outline the activities. Present visuals and
initiate the class discussion with questions related to student expectations
for the course and for their year. The beginning of the semester is filled with
anticipation of different kinds depending on the students’ success in English;
the prom, concerts, and graduation are also events which involve anticipation
and expectation for students. Facilitate the development of a note on theme,
and its development, using examples of themes relating to anticipation.
1.1.4
Student Activity:
Read the short story “The Stolen Party” and answer questions.
Teacher
Facilitation:
Provide questions for the story to review the elements of the narrative and
appropriate literary devices while focusing primarily on techniques of theme
development. This review will serve as an introduction to the thematic study
for this activity.
1.1.5 Student Activity: Working in small groups, read a
selection of poems and songs and complete the activities related to form,
style, and devices. Participate in the class discussion of the different
choices available and used by authors who all examine themes related to the
topic of anticipation. Add appropriate terms to their Glossary and write in
their Response Journals based on a teacher and/or student-selected topic. Begin
a search for a song illustrating this common theme in preparation for 1.1.6.
Teacher
Facilitation:
Introduce the first use of Glossary of Terms and the Response Journal. Provide
stations or group packages of poems and songs, which review and expand
understanding of poetic forms, writing styles, and devices (possible groupings
include narrative, sonnet, lyric, free verse, imagery, extended metaphor, euphony,
cacophony). Provide focus questions for student groups to answer for each
piece. Remind students of effective reading strategies for poems. These are
narrow in focus as each poem is examined for only one or two points. Lead the
discussion comparing the poems and songs focussing on the authors’ choices of
form, language, and style. Though the poems differ in many areas, they are
common in that they address anticipation or expectation in life. Response
Journal topic might include: Do we set children up for disappointment? Do we do
a disservice by teaching children they can do anything if they put their minds
to it, given the complex and difficult realities they will face? Are the values
of greed and popularity destroying or challenging our society? Ask students to
find a song which illustrates the theme present in the short story.
1.1.6
Student Activity:
View Ray Bradbury’s The Electric Grandmother or another video, and
discuss the methods used in film or television to illustrate thematic topics
and how they differ from literary/poetic devices. Add to their Glossary of
Terms using personal examples for illustration. Listen to or read a poem and a
song inspired by the poem, and the accompanying video, if available, for poetic
and stylistic devices used for thematic purposes, but different audiences,
e.g., T.S. Eliot’s “Love Song of
J. Alfred Prufrock” and Crash Test Dummies’ song “Coffee Spoons”. Examine the
similarity in theme, while contrasting the devices and styles used and the
authors’ intended audiences. Identify these differing audiences (early 20th
century readers versus late 20th century listeners). Create a graphic organizer
to compare the devices used in short stories, poems, songs, and videos, and
share it with a peer.
Teacher
Facilitation:
Introduce the video and lead the discussion of the methods used in film to
illustrate or develop a theme, including reference to appropriate media
terminology. Provide copies of lyrics and poems and audio and/or video
accompaniment, if available. An explanation of the differing time-periods and
audiences may be necessary before students examine the differences between the
two. After explaining the format and purpose of the graphic organizer,
circulate among students to encourage and expand students’ responses.
1.1.7
Student Activity:
Share songs chosen (see 1.1.5) in small groups to explain how the songwriter
has illustrated a theme related to anticipation or expectation and defend their
choices. Copy the class note on the form of a narrative poem/song. Write narrative
poems/songs illustrating this theme. Students may wish to draw on personal
experiences, common events, or more abstract concepts.
Teacher
Facilitation:
Organize the small groups and monitor the student presentations of chosen
poems/songs and completes an observation checklist including communication
skills and relevance of student choices. Introduce the writing task, as well as
the culminating activity for the unit (see 1.5) providing students with the
rubric which will be used. Develop a note highlighting the form of the
narrative poem and or song including a variety of different styles, e.g.,
ballad, free verse, rap, lyric, to broaden the definition and allow for student
choice in individual writing. Provide formative feedback on the assignment, or
set up peer editing, explaining that an edited final version of this piece can
be used for the culminating activity for this unit.
|
Task |
Tool |
Assessment |
|
Short piece on classics |
Anecdotal Comments |
Communication |
|
Class
discussion |
Observation
Checklist |
Communication |
|
Response
Journal |
Anecdotal
Comments |
Thinking/Inquiry |
|
Student
Chosen Song |
Observation
Checklist |
Knowledge/Understanding |
|
Narrative
Poem/Song |
Rubric
and Anecdotal Comments |
Knowledge/Understanding |
·
Provide
a written guide for the film.
·
Provide
assistance with song selection.
Heker,
Liliana. “The Stolen Party” in The Storyteller: Short Stories from Around
the World. (James Barry and Joseph Griffin, eds.) Scarborough: Nelson
Canada, 1992.
Bradbury,
Ray. The Electric Grandmother.
Time: 300 minutes
Students
are introduced to the role of a person’s conscience as a motivating factor in
characters both fictional and real. Students examine the role of conscience in
behaviour and decision making. This activity focuses on the actions of an
individual or a group, either locally or globally, righting wrongs for moral
reasons. The culminating task is a non-fiction report. This leads into the
study of memoir in 1.3. Conscience is a topic also explored when the students
study Macbeth later in the course.
