English Grade 12 Pace Chart · 2012. 8. 30. · 9. Provide compelling openings and strong closure to written pieces. 10. Employ relevant graphics to support a central idea (e.g.,

AP English Grade 12 Pace Chart Text: McDougall Littell - The Language of Literature – British Literature, 2003. Houghton Mifflin - The Riverside Anthology of Literature, Third Edition, 1997. Prentice Hall, Discovering Literature, Second Edition, 1997.

Time: 180 blocks

Diagnostic Test – Sample AP exam 3 blocks Elements of Fiction / Short Stories Setting – Araby, Shiloh Character – Girl Plot – The Lottery Point of View – The Jilting of Granny Weatherall / Film – Evening Symbol – The Chrysanthemums, The Yellow Wallpaper Theme – Everday Use Style – The Lesson

15 blocks

The Anglo-Saxon And Medieval Periods Beowulf Novel: Grendal by John Gardner The Canterbury Tales

28 blocks

The English Renaissance / Study of tragic figures in literature / Poetic Devices Shakespeare’s sonnets Drama - Macbeth Drama / Film – Hamlet Drama – Death of a Salesman by Arthur Miller Drama – The Glass Menagerie by Tennessee Williams Novel – The Sound and the Fury by William Faulkner

27 blocks

Senior Project: The Paper Project Proposals Research Rough Draft Conferences Final Draft Conferences

5 blocks

Senior Project: Product 2 blocks Senior Project: Presentations Making Speeches Creating Visuals

5 blocks

The Flowering of Romanticism 20 blocks

Suggested Readings: William Blake William Wordsworth Samuel Taylor Coleridge Lord Byron Percy Bysshe Shelley John Keats Novel - Mary Shelley’s Frankenstein Novel – Heart of Darkness by Joseph Conrad

The Victorians / Women Writers / Coming of Age / Race Relations Suggested Readings: Alfred Lord Tennyson Robert Browning Elizabeth Barrett Browning Novel - Pride and Prejudice by Jane Austen Novel - Jane Eyre by Charlotte Bronte Novel - Beloved by Toni Morrison Novel - Great Expectations by Charles Dickens Novel – Invisible Man by Ralph Ellison Novel – Portrait of an Artist as a Young Man by James Joyce

25 blocks

Emerging Modernism Suggested Readings: William Butler Yeats D. H. Lawrence James Joyce Katharine Mansfield T. S. Eliot Dylan Thomas Novel: Brave New World by Aldous Huxley Novel – 1984 by George Orwell

15 blocks

Mid-term and Final Exams AP Exam Preparation

4 blocks 31 blocks

AP English 12 Theme: Elements of Fiction / Short Stories Length of time: 15 blocks Essential or Driving Question(s): How does the setting help to give shape to the story as a whole? How does characterization help to justify characters’ actions and motivation? From what vantage point does the person telling the story look at the world? Does the story make you reexamine or rethink some facet of human life? What is style? Standards or Established Goals:

STANDARD 3.1 (Reading) All students will understand and apply the knowledge of sounds, letters, and words in written English to become independent and fluent readers, and will read a variety of materials and texts with fluency and comprehension.

D. Fluency

1. Read developmentally appropriate materials at an independent level with accuracy and speed. 2. Use appropriate rhythm, flow, meter, and pronunciation when reading. 3. Read a variety of genres and types of text with fluency and comprehension.

E. Reading Strategies (before, during, and after reading)

1. Identify, assess, and apply personal reading strategies that were most effective in previous learning from a variety of texts. 2. Practice visualizing techniques before, during, and after reading to aid in comprehension. 3. Judge the most effective graphic organizers to use with various text types for memory retention and monitoring

comprehension.

F. Vocabulary and Concept Development

1. Use knowledge of word origins and word relationships, as well as historical and literary context clues, to determine the meanings of specialized vocabulary.

2. Use knowledge of root words to understand new words. 3. Apply reading vocabulary in different content areas.

G. Comprehension Skills and Response to Text

1. Identify, describe, evaluate, and synthesize the central ideas in informational texts. 2. Understand the study of literature and theories of literary criticism. 3. Understand that our literary heritage is marked by distinct literary movements and is part of a global literary tradition. 4. Compare and evaluate the relationship between past literary traditions and contemporary writing. 5. Analyze how works of a given period reflect historical and social events and conditions. 6. Recognize literary concepts, such as rhetorical device, logical fallacy, and jargon, and their effect on meaning. 7. Interpret how literary devices affect reading emotions and understanding. 8. Analyze and evaluate the appropriateness of diction and figurative language (e.g., irony, paradox). 9. Distinguish between essential and nonessential information, identifying the use of proper references and propaganda

techniques where present. 10. Differentiate between fact and opinion by using complete and accurate information, coherent arguments, and points of

view. 11. Analyze how an author's use of words creates tone and mood, and how choice of words advances the theme or purpose of

the work.

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12. Demonstrate familiarity with everyday texts such as job and college applications, W-2 forms, and contracts. 13. Read, comprehend, and be able to follow information gained from technical and instructional manuals (e.g., how-to books,

computer manuals, or instructional manuals).

H. Inquiry and Research

1. Select appropriate electronic media for research and evaluate the quality of the information received. 2. Develop materials for a portfolio that reflect a specific career choice. 3. Develop increased ability to critically select works to support a research topic. 4. Read and critically analyze a variety of works, including books and other print materials (e.g., periodicals, journals,

manuals), about one issue or topic, or books by a single author or in one genre, and produce evidence of reading. 5. Apply information gained from several sources or books on a single topic or by a single author to foster an argument, draw

conclusions, or advance a position. 6. Critique the validity and logic of arguments advanced in public documents, their appeal to various audiences, and the

extent to which they anticipate and address reader concerns.

STANDARD 3.2 (Writing) All students will write in clear, concise, organized language that varies in content and form for different audiences and purposes.

A. Writing as a Process (prewriting, drafting, revising, editing, postwriting)

1. Engage in the full writing process by writing daily and for sustained amounts of time. 2. Use strategies such as graphic organizers and outlines to plan and write drafts according to the intended message, audience,

and purpose for writing. 3. Analyze and revise writing to improve style, focus and organization, coherence, clarity of thought, sophisticated word

choice and sentence variety, and subtlety of meaning. 4. Review and edit work for spelling, usage, clarity, and fluency. 5. Use the computer and word-processing software to compose, revise, edit, and publish a piece. 6. Use a scoring rubric to evaluate and improve own writing and the writing of others. 7. Reflect on own writing and establish goals for growth and improvement.

B. Writing as a Product (resulting in a formal product or publication)

1. Analyzing characteristics, structures, tone, and features of language of selected genres and apply this knowledge to own writing.

2. Critique published works for authenticity and credibility. 3. Draft a thesis statement and support/defend it through highly developed ideas and content, organization, and paragraph

development. 4. Write multi-paragraph, complex pieces across the curriculum using a variety of strategies to develop a central idea (e.g.,

cause-effect, problem/solution, hypothesis/results, rhetorical questions, parallelism). 5. Write a range of essays and expository pieces across the curriculum, such as persuasive, analytic, critique, or position

paper. 6. Write a literary research paper that synthesizes and cites data using researched information and technology to support

writing. 7. Use primary and secondary sources to provide evidence, justification, or to extend a position, and cite sources, such as

periodicals, interviews, discourse, and electronic media. 8. Foresee readers’ needs and develop interest through strategies such as using precise language, specific details, definitions,

descriptions, examples, anecdotes, analogies, and humor as well as anticipating and countering concerns and arguments and advancing a position.

9. Provide compelling openings and strong closure to written pieces. 10. Employ relevant graphics to support a central idea (e.g., charts, graphic organizers, pictures, computer-generated

presentation). 11. Use the responses of others to review content, organization, and usage for publication. 12. Select pieces of writing from a literacy folder for a presentation portfolio that reflects performance in a variety of genres.

C. Mechanics, Spelling, and Handwriting

1. Use Standard English conventions in all writing, such as sentence structure, grammar and usage, punctuation, capitalization, and spelling.

2. Demonstrate a well-developed knowledge of English syntax to express ideas in a lively and effective personal style. 3. Use subordination, coordination, apposition, and other devices effectively to indicate relationships between ideas.

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4. Use transition words to reinforce a logical progression of ideas. 5. Exclude extraneous details, repetitious ideas, and inconsistencies to improve writing. 6. Use knowledge of Standard English conventions to edit own writing and the writing of others for correctness. 7. Use a variety of reference materials, such as a dictionary, grammar reference, and/or internet/software resources to edit

written work. 8. Write legibly in manuscript or cursive to meet district standards.

D. Writing Forms, Audiences, and Purposes (exploring a variety of forms)

1. Employ the most effective writing formats and strategies for the purpose and audience. 2. Demonstrate command of a variety of writing genres, such as:

Persuasive essay Personal narrative Research report Literary research paper Descriptive essay Critique Response to literature Parody of a particular narrative style (fable, myth, short story) Poetry

3. Evaluate the impact of an author’s decisions regarding tone, word choice, style, content, point of view, literary elements, and literary merit, and produce an interpretation of overall effectiveness.

4. Apply all copyright laws to information used in written work. 5. When writing, employ structures to support the reader, such as transition words, chronology, hierarchy or sequence, and

forms, such as headings and subtitles. 6. Compile and synthesize information for everyday and workplace purposes, such as job applications, resumes, business

letters, and college applications. 7. Demonstrate personal style and voice effectively to support the purpose and engage the audience of a piece of writing. 8. Select pieces of writing from a literacy folder for a presentation portfolio that reflects performance in a variety of genres.

STANDARD 3.3 (Speaking) All students will speak in clear, concise, organized language that varies in content and form for different audiences and purposes.

A. Discussion

1. Support a position integrating multiple perspectives. 2. Support, modify, or refute a position in small or large-group discussions. 3. Assume leadership roles in student-directed discussions, projects, and forums. 4. Summarize and evaluate tentative conclusions and take the initiative in moving discussions to the next stage.

B. Questioning (Inquiry) and Contributing

1. Ask prepared and follow-up questions in interviews and other discussions. 2. Extend peer contributions by elaboration and illustration. 3. Analyze, evaluate, and modify group processes. 4. Select and discuss literary passages that reveal character, develop theme, and illustrate literary elements. 5. Question critically the position or viewpoint of an author. 6. Respond to audience questions by providing clarification, illustration, definition, and elaboration. 7. Participate actively in panel discussions, symposiums, and/or business meeting formats (e.g., explore a question and

consider perspectives).

C. Word Choice

1. Modulate tone and clarify thoughts through word choice. 2. Improve word choice by focusing on rhetorical devices (e.g., puns, parallelism, allusion, alliteration).






















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D. Oral Presentation

1. Speak for a variety of purposes (e.g., persuasion, information, entertainment, literary interpretation, dramatization, personal expression).

2. Use a variety of organizational strategies (e.g., focusing idea, attention getters, clinchers, repetition, transition words). 3. Demonstrate effective delivery strategies (e.g., eye contact, body language, volume, intonation, articulation) when

speaking. 4. Edit drafts of speeches independently and in peer discussions. 5. Modify oral communications through sensing audience confusion, and make impromptu revisions in oral presentation (e.g.,

summarizing, restating, adding illustrations/details). 6. Use a rubric to self-assess and improve oral presentations.

STANDARD 3.4 (Listening) All students will listen actively to information from a variety of sources in a variety of situations.

A. Active Listening

1. Explore and reflect on ideas while hearing and focusing attentively. 2. Listen skillfully to distinguish emotive and persuasive rhetoric. 3. Demonstrate appropriate listener response to ideas in a persuasive speech, oral interpretation of a literary selection, or

scientific or educational presentation.

B. Listening Comprehension

1. Listen to summarize, make judgments, and evaluate. 2. Evaluate the credibility of a speaker. 3. Determine when propaganda and argument are used in oral forms. 4. Listen and respond appropriately to a debate.

STANDARD 3.5 (Viewing and media literacy) All students will access, view, evaluate, and respond to print, nonprint, and electronic texts and resources.

A. Constructing Meaning from Media

1. Understand that messages are representations of social reality and vary by historic time periods and parts of the world. 2. Identify and evaluate how a media product expresses the values of the culture that produced it. 3. Identify and select media forms appropriate for the viewer’s purpose.

B. Visual and Verbal Messages

1. Analyze media for stereotyping (e.g., gender, ethnicity). 2. Compare and contrast three or more media sources.

C. Living with Media

1. Use print and electronic media texts to explore human relationships, new ideas, and aspects of culture (e.g., racial prejudice, dating, marriage, family, and social institutions).

2. Determine influences on news media based on existing political, historical, economical, and social contexts (e.g., importance of audience feedback).

3. Recognize that creators of media and performances use a number of forms, techniques, and technologies to convey their messages.

Understandings: (Performance objectives) Students will be able to….