Strand(s): Literature Studies and
Reading; Language; Writing
Learning
Expectations
LSV.01-
read and demonstrate an understanding of texts from various periods, with an
emphasis on analysing and assessing information, ideas, themes, issues, and
language;
WRV.01 -
use a variety of print and electronic primary and secondary sources to gather
and assess information and develop ideas for writing;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences
with a focus on essays and on narratives or poems;
WRV.03 -
use a variety of organizational structures and patterns to produce coherent and
effective written work;
WRV.04 -
revise their written work, independently and collaboratively, with a focus on
accuracy of information, clear expression, and consistent use of voice;
LAV.02 - use listening techniques and oral
communication skills to participate in classroom discussions and more formal
activities, with a focus on using academic language appropriately in panel
discussions, speeches, and group presentations;
LS1.01 -
analyse and interpret information, ideas, themes, and arguments in print and
electronic texts;
LS1.02 -
select and use specific and relevant evidence from a close reading of texts to
support interpretations, analyses, and arguments;
LS1.03 -
select and use a range of effective reading strategies;
WR1.02 -
organize and analyse information, ideas, and sources to suit specific forms and
purposes for writing;
WR1.04 -
evaluate information and ideas to determine whether they are reliable, current,
sufficient, and relevant to the purpose and audience;
WR2.02 -
select and use an appropriate form to produce written work for an intended
audience and purpose;
WR3.03 -
use organizational patterns such as classification, definition, cause and
effect, and chronological order to present information and ideas in essays,
reviews, and summaries;
WR4.01 -
revise drafts to improve clarity of expression;
WR4.04 -
revise drafts to incorporate researched information, ideas, and quotations
accurately, ethically and consistently;
LA2.02 -
communicate orally in-group discussions, applying such skills as the following:
fulfilling roles as required, preparing for discussion, contributing additional
and relevant information, asking questions to extend understanding, making
notes to track the discussion, completing assigned tasks for the group, working
towards consensus, and accepting group decisions when appropriate.
Research
skills.
·
Review
the opening chapter of Frankenstein and key parts of Macbeth,
e.g., I, iv, 55-61; I, vii, 1-28; II, I, 41-69; II, ii, 29-62, to determine
broader areas for exploration and emphasis in this activity and to prepare the
class for later discussions and activities on the topic of conscience.
·
Review
the OSLA document (see Resources) on library research skills.
·
Plan
Response Journal questions to enable students to demonstrate their
understanding of the concepts in this lesson in the form of storytelling,
personal reflection.
·
Choose
articles for use in 1.2.2.
·
Consult
with the teacher-librarian regarding the research activity and generate a list
of organizations that address issues of peace, environment, and social justice.
1.2.1
Student Activity:
In groups participate in a game of “Two Truths and a Lie” in which each group
member recounts, as convincingly as possible, three interesting personal
experiences to the group, one of which is a lie. As a group, decide which of
the three stories is fabrication. In journals, reflect on the nature of lies,
exaggeration, and falsehood in an entry entitled “Conscience”, including
comments on things such as the sense of guilt the student felt, how they were
perceived by others after the fabrication, and the impact this had on other
people. Participate in a follow-up class discussion.
Teacher
Facilitation:
Provide the instructions and then monitor the groups while engaging in dialogue
about the typical daily techniques for “identifying” falsehoods, e.g., body
language, pacing, vaguely explained details. Debrief the activity as a class
emphasizing how students felt while fabricating, how lies and deceptions affect
other people, and tactics that could be used to identify falsehoods.
1.2.2 Student Activity: Read two articles, one historically
based and one current, about individuals who have been moved to action by their
conscience in challenging circumstances, focusing on understanding the main
ideas and underlying significance. In groups, discuss the audience and purpose
of the articles and the character’s revelation based on the individual’s
articles, e.g., Norman Bethune, Laura Secord, Emily Murphy.
Teacher
Facilitation:
Provide articles and highlight strategies used for close reading of
informational text, drawing on student experiences and making connections to
the reading they do in other subject areas, both currently and in the future.
Facilitate group discussions and provide summary.
1.2.3
Student Activity:
Select and research a volunteer group or organization, (e.g., Medecins Sans
Frontières, Amnesty International, Frontier College), by accessing both print
and electronic sources. Use scanning techniques to find appropriate resources
and take point form notes highlighting the main ideas.
Teacher
Facilitation: Work
with the students to generate a list of suggested individuals, groups and
organizations and review techniques for locating and recording information.
Coordinate library research and lessons on use of the Internet and Boolean
searches with library staff.
1.2.4
Student Activity:
Review the rubric, identify the conventions for a non-fiction report, and then
develop a report. Present a summary of the report in small groups, indicating
how peers can get involved in the organization highlighted. Review rubric for
expectations of the presentation.
Teacher
Facilitation:
Provide direction for the writing and facilitate the student presentations.
|
Task |
Tool |
Category |
|
Journal
Entries |
Anecdotal |
Knowledge/Understanding,
Application |
|
Research
Notes |
Checklist |
Knowledge/Understanding,
Communication |
|
Non-fiction
Report/Presentation |
Rubric |
Knowledge/Understanding,
Communication, |
·
Provide
templates for research notes.
·
Provide
opportunity for audio or video report instead of written.
Ontario
School Library Association Information Studies: Kindergarten to Grade 12
Toronto: Ontario Library Association, 1999. pp. 41, 52-3, 69
–
www.unac.org United Nations web site
–
www.amnesty.ca Canadian host of Amnesty International
Time: 300 minutes
Students
examine memoirs and poetry, many relating to a sense of alienation. Alienation
is also explored when the students study Frankenstein. Students identify
characteristics of memoir and identify the effects of narrators’ use of setting
to mirror a state of mind. Students begin writing anecdotes and memoirs in a
“freefall” activity. They prepare an anecdote for oral delivery in small
groups. After students examine models, they draft a memoir from a real or
imagined experience. This memoir is a formative work, which may be selected by
the student for revising and editing in the culminating task for this unit.
Strand(s): Literature Studies and
Reading; Writing; Language; Media Studies
Learning
Expectations
LSV.01 -
read and demonstrate an understanding of texts from various periods, with an
emphasis on analysing and assessing information, ideas, themes, issues, and
language;
LSV.02 -
demonstrate an understanding of the elements of fiction, drama, poetry, and
non-fiction, with an emphasis on novels and poems;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences
with a focus on essays and on narratives or poems;
WRV.03 -
use a variety of organizational structures and patterns to produce coherent and
effective written work;
LAV.01 -
apply knowledge of the development of the English language, vocabulary, and
language structures, and the conventions of standard Canadian English to read,
write, and speak effectively;
LAV.02 -
use listening techniques and oral communication skills to participate in
classroom discussion and more formal activities, with a focus on using academic
language appropriately in panel discussions, speeches, and group presentations;
MDV.01 -
demonstrate an understanding of a variety of media texts, audiences, and
industry practice by analyzing representations, forms, and techniques in media
works;
LS1.03 -
select and use a range of effective reading strategies;
LS2.02 -
analyse how elements of literary forms other than novels and poetry are used to
enhance meaning (extensive study);
LS2.03 -
analyse how elements of non-fiction forms influence their meaning;
WR2.01 -
demonstrate an understanding of the uses and conventions of various forms by
writing persuasive and literary essays, reviews, short narratives or poems, and
summaries;
WR3.02 -
select and use appropriate organizational devices and patterns to structure
short stories, poems, and multimedia presentations;
LA1.03 -
apply knowledge of prefixes, suffixes, and roots to expand vocabulary;
LA2.01 -
communicate orally in large and small groups for a variety of purposes, with a
focus on listening for main ideas and significant supporting details;
clarifying and extending the ideas of others; using appropriate academic and
theoretical language; and evaluating implicit and explicit ideas using such
criteria such as relevance, accuracy, and bias;
LA2.02 -
communicate orally in group discussions, applying such skills as the following:
fulfilling roles as required, preparing for discussion, contributing additional
and relevant information, asking questions to extend understanding, making
notes to tract the discussion, completing assigned tasks for the group, working
towards consensus, and accepting group decisions when appropriate;
MD1.01 -
demonstrate critical thinking skills by identifying bias and by analyzing
explicit and implicit messages in media works.
·
Familiarity
with methods for brainstorming
·
Group
work skills
This
activity uses the “freefall” approach to writing, a technique made famous by
such writers as W. O. Mitchell. “Freefall” is used to describe interrupted or
sustained writing activities. In this version of “freefalling” students are asked to explore personal
experiences of feelings of alienation by writing “freefall” – allowing their
minds and pens to run free on the page without judgment or inhibitions. It is
easiest to time the writing, perhaps 10 minutes, for the first “freefall” and
increase the time as students become more familiar with the technique. Enforce
that all students write non-stop for the whole length of the given time and
that they do not stop, go back, revise or correct errors. All students should
be writing at the same time in total silence. It is best if the teacher writes
as well. The goal is to put ideas on the page, usually in sentence form. From
all of the rough “freefall” there might develop a story, or some rich
unexpected images and language. The students need to “freefall” each day
throughout this activity and 1.4 to acquire material for their final piece. On
subsequent days, students may add to a “freefall” from a previous day or begin
a new one! The best part of the “freefall” experience occurs when the time is
up. Ask for volunteers to read. Use the “freefall” to point out good examples
of writing and offer suggestions for taking the piece a step further. Reinforce
the point that good creative writing follows the “freefall” association of
ideas and images. Students need to show, not tell.
Note:
Anecdotes need not
be those which disclose personal information. Sensitivity to students’ privacy
should be maintained.
Consider
the psychological safety, which must be addressed before embarking on
discussion of emotionally laden subjects, such as those associated with
alienation. Change or adapt the activities and the suggested texts to meet the
needs of the students in the classroom. Blindman’s bluff, for example, is
suggested as an opening activity (1.3.2) for simulating the emotions associated
with the alienation which students will discover in the literature they will
read. In situations where this is not appropriate the teacher should provide a
substitute.
Consider
media references that can be used to demonstrate the role of setting in
alienation, e.g., Castaway, Night of the Living Dead.
Review
resources provided in the list for this activity, which include longer texts
which students may choose to read for Unit 5. The intention is to provide a
balance: some older texts are included because they shed light on the social
history of Canadian women, immigrants and First Peoples, major achievements in
Canadian literature are represented as well as minor works relevant to the
topic to accommodate timeliness and local interest. This range of titles allows
the teacher to guide students in their selection according to interests, needs,
and access to resources.
Collect
examples of memoirs to use in 1.3.4 and select the memoir excerpt to be used.
Provide
currency and broaden student reading by collecting materials such as book
reviews and editorial essays on subjects related to alienation. Homelessness,
issues related to mental health, and social isolation that will appear in
popular press, e.g., The Globe and Mail books supplement, Maclean’s,
Toronto Star, Saturday Night, and The New Yorker, and in
special collections such as The Utne Reader.
Consult
with library staff to facilitate access to a broad range of material.
“Alienation”
in this activity and in later units refers to a state of mind found in
literature and characterized by patterns of hope and despair, attempt and
failure, a painful remoteness from divine authority, often rooted in personal
guilt, appearing as inescapable destiny.
1.3.1
Student Activity:
Identify the characteristics of anecdote after hearing one. “Freefall” an
anecdote. The anecdote may be based on any small event the student has
witnessed or experienced personally, or could be fictional. Use the notes from
this “freefall” to prepare and present the anecdote for oral delivery in the
small group activity.
Teacher
Facilitation: Model
oral delivery of an anecdote to the class and then lead students in discovery
of elements characteristic of anecdote, i.e., based on a small incident; freely
structured; uses casual language; events arranged to maximize the effect of the
ending – whether ironic, pathetic or humorous.
Note:
Anecdotes need not
be those which disclose personal information. Sensitivity to students’ privacy
should be maintained.
(Students
can be invited to relate anecdotes they know that are urban legends.) Introduce
the creative writing technique called “freefalling” and specifically outlines
instructions for “freefalling” an anecdote. When the “freefall” is complete,
assign students to groups with directions for presenting anecdotes orally to a
small group audience. As an option, ask students to select one or more
anecdotes from the group for oral delivery to the class as a whole.
1.3.2
Student activity:
Participate in whole class discussion of personal experiences of alienation.
Identify feelings such as not knowing who they are, where you are going,
feeling unattached to anything, feeling afraid of making mistakes, feeling
isolated. Relate to elements of the physical setting in videos that contribute
to an atmosphere of isolation. Review the concept of pathetic fallacy and add
to Glossary.