• Explain and support ideas presented within stories and to determine theme, main idea, supporting details, etc. verbally and in writing

• Interpret meaning of events and stories as contained in a plot outline • Apply knowledge to new situations and diverse contexts by comparing stories to themselves, other

texts, and to world situations • Recognize other points of view and support their thinking • Empathize with characters and situations by transitioning to another’s perspective • Think about own thinking and use text to support any answer • Express themselves in a variety of written forms including narrative and expositiory

Knowledge/Skills: (directly from Interval Assessments) Characterization Genre: Epic and Frame Tale Main Idea Cause and Effect Author’s Purpose Theme Figurative Language: Alliteration, kenning Graphic Sources Sequence of events Author’s Viewpoint Drawing Conclusions Making Inferences Suggested Print Materials/Resources/Internet Links: Stories can be found in The Riverside Anthology of Literature, Discovering Literature textbooks or printed as needed from electronic sources Araby Shiloh Girl The lottery The Jilting of Granny Weatherall The Chrysanthemums Everyday Use The Lesson Internet Links

Film: Evening Suggested Learning Activities: Specific activities will be found in the grade level binders created by Keansburg teachers: Identify and explain the use of symbolism in The Yellow Wallpaper Discuss themes of poverty, race, and resistance as presented in The Lesson Discuss themes of Heritage, materialism and community vs. isolation as presented in Everyday Use Performance Tasks:

Short story analysis Comparison paper focusing on point of view as used in the Jilting of Granny Weatherall and Evening. Assessments/Evidence of Learning:

• Quizzes • Tests • Presentations • Interim and Benchmark Assessments

Accommodations:

Student will have extra time to complete given task. Extra help after and before school will be provided for the student to succeed in the learning process. Teacher will withdraw student(s) for specific skills. Include student in same activity but individualize the expectations and materials. Student is involved in same theme/unit but provided different task and expectations as needed. Strategies will be individualized to suit the student’s learning style and developmental level. Examples: highlighting, rehearsal, color coding, memory joggers, visual cues, key ring sight words, flip chart, organization/transition cards. Directions will be reworded, rewritten, and handed out on a work sheet as needed. Audio cassettes will be utilized to enhance the knowledge and understanding of the theme/unit.

AP English 12 Theme: The Anglo Saxon and Medieval Periods Length of time: 28 blocks Essential or Driving Question(s): How do the characteristics of an Epic Hero apply to the epic poem Beowulf? How do literary devices influence the reading of an epic poem? How do the values of a culture influence the literature of the time period? How can the ideas from the past be connected to the present? Standards or Established Goals:


D. Fluency




comprehension.



5. Use knowledge of root words to understand new words.




6. Apply reading vocabulary in different content areas.





the work. 25. Demonstrate familiarity with everyday texts such as job and college applications, W-2 forms, and contracts. 26. Read, comprehend, and be able to follow information gained from technical and instructional manuals (e.g., how-to books,

















paper.













18. Write a literary research paper that synthesizes and cites data using researched information and technology to support writing.

19. Use primary and secondary sources to provide evidence, justification, or to extend a position, and cite sources, such as periodicals, interviews, discourse, and electronic media.

20. Foresee readers’ needs and develop interest through strategies such as using precise language, specific details, definitions, descriptions, examples, anecdotes, analogies, and humor as well as anticipating and countering concerns and arguments and advancing a position.





10. Demonstrate a well-developed knowledge of English syntax to express ideas in a lively and effective personal style. 11. Use subordination, coordination, apposition, and other devices effectively to indicate relationships between ideas. 12. Use transition words to reinforce a logical progression of ideas. 13. Exclude extraneous details, repetitious ideas, and inconsistencies to improve writing. 14. Use knowledge of Standard English conventions to edit own writing and the writing of others for correctness. 15. Use a variety of reference materials, such as a dictionary, grammar reference, and/or internet/software resources to edit










A. Discussion

5. Support a position integrating multiple perspectives. 6. Support, modify, or refute a position in small or large-group discussions. 7. Assume leadership roles in student-directed discussions, projects, and forums.





















8. Summarize and evaluate tentative conclusions and take the initiative in moving discussions to the next stage.




C. Word Choice








A. Active Listening


































texts, and to world situations • Recognize other points of view and support their thinking • Empathize with characters and situations by transitioning to another’s perspective • Think about own thinking and use text to support any answer • Express themselves in a variety of written forms including narrative and expositiory

Knowledge/Skills: (directly from Interval Assessments) Characterization Genre: Epic and Frame Tale Main Idea Cause and Effect Author’s Purpose Theme Figurative Language: Alliteration, kenning Graphic Sources Sequence of events Author’s Viewpoint Drawing Conclusions Making Inferences Suggested Print Materials/Resources/Internet Links: Stories can be found in the English IV McDougal Littell textbook or printed as needed from electronic sources Beowulf Grendal by John Gardner The Canterbury Tales Internet Links

• Epic poem literary device: http://www2.kenyon.edu/AngloSaxonRiddles/Riddles/Riddle1.htm Beowulf

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The Canterbury Tales • http://www.webenglishteacher.com/chaucer.html • http://www.shoshone.k12.id.us/medieval/lesson.htm • http://edsitement.neh.gov/view_lesson_plan.asp?id=287 • http://www.glencoe.com/sec/literature/litlibrary/pdf/canterbury.pdf

Film: Beowulf Cartoon or Sci Fi Network version Beowulf Oral Interpretation: McDougall Littell The Canterbury Tales: The Pardoner’s Tale (McDougal Littell Resource) The Canterbury Tales: The Prologue (KHS Library) The 13th Warrior First Night Suggested Learning Activities: Specific activities will be found in the grade level binders created by Keansburg teachers

• Anticipation Guide: Each story begins with 5 general statements thematically related to the story to spark discussion and predictions.

• Graphic organizers: Use to examine theme, inference, plot, qualities of an epic hero and codes of chivalry

• Drama/Music: Beowulf project • The class will read Beowulf. Read part of this story aloud and ask questions throughout

the reading process to make sure the students are grasping the tale. Following discussion at the end of Beowulf, the class goes right into the reading of Grendel by Gardner. Have class discussion at the end of Grendel. (Note: You may also wish to give students a short-answer quiz on Beowulf and a similarly formatted quiz on Grendel. These quizzes are to check for student understanding of the plot and character development.) During the first stage of reading Grendel, assign the "Monster" creation project. Each student is to create a monster of his/her own. The monster should have a background, name, and history or developmental tale that explains its existence. There must be a visual accompanying the story. It is not acceptable to have an invisible monster. If the monster is generally invisible, the student must figure out a way to make it visible to us for the presentation. Music or videotape may be used in the presentation, as may videotape. A computer may also be used if needed. The story of the monster must be written and turned in when the project is presented. Explain to the class that, even today, there are many cultures that believe in the existence of monsters, demons, and other such creatures. Point out that, while most of us consider the notion of their existence unlikely, belief in monsters is not necessarily an unreasonable belief, and that it is, at very least, supported culturally, albeit not scientifically. Hold a vote by secret ballot on the following question: "Yes or No—Do monsters exist?" Use the results of the vote to engage the students in a lively discussion. then either as a part of the lesson curricula or for extra credit, have students choose either the "Yes" or the "No" position and write an essay defending his/her contention.