Teacher
facilitation:
Initiate the discussion with reference to common examples of the feelings
associated such as those in the game of Blindman’s Bluff. Encourage students to
discuss the reasons why they feel uncomfortable in the role of the “blindman”
and clarify the meaning of “alienation” when these feelings occur as a
prevailing state of mind, distinct from a game. Refer to a movie, such as Castaway,
selected for the effects of setting to emphasize the protagonist’s utter
isolation, the vastness of the ocean and beach, the density of forest, the
rugged terrain, the juxtaposition of puny and useless flotsam swept onto the
beach from civilization against the vast, power of natural elements all
contribute to the protagonist’s “otherness” from his new milieu. Make reference
to lifelines, using, for example, the story of Theseus the Greek hero, in the
labyrinth noting that Theseus’s lifeline was a ball of string from Ariadne.
Discuss the protagonist’s psychological lifelines, in Castaway, in the
form of a picture of his beloved and the companion he created, or use a similar
example.
1.3.3
Student activity:
In groups, brainstorm descriptive details specific to a setting, which evoke a
sense of psychological isolation. Record brainstorming notes on chart paper and
select the most evocative words and phrases to arrange into a found poem. (As
an option, the found poem may also be a concrete poem.) Groups share their
poems with class, possibly as a choral reading, without announcing their
physical setting. Listening to the found poems, attempt to identify the
setting.
Teacher
facilitation:
Provide each group with a picture or painting of a specific setting, e.g.,
desert, tundra, tropical rainforest, Bay Street financial district in Toronto,
a shopping mall, winter days in small Northern Ontario towns, zoo, the
classroom for a new student, bus terminal, or a schoolyard. Facilitate the
group activities.
1.3.4
Student activity: Review
examples of memoirs and research the etymology of memoir and related words. As
homework, read a memoir and respond using an organizer with column headings
such as alienating situation, physical setting, evocative details, point of
view, audience, and purpose. In response to the memoir, identify the use of
realistic details reflecting isolation.
Teacher
facilitation: In
whole class discussion, ensure students know general characteristics of this
genre by discussing familiar examples, e.g., Little House on the Prairie
series, memoirs of sports heroes, Angela’s Ashes, and asking students
for others with they may be familiar. Select one memoir for whole class reading
such as Roch Carrier’s “Fire Prayer”, John Irving’s “Piggy Sneed” or an excerpt
from Angela’s Ashes and outline requirements for a response.
1.3.5 Student Activity: In a second “freefall activity”,
begin notes that will be developed into a draft of a memoir using a true or
imagined experience. Review the rubric and identify the conventions of the
memoir form, and then draft a personal memoir from the “freefall” notes with
special attention to use of descriptive details in setting to mirror the narrator/protagonist’s
situation and state of mind. Focus on showing not telling. Carry out
paired-peer editing for form, content, and language skills.
Teacher
facilitation:
Assign a “freefall” memoir activity as the first step toward preparation of a
draft of a memoir, reminding the class that the memoir they develop may be used
for the final culminating activity. Provide direction for developing a first
draft of a memoir and guidance for the peer editing process. Continue to
caution students that it is not expected that they will use this activity to
expose personal issues with which they have discomfort.
|
Task |
Tool |
Categories |
|
Anecdote |
Direct
observation – teacher |
Thinking/Inquiry |
|
Found
poem |
Direct
observation – teacher |
Communication |
|
Freefall
Drafts and Oral Memoir |
Checklist
– self-assessment |
Knowledge/Understanding |
·
Freefall
notes may be generated orally into tape recorder.
·
Oral
delivery of anecdote to small group may be replaced with mime.
·
Read
texts aloud.
Carrier,
Roch. “Fire Prayer” in Prayers of a Very Wise Child. by Roch Carrier.
Toronto: Penguin Books Canada, Ltd., 1992.
Irving,
John. Trying to Save Piggy Sneed. Toronto: Alfred A. Knopf, 1993.
0-394-28010-5
Little,
Jean. Little by Little. Markham: Viking Kestrel, 1987. 0-670-81649-3
McCourt,
Frank. Angela’s Ashes: A Memoir. Simon and Schuster Trade, 1999.
068487217X
Time: 300 minutes
Students
are introduced to characters in various states of mind. Students specifically
focus on the genre of short story and its elements, especially the development
of character. Through materials supplied by students and the teacher,
opportunities to analyse various states of mind in art, poetry, video clips,
cartoon strips, non-fiction, and novel excerpts, are also provided. The
relationship between the characters’ perceptions of their mental states, and
how they are perceived by others and society also form a basis for comparative
analysis. Students consider the plethora of terms (vocabulary, idioms,
euphemisms, insults and politically correct phrases) used to describe various
mental states throughout history. Students respond to specific topics and
issues through discussion, guided Response Journal entries, free verse poetry,
and in the form of short story drafts. These drafts provide material for
students to draw on for a short story outline at the end of this activity, and
possibly a polished short story or narrative piece at the end of Unit 1.
Strand(s): Literature Studies and
Reading; Writing; Language; Media Studies
Learning
Expectations
LSV.01 -
read and demonstrate an understanding of texts from various periods, with an
emphasis on analysing and assessing information, ideas, themes, issues and
language;
LSV.02 -
demonstrate an understanding of the elements of fiction, dram, poetry, and
non-fiction, with an emphasis on novels and poems;
LSV.03 -
describe the elements of style in texts from various periods, and analyse their
effects;
WRV.01 -
use a variety of print and electronic primary and secondary sources to gather
and assess information and develop ideas for writing;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences
with a focus on essays and on narratives and poems;
WRV.03 -
use a variety of organizational structures and patterns to produce coherent and
effective written work;
LAV.01 -
apply knowledge of the development of the English language, vocabulary and
language structures, and the conventions of standard Canadian English to read,
write and speak effectively;
LAV.02 -
use listening techniques and oral communication skills to participate in
classroom discussions and more formal activities, with a focus on using
academic language appropriately in panel discussions, speeches, and group
presentations;
MDV.01 -
demonstrate an understanding of a variety of media texts, audiences, and
industry practices by analysing representations, forms, and techniques in media
works;
LS1.02 -
select and use specific and relevant evidence from a close reading of texts to
support interpretations, analyses, and arguments;
LS1.04 -
compare their own ideas, values, and perspectives with those expressed in a
text;
LS1.05 -
explain the influence of social and historical values and perspectives on texts
and the interpretation of texts;
LS2.02 -
analyse how elements of literary forms other than novels and poetry are used to
enhance meaning (extensive study);
LS3.01 -
analyse how language and syntax are used in texts to create a voice appropriate
to the purpose and personal audience;
LS3.02 -
describe how authors use rhetorical and literary devices, such as pun,
caricature, cliché, hyperbole, antithesis, paradox, wit, sarcasm, and invective
to enhance the meaning of texts;
WR1.02 -
organize and analyse information, ideas, and sources to suit specific forms and
purposes for writing;
WR2.01 -
demonstrate an understanding of the uses and conventions of various forms by
writing persuasive and literary essays, reviews, short narratives or poems,
summaries;
WR2.02 -
select and use an appropriate form to produce written work for an intended
audience and purpose;
WR2.04 -
select and use a level of language and a voice appropriate to the specific
purpose and intended audience for a piece of writing;
WR3.02 -
select and use appropriate organizational devices and patterns to structure
short stories, poems and multimedia presentations?
LA1.01 -
apply a variety of strategies to extend vocabulary while reading, with an
emphasis on understanding the denotation, connotation, and pronunciation of
words;
LA2.01 -
communicate orally in large and small groups for a variety of purposes, with a
focus on listening form main ideas and significant supporting details;
clarifying and extending the ideas of others; using appropriate academic and
theoretical language; and evaluating implicit and explicit ideas using criteria
such as relevance, accuracy, and bias;
MD1.01 - demonstrate critical thinking skills
by identifying bias and by analysing explicit and implicit messages in media
works;
MD1.03 -
analyse the relationship between media works and their audiences.
·
This
activity deals with the highly sensitive topic of characters’ mental states.
Although a range of states is explored, it is important to note that some
students, and/or their family members, may be suffering from some form of
mental illness. It is crucial to set guidelines for in-class discussions and
show respect at all times for people with mental illnesses, even if they are
fictional characters.
·
At
least two days before beginning this activity, tell students they will be
exploring various mental states of characters and ask them to bring in at least
one thing related to this topic, e.g., poem, comic strip, song, story, diary
entry, painting. Students should bring something that shows a character in a
specific state of mind. Be sure to tell them they will be sharing these items
with peers in small groups. This will avoid having students bring highly
personal things and then being resistant to sharing them. Model the sorts of
things students might bring by showing: a piece of art, such as Edvard Munch’s,
“The Scream”, Picasso’s “ Weeping Woman”, or a picture of the Mad Hatter from
Alice In Wonderland, songs such as Paul Simon’s “Still Crazy After All These
Years” or “Vincent” by Don McLean, poetry, such as “Progressive Insanities of a
Pioneer” by Margaret Atwood, photos of recognizable personalities such as,
Emily Carr, Mother Teresa, Ghandi, Grey Owl, Rasputin, Einstein, self portraits
of famous artists, such as Van Gogh, newspaper articles about self-help groups,
motivational seminars and activists chained to trees in Northern Ontario and
British Columbia , a diary entry, video excerpt, or another choice.
·
Review
the short stories, poems and videos suggested and select what ones will be used
or identify alternatives. Some materials have mature content and could offend
students.
·
Select
a short story that is a good exploration of state of mind, to use as a model to
introduce the lesson.
·
Have
several dictionaries (a variety of publishers, if possible), thesauri,
dictionaries of idioms and phrases, dictionaries of etymology and dictionaries
of literary terms available in the classroom.
·
Make
colour overheads of art work to be used in this activity. Use a non-permanent
marker to highlight on the overhead, e.g., use the marker to draw students’
attention to the curve of the body and eyes in paintings to analyse the
character’s state of mind.
·
Make
overheads of poems and story excerpts to analyse diction and other specific
language features.
·
Prepare
short content quizzes for each of the stories to be read independently, or a
generic content quiz.
·
“Freefall”
writing is used again in this activity, building on skills developed in 1.3.
However, consider using other approaches to writing as desired.
·
Literary
terms
·
“Freefall”
creative writing technique explained in Activity 1.3 and “Show, don’t tell” approach
·
Elements
of a short story, such as plot, character, setting, theme, point of view
·
Ability
to write a character sketch
·
Ability
to use dictionaries, thesauri, and other reference dictionaries
·
Group
work skills
1.4.1 Student Activity: Respond to the items shown by the
teacher, and participate in the class discussion on states of mind. Locate
items of their own to bring to class. In small groups, share and discuss their pieces,
which depict a character’s distinct state of mind. Groups report highlights of
their discussions to the whole class.
Teacher
Facilitation:
Introduce the class to the topic: states of mind in characters revealed through
short stories. You might show three different things to capture the students’
attention: a poem, and two paintings on overheads. Ask the students to write
down what they think the state of mind of the main character might be in each
piece and to support their opinions with three reasons. Responses are briefly
discussed and the notion that a character might be perceived as “crazy” because
he or she is “different” is explored. Remind students to bring at least one
item for the next class to illustrate a character’s specific state of mind,
similar to what the teacher has just modelled. Facilitate small group sharing,
as well as whole group highlight sharing. Appropriate pieces might be displayed
on a bulletin board. This adds to the previous day’s discussion about various
states of mind in literature and art. Discussion topics might include responses
to the general questions: 1. What are some of the terms used to describe
various states of mind? 2. What are some terms used both historically and in
modern times? 3. What are various treatments for “crazy” people historically
and in present day? 4. Are there people who are considered “crazy” of many
ages, cultures and both sexes? 5. To what extent do such factors as death of a
loved one, guilt, alienation, getting a new job, rejection, disappointment,
falling in love, financial crisis, having a baby, winning a major award, moving
cities and other factors of life have an effect one’s mental state?