• Literary device: Examine the use of figurative language in the poem • Presentation: Examine and present pilgrims in Chaucer’s Prologue

Performance Tasks:

• Beowulf Group Project: Choose one fight scene from the poem and reenact the scene using music and incorporate alliteration in the script

• Anglo-Saxon Riddles: Research Anglo Saxon riddles for the use of kennings, alliteration, and caesura

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• Canterbury Tale Feast Project: Create a tale or “pilgrim” using Chaucer’s format. Research Medieval cuisine and recreate a dish to be shared in class when tales and characters are presented.

• Pilgrim Project: Use Name that Pilgrim graphic organizer to identify pilgrims in The Prologue • Codes of Chivalry: Discuss codes of chivalry in small groups and identify and present which

aspects are still relevant today • Beowulf Projects:

1. Loyalty Game. Ask students to consider the importance of group loyalty and how such loyalties sometimes conflict with individual needs or desires. Have each student write a list of questions about what to do in situations that test one's loyalty to family, friends, self, country, city, etc. Then have them write the questions on a set of cards for the whole class. Finally, students can take turns asking one another questions from the cards and discuss their answers.

2. Brainstorming List. Have students consider what the word epic means when applied to films or TV miniseries. What qualities do they expect to find in a movie or miniseries that people called an epic? Have them brainstorm a list of these characteristics as well as those that apply to literary epics.

• CROSSCURRICULAR ACTIVITIES

1. The Amazing Adventures of Beowulf. Encourage interested students to create a comic strip based on Beowulf, stressing the epic's action and adventure. Have them focus on one of Beowulf's three major battles: with Grendel, with Grendel's mother, or with the fire-breathing dragon.

2. All Together Now. Encourage students to adapt a portion of Beowulf for a choral reading before the class or at a school assembly. Suggest that they do a bit of research about choral reading techniques and performance before planning their own adaptation.

• RESEARCH ASSIGNMENTS

1. Once Upon a Time. In this project, students will research and present traditional epics, sagas, and hero tales from different cultures around the world. After they take part in a storytelling festival, they will participate in a panel discussion comparing and contrasting the works with each other and with Beowulf. Suggested Procedure: Divide students into small groups to research one or more traditional epics, sagas, and hero tales of a different culture or period. Students can use the internet or the library to choose traditional literature from any continent or cultural group. Each group might read all or part of a longer work and/or several shorter works. Students should also research the works' significance to the culture that produced them. Tell students to choose a representative work, or a representative portion of a longer work, to perform during a class storytelling festival. After a short introduction, one or more students in the group will sing, chant, or recite the selection. Following the festival, students will hold a panel discussion in which they compare and contrast the epics, sagas, and hero tales and consider what they have in common with each other and with Beowulf.

2. Research Customs. In this research activity, students will find out more about a specific Germanic or Anglo-Saxon custom mentioned or described in Beowulf. For example, you might suggest they use the library to research and report on the significance of mead-halls or on the funeral rites of Beowulf's day. Have students share their findings in a magazine article.

• Heroes

Step One Lead a discussion with the class to determine what makes Beowulf a hero. Ask students to refer to the text and name the specific activity that identifies Beowulf as a hero, such as “fought Grendel with no weapons.” As students give responses, list them on the board. After the list is generated, ask students to generalize from the specific details, the heroic traits that the list suggests. Typical responses are strength, wisdom, physical appearance, speaking ability, loyalty, occupation, bravery. Record these traits on the board. Step Two Transfer the traits to the left vertical column of a piece of bulletin board paper that has been formatted as a chart and taped or fastened to one wall in the room. Next, ask students to name some contemporary fictional heroes (limit to five or six heroes). Popular names that typically come up are Batman, Superman, Indiana Jones, James Bond, Rambo. Write these names, along with Beowulf’s, across the top of the bulletin board paper. With the class, complete the columns for Beowulf; for example, beside the trait strength, the class would record “has the strength of 30 men.” Step Three Divide the class into small groups and assign each group a hero from the chart. Instruct each group to discuss its assigned hero in terms of the traits listed on the chart, such as bravery, wisdom, loyalty, etc. The objective is to give specific examples to illustrate the particular trait for the hero. As soon as the group has completed its discussion, someone from the group should complete the columns on the chart for the group’s hero by filling in the specific example under the appropriate column. After the chart is completed for all the heroes, one member from each group will discuss the assigned hero, and then the teacher should lead the class in a discussion that draws the conclusion that heroes across the ages share basically the same traits. These activities should be accomplished in one class period. Step Four Students will spend the next two class periods completing the project. This project asks students to select 10-15 heroes from various areas, explain in specific terms why each one is a hero, and organize the information in the format of a booklet. Refer to attachments for instructions for the project.

• Literature Groups Which characters does Chaucer seem to admire, and which does he poke fun at? Answer the question for yourself first and then compare your answers with other members of your group. Discuss the reasons for the answers, and try to see if you can reach agreement as a group.

Assessments/Evidence of Learning: • Quizzes • Tests • Presentations • Interim and Benchmark Assessments

Accommodations:


AP English 12 Theme: The English Renaissance / Study of tragic figures in literature / Poetic devices

Length of time: 27 blocks Essential or Driving Question(s): How do the values of a culture influence the literature of the time period? How can the ideas from the past be connected to the present? What is a Shakespearean sonnet? Standards or Established Goals:


D. Fluency




comprehension.











13. Select appropriate electronic media for research and evaluate the quality of the information received.










14. Develop materials for a portfolio that reflect a specific career choice. 15. Develop increased ability to critically select works to support a research topic. 16. Read and critically analyze a variety of works, including books and other print materials (e.g., periodicals, journals,








































A. Discussion





C. Word Choice





speaking. 16. Edit drafts of speeches independently and in peer discussions.






























17. Modify oral communications through sensing audience confusion, and make impromptu revisions in oral presentation (e.g., summarizing, restating, adding illustrations/details).