1.4.2
Student Activity:
Make notes on a review of the elements of a short story and aspects of a character
sketch. In small groups, students read an assigned short story and analyse it.
Keep Reader’s Notes on plot, setting, characters, theme, point of view,
conflict, tone, language, diction, symbols, simile, metaphor, foreshadowing,
pathetic fallacy, irony, archetypes, and allusions. Each group completes a
character sketch of the protagonist, responding to specific criteria. Small
groups present their short story to the class, focusing on the state of mind of
the protagonist and illustrating how other aspects of the short story reinforce
the character’s state of mind. Evaluate whether or not they think the character
is “crazy” and why. Group notes about the story and the character sketch are
submitted to the teacher to check for completion. Definitions of new
terminology are added to students’ Glossary of Terms.
Teacher
Facilitation:
Review a model outlining the elements of a short story and other features in
short stories, highlighting terminology. Lead a brainstorming session on the
important aspects that must be considered when writing a character sketch,
e.g., background, position in society, positive qualities, flaws, motivations,
relationships with others, how the characters perceive themselves and how they
are perceived by others. Provide the group short story assignments and monitor
their progress.
1.4.3
Student Activity:
In small groups, create a working definition of “crazy”, brainstorm a list of
terms used to describe people who are said to be “crazy.” Take the words
generated and group them under headings on a chart: Euphemisms, Idioms,
Insults, Politically Correct Phrases, Historical Terms and Etymology.
Participate in a whole group exploration of the number of negative terms used
to insult people illustrating the lack of respect people who are nonconformists
receive in our society. The term “crazy” and its synonyms have been applied to
Einstein, Mother Teresa, Ghandi and other free thinkers and non-conformists.
“Freefall” a draft based on the topic of a crazy state of mind. It can be about
a real event or made up. It might be a description of a specific person engaged
in an activity.
Teacher
Facilitation:
Provide a model of the terminology chart organizer with examples and students
continue and fill in the rest in groups. Lead the class discussion to sensitize
students to the difference between denotation and connotation of words
associated with people we might call “crazy” or even “insane” and set the
boundaries for class discussions. There may be students in the group who have
personal experiences with mental illness. Derogatory terms to refer to
characters, fictional or real, with mental illness are not acceptable. You must
caution students to use appropriate language throughout the activity and show
respect at all times. Initiate the “freefall” writing session, possibly using
some “freefall” story starters, such as: the mad scientist, the strange old man
or woman next door, the crazy activist who nearly lost her life, they all
called me nuts when…, jealousy can drive you mad, fear that drove him to do it,
the black flies were so bad they nearly drove me crazy.
1.4.4
Student Activity:
Listen to a short story. Before discussing the story as a whole group, write a
brief Reader’s Response (personal reaction to the story, not necessarily a
literary analysis). Identify the character they deem to be “crazy”, the cause,
and provide three direct quotations from the story to support their opinions.
Share responses and develop a note on the elements of a short story.
Teacher
Facilitation: Read
aloud a short story such as “The Box Social” by James Reaney, “The Broken Globe” by Henry Kreisel, “Trust
Games” by Danielle Urquhart, or “The Singing Silence” by Eva-Lis Wuorio and
provide journal prompts. Lead a class discussion reviewing the definition and
elements of the short story: plot, setting, characters, theme, point of view,
conflict, as well as, tone, language, symbols, simile, metaphor, foreshadowing,
irony, archetypes, and allusions. Model Reader’s Notes by providing point form
notes based on the preceding headings
1.4.5
Student Activity:
Write another “freefall”, and then volunteer to share your writing.
Teacher
Facilitation:
Provide direction for the “freefall,” allowing students to continue one from a
previous day or to work on a new topic, such as revenge, which is a topic found
in “The Box Social” or a topic found in another story. The “freefall” could be
about a personal experience or students could make one up. Suggestions for the
“freefall” might include: “my sister left the empty milk in the refrigerator
for the last time,” “my brother would never want to borrow my clothes again
after that”, “I decided to show my grandma she had won her last game of chess.”
These can be light-hearted topics and comical. Ask for volunteers to read. Use
the “freefall” to point out good examples of writing and offer suggestions for
taking the piece a step further. Reinforces the point that good creative
writing follows the “SHOW DON’T TELL” rule; good writers do not tell.
1.4.6
Student Activity:
Make notes on Gothic elements. For homework, read a Gothic short story and
prepare Reader’s Notes on the story in the journals as modeled by the teacher
in 1.4.4.
Teacher
Facilitation:
Introduce elements of Gothic and assign a story such as “The Yellow Wallpaper”
by Charlotte Perkins Gilman (Stetson) or another similar Gothic short story,
such as “The Black Veil” by Charles Dickens. There should be several options
and students could choose the one they would like to read. (See Resources) Some
common elements found in Gothic stories include: characters and places have no
names, supernatural occurrences, strange rooms with secret passageways,
sometimes characters return from the dead, ghostly atmosphere, melodramatic and
highly descriptive language, madness, nightmares, confinement.
1.4.7
Student Activity:
Use their point form Reader’s Notes as a basis for a class discussion, and then
write a two to three paragraph analysis of the story based on specific
criteria. Write a fourth “freefall” based on an intriguing aspect of the story.
It might be connected to the other themes studied in Unit 1. Students might
even want to use elements of the Gothic tale in their “freefall”.
Teacher
Facilitation:
Review the Reader’s Notes for completion and facilitate a discussion about the
short story based on the elements of a short story, and adding the elements of
Gothic, the role of women, social commentary and identifying examples of SHOW
DON’T TELL. Provide directed questions such as 1. What is the conflict between
the personal and the societal expectations at the time? 2. How is the woman a
victim of alienation, guilt and deflated expectations. 3. Would this story be
believable if the roles were reversed and the man were imprisoned in the room
by his wife? 4. Explore the point of view from which the story is told. Examine
the passage of time. How reliable is the narrator? 5. List the elements of the
classic gothic tale found in “The Yellow Wallpaper.” 6. Research the colour
yellow. The author could have chosen any colour for the wallpaper, why yellow?