18. Use a rubric to self-assess and improve oral presentations.


A. Active Listening

















texts, and to world situations • Recognize other points of view and support their thinking • Empathize with characters and situations by transitioning to another’s perspective








• Think about own thinking and use text to support any answer • Paraphrase lines from the sonnets or drama to show meaning • Express themselves in a variety of written forms including narrative and exposition

Knowledge/Skills: (directly from Interval Assessments) Characterization Genre: Epic and Frame Tale Main Idea Cause and Effect Author’s Purpose Theme Figurative Language: Alliteration, kenning Graphic Sources Sequence of events Author’s Viewpoint Drawing Conclusions Making Inferences Suggested Print Materials/Resources/Internet Links: Stories can be found in the English IV McDougal Littell textbook or printed as needed from electronic sources Shakespeare’s Macbeth Shakespeare’s Hamlet Death of a Salesman by Arthur Miller The Glass Menagerie by Tennessee Williams The Sound and the Fury by William Faulkner Films Macbeth Hamlet Death of a Salesman All My Sons The Glass Menagerie Internet Links

• http://www.folger.edu/eduLesPlanArch.cfm?cid=#44 • http://www.webenglishteacher.com/macbeth.html • http://www.penguinclassics.co.uk/nf/shared/WebDisplay/0,,82524_1_10,00.ht

ml • http://edsitement.neh.gov/view_lesson_plan.asp?id=368 • http://www.webenglishteacher.com/shakesonnets.html • http://www.edselect.com/shakespe.htm

Suggested Learning Activities: Specific activities will be found in the grade level binders created by Keansburg teachers Sonnets

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• http://www.folger.edu/eduLesPlanDtl.cfm?lpid=760 • http://www.pbs.org/shakespeare/educators/language/lessonplan.html

Macbeth • http://www.blazer.ashland.k12.ky.us/Academics/English/Stepp/Macbeth%20Anti

cipation%20Guide.htm • http://www.milwaukeeshakespeare.com/education/studyGuides/MacbethGuide.pd

f • http://www.bard.org/images/educationimages/MacbethGuide.pdf • http://www.swshakespeare.org/teacher_guides/macbethteacherguide.doc.pdf • http://www.universalteacher.org.uk/shakespeare/macbeth.htm

1. Shakespeare understood the Universal nature of man. That is why we can relate to him today. As humans, our psychology is just like it was in his day. Teenagers rebel against their parents’ wishes just like they do in Romeo and Juliet. Jealousy can eat at and destroy relationships like it does in Othello. Ambition unchecked can destroy like it does in Macbeth. Activity: Have students place the story Macbeth in another time period. The students must draw the costumes of three main characters, design the set, and write a one page paper on their concept and present it orally to the class. Example 1: Two Indian braves are returning from a battle when spirits arise from the woods, chanting prophecies; the chief is coming to sleep in Macbeth’s teepee; Lady Macbeth is found sleep-walking in the forest; the medicine man watches; the desert sage brush marches on the encampment.Example 2: After a Mafia gang war, a rising Don hears of the Godfather’s arrival at his house. Three fortune tellers predict the Don’s rise in the family. His wife dreams of becoming the wife to a successful gangster.Discuss after each presentation whether the concept works. Do the costumes fit the characters. What does this teach us about human nature and Shakespeare’s understanding of man. 2. Have students divide into groups and stage various sections of the play.Examples: Macbeth, Banquo, and the witches; the banquet scene; the apparition scene; the sleep-walking scene; the battle between Macduff and Macbeth. 3. Pick a monologue within the play, and have the students translate it into modern speech. Have the students perform both speeches for the class, one following another. They will easily understand the speech. Translate and perform a variety of monologues so each student has a different speech. 4. Divide the class into groups, and have each group write a number of news stories focusing on the rise and fall of Macbeth. Have them include headlines and quotes; then let each group present its news stories to the class.Examples: “Birnam Wood Rises, Dunsinane Falls!“ “Caesarean Section Is Rip for Macbeth!” “Haunting Spots Damn the Lady!” 5. Have individual groups create a five-minute show based on an event in Macbeth. Models for these shows can be The People’s Court, a modern talk show with guests (Jay Leno to Jerry Springer), a game show (Jeopardy, The Dating Game, etc.). Have the students prepare scripts and visual aids and present them to the class. 6. Lead a classroom debate on the following question: Is Macbeth a victim of fate (it was going to happen no matter what) or a victim of his own ambitious choices? Have the students prepare arguments on both sides with guided interjections from the teacher. At the end of debate, help the class members write a brief paper stating which argument won and why. 7. Have students write a poem fourteen lines long in iambic pentameter, (ten syllables, accent on the second syllable) Rhyme scheme is a-b-a-b c-d-c-d e-e with a rhyming couplet at the end. Have the students read their poems in front of the class.

• 8. Divide the class into boy and girl groups to research (have the groups prepare organized argu-ments) the following questions: Is the relationship between Lady Macbeth and Macbeth a healthy one? Is Lady Macbeth helping Macbeth? Does Macbeth have weaknesses and does Lady Macbeth help eliminate them? Do they make a good team as they work together? Who is stronger? Do they

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complement each other? Are they two halves of a whole? What attributes do you like in the couple? Would you find these attributes desirable in a boyfriend or girlfriend?

Death of a Salesman 1. Modern Drama and the Modern Age – analysis of a modern play 2. Study guide 3. Tragedy and the common man – Willie Loman as tragic figure The Sound and the Fury 1. Study guide could be used for homework and/or quiz 2. Chronology and scene shifts 3. Benjy: Symbols and losses 4. Recurring images in the Quentin section 5. An inventory of Evil: Jason 6. Dilsey as Challenger and Survivor 7. Identify Faulkner’s use of style

Performance Tasks:

• THEME OPENERS

1. Concept Web. Ask students to work independently or in small groups to create a word web or other graphic organizer that explores one or more of the following concepts: fate, honor, ambition, guilt. You might encourage students who are having difficulty in getting started to (1)define the concept, (2) give examples that illustrate it, (3) list some of the consequences associated with it, and in other ways show their reaction to the concept.

2. Role-Playing. Have students discuss or role-play one of the following situations: (1) Imagine that you are trying to decide whether to do something you know is very wrong, but which will benefit you. A friend says, "Come on, just do it. Do you want to be a loser all your life?" How would you react to such goading? Would you reaction be different if your friend said, "Yeah, that's a tough decision, but if you don't do it, someone else will"? If so, why? (2) You have done something illegal and then gotten caught. You now have a choice either to admit that you did it or tell a lie to cover it up. How far would you be willing to go to cover up your own wrongdoing? What role does fear play in your choice of action? What other considerations weigh in your decision?

• CROSSCURRICULAR ACTIVITIES

1. What Ghost? Have students debate the proposition, "There is no ghost in this play. Macbeth only imagines it." Tell students to take sides on the issue (or argue for deliberate ambiguity) and prepare a 2- or 3- minute opening speech defending their stand. They should also find as much evidence in the play as they can. When they are through, the class could vote on the proposition.

2. Meet the Press. Have a group of students put on a press conference in which one or several main characters from Macbeth answer questions from the press about Duncan's murder. The "reporters" should write their questions ahead of time, while the Macbeths and the other actors review their characters' traits and alibis. The questions should focus on the action in the play as well as on the character's intentions.

• RESEARCH ASSIGNMENTS

1. To Sleep... In his essay on Macbeth in Shakespeare, Mark Van Doren says, "For sleep in Shakespeare is ever the privilege of the good and the reward of the innocent." Have students discuss in a research paper whether Shakespeare's use of sleep in Macbeth supports this contention. Ask them if they see any other significance to the way Shakespeare uses sleep in the play. Have them research other Shakespeare plays for examples of sleep imagery to support their position.