(Remind students that elements of gothic tales are present in Frankenstein,
which they are reading in preparation for Unit 2.)
1.4.8 Student Activity: Write a quiz of literary terms
covered in Unit 1 and mark it by exchanging papers. Develop short story
outlines based on their three or four “freefall” pieces or they may choose to
work on another idea. The outlines for a possible short story must reflect a
character’s state of mind. Share short story outlines in small groups to get
feedback from peers about the potential and possibilities this piece would have
if it were to be written as a short story. Review the rubric for a narrative
piece and develop a checklist of the conventions of the short story form.
Teacher Facilitation: Remind students to review their
glossary entries and identify examples for each term prior to providing the
quiz. Model how to write a short story outline and provide students with a
checklist for students to respond to their peers’ short story outlines.
Reinforce the focus on SHOWING NOT TELLING in their short story drafts and
demonstrate where and how this happens in their peers’ pieces.
|
Task |
Tool |
Category |
|
Character
Sketch |
Checklist |
Knowledge/Understanding,
Thinking/Inquiry |
|
Journal
Responses |
Anecdotal
comments |
Knowledge/Understanding |
|
Short
Story Analysis |
Rating
scale |
Knowledge/Understanding |
|
Test on
Glossary of Terms |
Marking
Scheme |
Knowledge/Understanding |
|
Short
Story Outline |
Rating
scale |
Knowledge/Understanding |
·
Provide
students with opportunities to take copies of the stories home to read at their
own pace.
·
Provide
students with opportunities to present their short story outlines orally, or on
a tape.
·
Allow
students opportunities to work on “freefall” at home if writing under timed
pressure will present a problem for them.
·
Provide
a chart organizer for character sketches and Reader’s Notes for the short
story.
·
Provide
a variety of literary dictionaries at many levels of difficulty.
·
For
enrichment, introduce elements of Gothic by taking the class to a nearby Gothic
church to see elements in Gothic or Romanesque architecture, linking to Gothic
writing elements.
·
For
enrichment have students read another Gothic short story and identify and
compare the elements of Gothic in both.
Specific
Short Stories
Dickens, Charles. “The Black Veil.” In
Pre-twentieth Century Short Stories. Moore, Jean and Catron, John. London:
Hodder and Stoughton, 1999. ISBN 0-340-73742-5
Gilman,
Charlotte Perkins. “The Yellow Wallpaper.” In Pre-twentieth Century Short
Stories. Moore, Jean and Catron, John. London: Hodder and Stoughton, 1999.
ISBN 0-340-73742-5
Kreisel,
Henry. “The Broken Globe” Oster, John E. et al. Literary Experiences:
Volume One. Scarborough, Prentice-Hall, 1989. ISBN 0-13-537762-5 (Volume One-
Teacher’s Guide:
ISBN 0-13-537853-2)
Marshall,
Joyce. “The Old Woman”. In Canadian Short Stories. Ed. By Rovert Weaver.
Oxford University Press, 1960. ISBN 0-19-540131-x
Reaney,
James. “The Box Social.” In The Box Social and Other Stories. The
Porcupine’s Quill, 1996.
0-88984-173-X
Urquhart,
Danielle. “Trust Games” in The Toronto Star. Sunday, July 16, 2000 C 15,
Sunday Star-Short Story Contest: Third Place
Wuorio,
Eva-Lis. “The Singing Silence” In Literary Experiences
Short
Story Anthologies
Baldick,
Chris, Ed. The Oxford Book of Gothic Tales. New York: Oxford University
Press,
ISBN 0-19-214194-5
Moore,
Jean and Catron, John. Pre-twentieth Century Short Stories. London:
Hodder and Stoughton, 1999. ISBN 0-340-73742-5 (Teachers’ Resource Book
0-340-73743-3)
Oster,
John E. et al. Literary Experiences, Volume One. Scarborough,
Prentice-Hall, 1989.
ISBN 0-13-537762-5 (Volume One- Teacher’s Guide: ISBN 0-13-537853-2)
Sullivan,
Rosemary, Ed. The Oxford Book of Stories By Canadian Women In English.
Don Mills, Ontario, Oxford University Press, 1999. ISBN 0-19-541426-8
Art Work
and Poetry Reference Books
Benton,
Michael and Peter. Double Vision: Reading Paintings… Reading Poems…. Reading
Paintings. London: Hodder and Stoughton, 1990. ISBN 0-340-51852-9
Benton,
Michael and Peter. Painting with Words. London: Hodder and Stoughton,
1995.
ISBN 0-340-61873-6
Benton,
Michael and Peter. Picture Poems. London: Hodder and Stoughton, 1997.
ISBN 0-340-67987-5
(Benton series available from Bacon and Hughes, 81 Auriga Drive, Unit 30
Nepean, ON, K2E 7Y5 –
1-800-563-2468)
Booth,
David W. and Stanley Skinner. ABC’s of Creative Writing. Toronto:
Globe/Modern Curriculum Press, 1981. ISBN 088996-048-8
Cameron,
Bob et al. Poetry In Focus. Toronto: Globe/Modern Curriculum Press,
1983.
ISBN 0-88996-066-6
Famous
Works of Art Illustrating States of Mind
Most
of the works listed are found in the Benton series (see above) with poems that
accompany the art:
“The
Scream” by Edvard Munch
“Anxiety”
by Edvard Munch
“The
Room” by Vincent van Gogh
“Self-Portrait”
by Vincent van Gogh
“The
Lady of Shalott” by John William Waterhouse
“Ophelia”
by John Everet Millais
Time: 240 minutes
Students
synthesize their expanded understanding of the elements of short pieces and of
the use of themes to produce a narrative piece with a stated purpose and
audience. Students orally present a short piece that illustrates the theme
discussed. Students write a test based on a sight short story.
Strand(s): Literature Studies and
Reading; Writing; Language
Learning
Expectations
LSV.01 -
read and demonstrate an understanding of texts from various periods, with an
emphasis on analysing and assessing information, ideas, themes, issues, and
language;
LSV.02 -
demonstrate an understanding of the elements of fiction, drama, poetry, and
non-fiction, with an emphasis on novels and poems;
LSV.03 -
describe the elements of style in texts from various periods, and analyse their
effects;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences
with a focus on essays and on narratives or poems;
WRV.04 -
revise their written work, independently and collaboratively, with a focus on
accuracy of information, clear expression, and consistent use of voice;
WRV.05 -
edit and proofread to produce final drafts, using correctly the grammar, usage,
spelling, and punctuation conventions of standard Canadian English, as
prescribed for this course, with the support of print and electronic resources
when appropriate;
LAV.02 -
use listening techniques and oral communication skills to participate in classroom
discussions and more formal activities, with a focus on using academic language
appropriately in panel discussions, speeches, and group presentations;
WR2.01 -
demonstrate an understanding of the uses and conventions of various forms by
writing persuasive and literary essays, reviews, short narratives or poems, and
summaries;
WR2.04 -
select and use a level of language and a voice appropriate to the specific
purpose and intended audience for a piece of writing;
WR4.02 -
revise drafts to improve clarity of expression;
WR5.04 -
edit and proofread their own and others’ writing, identifying and correcting
errors according to the requirements for grammar, usage, spelling, and
punctuation.
·
Collect
sources for students to use, with an emphasis on materials with which they may
not yet be familiar (e.g., Saturday Night, The New Yorker, Globe Book
Review, Atlantic Monthly).
·
Arrange
for access to computers for word processing.
·
Develop
checklists for the conventions of each form.
·
Elements
of short pieces (short story, memoir, biography, poem, article).
·
Identification
and analysis of theme.
1.5.1
Student Activity:
Work in small groups according to theme. Locate examples of pieces that relate
to the theme and present choice with a statement of the theme. Decide on one
theme statement and develop and present the theme as a group to the rest of the
class.
Teacher Facilitation: Assist students in their assignment
to groups, allowing them to select one of the topics or themes addressed in the
earlier activities. Provide the framework for the task. Assist groups with
suggestions for sources for pieces if necessary (these can include visuals,
advertisements, video clips, stories, poems, songs) and with focused questions
during their discussions.
1.5.2
Student Activity:
Discuss within the group how to address the theme in a written piece, and then
choose one of the forms practised during the unit (poem, non-fiction piece,
memoir, short story). Take a piece started in one of the earlier activities or
choose a form you liked, but write a new piece related to their chosen theme.
Identify the purpose and audience and then develop a draft of the piece.
Teacher
Facilitation:
Review the rubric for narrative piece. Provide students with a checklist for
the conventions of each form, based on the ones they developed during the unit
activities. Provide direction for the groups and assist students with choosing
a writing task that is appropriate to their interest and to their abilities, to
ensure success.
1.5.3
Student activity:
Share pieces within their group and then carry out peer editing of the pieces.
Use examples of organization, choice of language and clarity of expression that
are from the pieces studied during the unit. Use input from discussion and peer
editing to polish their product. Pieces of writing are submitted to teacher to
be evaluated using the rubric for narrative piece.
Teacher
Facilitation:
Provide framework for peer editing, such as having a partner in their group
edit for content, and someone from another group who is using the same form
editing for the conventions of the form, as well as for grammar and usage,
spelling and punctuation. Students should edit at least one piece involving a
different form than what they are writing.
1.5.4
Student Activity: Write
a unit test, which includes a sight passage of a short story to identify
elements of the short story and analysis of it. Other questions may cover form
and style of other pieces covered in this unit or a comparison of the sight
passage to other works in the unit.
Teacher
Facilitation:
Provide the sight passage and questions, letting the students know that this
gives them practice in test and exam taking skills, while allowing them to
demonstrate their achievement of the expectations addressed in the unit.
|
Task |
Tool |
Category |
|
Presentation
to group |
Self-and
peer assessment rubric |
Knowledge |
|
Sight
passage |
Marking
scheme |
Knowledge |
|
Narrative
piece |
Rubric
(see below) |
Knowledge |
·
Encourage
choice of piece to provide opportunities for enrichment.
·
Provide
extra time.
·
Use
a computer to write answers for the test.
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Knowledge/ Elements
and Conventions of Form WR2.01 |
-
limited use of the conventions of the selected form |
- some
use of the conventions of the selected form |
-
considerable use of the conventions of the selected form |
-
thorough use of the conventions of the selected form |
|
Thinking/Inquiry Selection
of Form WR2.02 |
- the
piece accomplishes purpose with limited effectiveness |
- the
piece accomplishes purpose with some effectiveness |
- the
piece accomplishes purpose with considerable effectiveness |
- the
piece thoroughly and effectively accomplishes the purpose |
|
Communication Organization WRV.03 |
-
limited evidence of organizational structure appropriate to the selected form |
- some
evidence of organizational structure appropriate to the selected form |
-
considerable evidence of organizational structure appropriate to the selected
form |
-
extensive evidence of organizational structure appropriate to the selected
form |
|
Communication Selection
of Language WR2.04 |
-
limited use of language and voice appropriate for the purpose and intended
audience |
- some
use of language and voice appropriate for the purpose and intended audience |
-
effective use of language and voice appropriate for the purpose and intended
audience |
-
impressive use of language and voice appropriate for the purpose and intended
audience |
|
Communication Clarity
of Expression WR4.02 |
-
communicates ideas with limited clarity |
-
communicates ideas with some clarity |
-
communicates ideas with considerable clarity |
-
communicates ideas with exceptional clarity |
|
Application Language
Conventions WR5.04 |
-
limited application of required language conventions, with errors that
obscure or detract from the clarity and fluidity of the piece |
- some
application of required language conventions, with some errors that obscure
or detract from the clarity and fluidity of the piece |
-
considerable application of required language conventions, with errors that
do not detract from the clarity and fluidity of the piece |
-
thorough application of required language conventions. |
Note: A student whose achievement is below
level 1 (50%) has not met the expectations for this assignment or activity.
This
rubric could be used with a checklist of conventions for each form, as well as
a checklist of required language conventions.
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