• Macbeth Theme Park

Shakespeare has hit the big time. His estate is searching for a theme park developer to create a theme park based on one of his famous plays, Macbeth. The Romeo and Juliet Theme Park has been a success; it only seems natural to now open a second theme park based on a different play. Attractions at the Romeo and Juliet Theme Park consisted of The Feuding Family Fun House, Romeo’s Tunnel of Love, Juliet’s Kissing Booth, Friar Lawrence’s Cell of Terror, and Capulet’s Roller Coaster of emotions. As the developer, you will make important decisions regarding the attractions, cost, requirements, and many other items. You will also be in charge of promoting this theme park by creating a brochure. Be creative and think about all the different rides and games that you know! Include the following in your proposal: 1. What is the name of the theme park? 2. Where is the park located? 3. What main attractions will you have? A good theme park would have at least 5 major attractions to

advertise. Be sure to explain the reason behind each name. 4. What restaurants and other amenities are available? Name and explain. 5. Add other information at our discretion. You’re the developers!

On the due date, you’ll present at least 3 of your favorite park ideas to the class.

The Sound and the Fury Essay analyzing the structural unity of Faulkner’s novel. Death of a Salesman Using the given definitions of a tragic hero, discuss which of Arthur Millers characters is the strongest example of a tragic hero – John Proctor from The Crucible, Joe from All My Sons, or Willie Loman forn Death of a Salesman.

Assessments/Evidence of Learning: • Quizzes • Tests • Presentations • Interim and Benchmark Assessments

Accommodations: Student will have extra time to complete given task. Extra help after and before school will be provided for the student to succeed in the learning process. Teacher will withdraw student(s) for specific skills. Include student in same activity but individualize the expectations and materials. Student is involved in same theme/unit but provided different task and expectations as needed. Strategies will be individualized to suit the student’s learning style and developmental level. Examples: highlighting, rehearsal, color coding, memory joggers, visual cues, key ring sight words, flip chart, organization/transition cards. Directions will be reworded, rewritten, and handed out on a work sheet as needed. Audio cassettes will be utilized to enhance the knowledge and understanding of the theme/unit.

AP English 12 Theme: The Flowering of Romanticism Length of time: 20 blocks Essential or Driving Question(s): How do the values of a culture influence the literature of the time period? How can the ideas from the past be connected to the present? What are the principles of the Romantic Movement in literature? How do these principles affect the mood and tone of the literature? How does the author’s use of figurative language add to the enjoyment of the literature? Do the authors studied truly represent the theories presented by the Romantic Movement? Standards or Established Goals:


D. Fluency




comprehension.





40. Identify, describe, evaluate, and synthesize the central ideas in informational texts. 41. Understand the study of literature and theories of literary criticism.





42. Understand that our literary heritage is marked by distinct literary movements and is part of a global literary tradition. 43. Compare and evaluate the relationship between past literary traditions and contemporary writing. 44. Analyze how works of a given period reflect historical and social events and conditions. 45. Recognize literary concepts, such as rhetorical device, logical fallacy, and jargon, and their effect on meaning. 46. Interpret how literary devices affect reading emotions and understanding. 47. Analyze and evaluate the appropriateness of diction and figurative language (e.g., irony, paradox). 48. Distinguish between essential and nonessential information, identifying the use of proper references and propaganda
























45. Provide compelling openings and strong closure to written pieces.














46. Employ relevant graphics to support a central idea (e.g., charts, graphic organizers, pictures, computer-generated presentation).

47. Use the responses of others to review content, organization, and usage for publication. 48. Select pieces of writing from a literacy folder for a presentation portfolio that reflects performance in a variety of genres.













A. Discussion



22. Ask prepared and follow-up questions in interviews and other discussions. 23. Extend peer contributions by elaboration and illustration. 24. Analyze, evaluate, and modify group processes.




















25. Select and discuss literary passages that reveal character, develop theme, and illustrate literary elements. 26. Question critically the position or viewpoint of an author. 27. Respond to audience questions by providing clarification, illustration, definition, and elaboration. 28. Participate actively in panel discussions, symposiums, and/or business meeting formats (e.g., explore a question and


C. Word Choice








A. Active Listening


































texts, and to world situations • Recognize other points of view and support their thinking • Empathize with characters and situations by transitioning to another’s perspective • Think about own thinking and use text to support any answer • Identify and understand Romantic poetry through its use of Romantic ideals • Express themselves in a variety of written forms including narrative and exposition

Knowledge/Skills: (directly from Interval Assessments) Characterization Main Idea Cause and Effect Author’s Purpose Theme Figurative Language: Alliteration, Similes, Metaphors, Imagery Graphic Sources Sequence of events Author’s Viewpoint Drawing Conclusions Making Inferences Suggested Print Materials/Resources/Internet Links: Poems can be found in the English IV McDougal Littell textbook or printed as needed from electronic sources Novel: Mary Shelley’s Frankenstein Novel Heart of Darkness by Joseph Conrad Internet Links Romantic Poetry

• http://www.webenglishteacher.com/blake.html • http://www.readwritethink.org/lessons/lesson_view.asp?id=907 • http://www.webenglishteacher.com/wordsworth.html • http://www.webenglishteacher.com/coleridge.html • http://www.edhelper.com/poetry/The_Rime_of_the_Ancient_Mariner_by_Samuel_Taylor_.htm

Frankenstein • http://help4teachers.com/MelissaFrankenstein.htm • http://www.webenglishteacher.com/msb/frankenphil.pdf

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http://www.webenglishteacher.com/msb/frankenphil.pdf�

• http://www.wvpt4learning.org/lessons/pdf03/itsalive2.pdf • http://school.discoveryeducation.com/lessonplans/programs/frankenstein/

Suggested Learning Activities: Specific activities will be found in the grade level binders created by Keansburg teachers Poetry

• http://www.educationworld.com/a_tech/techlp/techlp027.shtml Poetry Walk

Lesson Author: Education Oasis Staff Lesson Title: Poetry Walk Subject: Language Arts Grade Levels: 6, 7, 8 Overview: Students will, as a group, read several poems and create titles for each. Rationale: By creating a title, students gain practice in finding the main idea and thinking critically as well as creatively. Learning Objectives: The learner will:

• discuss and think about how poets decide on titles for their poems

• create titles for title-less poems

Materials:

• several copies of poems (preferably enlarged and mounted on construction paper or poster board) • index cards or sheets of paper on which to write titles • several poems with catchy titles to read to the class (see suggestions below)

Procedure: Preparation: Hang the poems around the room at student eye level. Label the poems: Poem #1, Poem #2, etc. Below the poem place either index cards or sheets of paper on which to write titles. Label these also.

Tell students: Most writers try to create catchy or clever titles for their poems to "grab" readers and make them want to read the poem.

Share with students several clever titles from short, age-appropriate poems. First write the title on the board then discuss as a class what the students think the poem may be about. Then, read the poem to them. Were their guesses correct?

After doing this with several poems, ask students if they notice anything about the titles. (Possible responses: Some poets try to create a title that conveys the main idea of the poem. Some poets use alliteration. Sometimes the title makes you think the poem is going to be about one thing, but after you read it, it's about something totally different .)

Divide students into groups. Tell them that they are going on a poetry walk. Assign each group to a displayed poem. Tell students to read the poem together (quietly) and then agree upon a title. They will then write down the title on the available index cards or paper. (You can have small boxes in which to deposit the titles, or have them hand them into you at the end of the "walk.")

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At the proper time, have each group rotate to the next poem and repeat the procedure.

After all groups have completed the walk, read each poem to the class and then write on the board all the title suggestions. Discuss with the class which title they think is most appropriate. (If you wish, you may have students pretend that they are editors and vote on the "best" title.) Assessment:

Make copies of several poems (without the titles). On a separate sheet of paper, list all the titles. Have student "match" the titles to the poems. If desired, have students explain why they chose a particular title for a particular poem.

Alternative/Additional Assessment:

Provide students with copies of several poems. Have them create titles which: tell the main idea, use alliteration, are tongue twisters, or are a combination of these.

Frankenstein 1. The Original Prometheus (A Lesson in Literary Context) What To Do: 1. Tell students the myth of Prometheus:

Prometheus was a Titan, a race of giant gods who ruled the Earth until overthrown by Zeus, in ancient Greek mythology. One night, when Zeus, ruler of the gods, was away, Prometheus sneaked to Olympus, the home of the gods, along a secret path. He stole the gods’ sacred fire and hid it in his cloak. Then he gave the gift of fire to man, and taught mankind how to use it. But when Zeus returned to Olympus, so great was his rage that he ordered Prometheus to be chained forever to a lonely rock in the Caucasian Mountains. There he bravely endured for thousands of years until Zeus, finally set him free.

Try to get students to interpret the myth symbolically. What might the “fire” represent? Why was Zeus angry? What might have prompted Prometheus to do what he did? 2. Turn the discussion to Frankenstein. Ask students: Why did Shelley subtitle her book “Modern Prometheus”? Which character resembles Prometheus? Is Frankenstein a stubborn defender of mankind, fighting even against God for the good of mankind? Ask the class to look at chapters 2 and 3 and look closely at Victor’s motivations. If Victor is not a true “Promethean,” why do you think Shelley chose the subtitle she did? 3. Ask students to think of other figures—either real or fictional—who have paid a high price “angering the gods” for the good of mankind. Marie Curie might be a good example for you to lead off with. Example that she was a Nobel Prize winning scientist whose research allowed for the development of X-ray diagnostics, but she died of cancer caused by radiation exposure. Ask students whether they think such “Prometheans” deserve punishment or not. Did Victor Frankenstein deserve his punishment? How Did It Go? Did the students recognize the motivation of Victor Frankenstein? Did they see that we are still in the era of vigorous enthusiasm for science, but that—as in Mrs. Shelley’s world—there are forces that question unfettered scientific inquiry, just as there are outcomes, such as was the monster in Frankenstein, fit to raise questions about unfettered inquiry? 2. It’s Still Alive! (A Lesson in Adaptation) The purpose of this curriculum plan is to draw attention to the way Frankenstein’s monster has been continuously reinvented in the past two hundred years. Students will investigate possible reasons for the monster’s transformations, then, as a class, create a portrait of a modern “monster.” What To Do:

1. Depending on your classroom’s facilities, look at still photos or film clips from some of the movies that have helped to make “Frankenstein” a household word. (For instance, James Whale’s Frankenstein, l931; Terence Fisher’s The Curse of Frankenstein, l957; Frankenstein, l981, directed by Victor Gialanella; Kenneth Branagh’s Mary Shelley’s Frankenstein, l994.) Ideally a sampling of each would be useful and provocative. If you are viewing still photos, provide a little context for each. If you don’t have videotape equipment, it is not a problem. Students are generally familiar with these films through their exposure to popular culture. 2. Before and interspersed through this viewing of photos or films, try to keep referring back to the Shelley novel. Pause frequently, and ask the students what they think the filmmaker is doing with the original story. Focus especially on the “classic” monster: Boris Karloff’s version in the 1931 film. The monster is large, ugly, and, in notable contrast with the book, mute. Why choose to make the monster a grunting, lumbering instrument of destruction? Why, in 1994, do you think Kenneth Branagh decided to make a Frankenstein movie in which the monster (played by Robert De Niro) spoke? What might have changed about how viewers think of “monsters”? What does the word “monster” mean to us today? 3. Ask students to put themselves in Shelley’s shoes for a minute and come up with a science fiction method for creating life out of lifeless material. The idea should be somewhat plausible and based on modern scientific discoveries. What raw material would they start with? An adult corpse? Tissue samples? How would they put the material into human form? What would create the “spark” of life? 4. After sorting through all the particulars of how they would create their “monster,” ask students each to draw a picture of what their “monster” would look like. Move through the classroom as they are doing this, and decide on four or five students whose drawings you would like the class to see. Try to pick drawings that are different from each other. 5. Ask the students you selected to stand up and show their drawings to the class. Ask them to explain why their “monster” looks the way it does. 6. After you have looked at various “monsters,” ask students whether they think their creations are really monsters at all. If they are, what makes them monstrous? What makes them frightening? What does this say about the way the world has changed since 1818? Since 1931? Since 1994? How Did It Go? Did the students give some fresh thought to the power of a myth/story like Frankenstein? Were they able to take on the story and reinvent it for themselves in a new version? Heart of Darkness 1. Layers of Meaning Performance Tasks: Poetry

• http://www.msrogers.com/English2/poetry/30_days_of_poetry.htm • http://42explore.com/figlang.htm

Frankenstein 1. Guilty or Not Guilty? (A Lesson in Interpretation) What To Do: 1. Initiate a class discussion about Victor Frankenstein’s motivations. What did he want to accomplish and why? What did Mary Shelley seem to think about Frankenstein’s ambitions? Ask students what they think of Frankenstein’s goals – and his ego. 2. Break students into six groups and instruct each group to prepare a five-minute oral report, to be presented to the class at a later time (allow students either to work together in the library or assign the report as homework). Each group will present a report on one of the following controversial figures: • Galileo (persecuted for championing a heliocentric model of the solar system) • Andreas Vesalius (father of modern anatomical studies, controversial for investigations of human cadavers) • Charles Darwin (vilified for his theories on evolution and natural selection) • Rosalind Franklin (early DNA researcher) • J. Robert Oppenheimer (one of the developers of the atomic bomb)

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• Harry Griffin (Director of the Roslin Institute, which cloned Dolly, the sheep) • Patrick Steptoe (responsible for the first successful “test tube baby”) • Dr. Bryon Peterson (a leading fetal stem cell researcher) Tell students that these figures are on “trial” for “going too far” with science and for being overly ambitious. Their job is to prepare a report as if they were the attorneys for the defense. They should present their subject in a way that highlights the importance of the person’s accomplishments. 3. On the scheduled day, ask the groups to make their presentations. Preface the presentations by reminding students that these people will be on trial for pushing the boundaries of science too far. 4. After the presentations, write the names of each of the subjects of students’ reports on the blackboard. Open up a discussion of each one, and ask students if they believe that the person in question went too far with his investigations. Ask them what the world would be like without the work of this person. Ask them why they think that people are (or were) threatened or upset by the person’s work. Then ask for a vote: guilty or not guilty of pushing the bounds of science too far. Ask students to look for a pattern in their voting. If they voted guilty on some, but not all, of the figures, what factors played a part? Are they only bothered by new scientific research? Are all people bothered by new scientific research? Why or why not? 5. Relate the discussion back to Frankenstein. Why do people continue to be repulsed by the idea of creating life from something dead? How Did It Go? Could the students see the relationship between the burning scientific issues of our day and those of Mary Shelley? Could they grasp the initial motivation that led Frankenstein to his own effort to create life? 2. Oh My Goth (A Lesson in Literary Genres) Mary Shelley’s Frankenstein (1818) belongs in the tradition of the English Gothic novel, the prototype of which is Horace Walpole’s Castle of Otranto (l764). This genre includes the work of a number of British writers—Mathew Lewis, The Monk (l796); Ann Radcliffe, Mysteries of Udolpho (1794); and Mary Shelley. The fictitious reference point for these writers is the tribe of the Goths, a Germanic group which entered present day Eastern Europe in the second century A.D., and which contributed greatly to the disintegration of the Roman Empire. To these historically murky people, and to the generalized trappings of the Middle Ages—with its gloomy castles, knights, and courtly adventures—the creators of Gothic fiction turned, to summon up atmospheres rich in feeling: moody landscapes of mountains, valleys, and distant rivers; supernatural struggles between good and evil. This lesson will be devoted to discussing and creating “ the Gothic.” What To Do: 1. Construct a definition of Gothic literature: “ The Romantic literature preoccupied with mystery, horror, and the supernatural is known as Gothic. The name is a reference to the barbaric Gothic tribes of the Middle Ages, or to medieval times in general with its castles, knights and adventure. Gothic novels tended to feature brooding tones, remote settings, and mysterious events. The characters’ inner emotional lives receive a lot of attention, as does the struggle between good and evil. The style took its name from Horace Walpole’s The Castle of Otranto: A Gothic Story, the first book identified as belonging to the genre.” As a group, talk about other meanings of the word “ Gothic” or “ Goth” and what kinds of looks, styles, moods, and fashions are associated with those meanings. You may want to bring in some pictures of Gothic architecture and a copy of Grant Wood’s painting “ American Gothic.” What do all the meanings of “ Goth” and “ Gothic” have in common? 2. Ask students to find passages in which the narrator describes both the exaltations and the gloominess he is provoked to feel. Try a collective translation of the passage into contemporary American English. Ask students to discuss how Shelley’s version is changed when translated into “ American.” Ask students what effect literary style plays in creating the Gothic mood.

3. Divide the class into pairs, and ask them to come up with an idea for a Gothic story together. Here’s the catch: the story has to be set at your school in this current year. Tell students their challenge is to translate the brooding, spooky, mysterious atmosphere of Frankenstein into modern terms. Tell them shadows, mystery, and high emotions are just as common in a school as they are in Ingolstadt. Give them fifteen to thirty minutes to come up with an outline of a story, then have the groups share their ideas. Decide as a class whose idea best captures “ the Gothic.” How Did It Go? Could students see that there is a hidden unity among the many usages of the term “ Gothic” ? Did they find ways to translate Gothic fiction into their own lives? Assessments/Evidence of Learning:

• Quizzes including multiple choice and open-ended questions • Tests • Presentations • Interim and Benchmark Assessments

Accommodations:


AP English 12 Theme: The Victorians Length of time: 25 blocks Essential or Driving Question(s): How do literary devices influence the reading of narrative poetry? How do the values of a culture influence the literature of the time period? How can the ideas from the past be connected to the present? How do the elements of plot apply to these novels? Standards or Established Goals:


D. Fluency





comprehension.










































































A. Discussion





C. Word Choice








A. Active Listening




































• Interpret meaning of events and stories as contained in a plot outline • Analyze, interpret, and understand narrative poetry • Apply knowledge to new situations and diverse contexts by comparing stories to themselves, other

texts, and to world situations • Recognize other points of view and support their thinking • Empathize with characters and situations by transitioning to another’s perspective • Think about own thinking and use text to support any answer • Express themselves in a variety of written forms including narrative and exposition • Appreciate ways in which a novel can be "realistic" in a historical sense

Knowledge/Skills: (directly from Interval Assessments) Characterization Main Idea Cause and Effect Author’s Purpose Theme Figurative Language: Alliteration, Similes, Metaphors, Imagery Graphic Sources Sequence of events Author’s Viewpoint Drawing Conclusions Making Inferences


Suggested Print Materials/Resources/Internet Links: Poetry can be found in the English IV McDougal Littell textbook or printed as needed from electronic sources Alfred Lord Tennyson Robert Browning Elizabeth Barrett Browning Novels Pride and Prejudice – Jane Austen Jane Eyre – Charlotte Bronte Beloved – Toni Morrison Great Expectations – Charles Dickens Invisible Man – Ralph Ellison Portrait of an Artist as a Young Man – James Joyce Internet Links Narrative Poetry

• http://www.webenglishteacher.com/tennyson.html Pride and Prejudice

• http://www.jimandellen.org/austen/p&p.calendar.html • http://www.classzone.com/novelguides/litcons/pride/guide.cfm • http://www.uah.edu/colleges/liberal/education/S1998/Lessonplans.html • http://www.glencoe.com/sec/literature/litlibrary/pdf/pride_and_predjudice.pdf

Great Expectations • http://school.discoveryeducation.com/lessonplans/programs/greatbooks-

greatexpectations/index.html • http://www.webenglishteacher.com/dickens.html • http://www.sdcoe.k12.ca.us/score/expect/expecttg.html • http://www.glencoe.com/sec/literature/litlibrary/pdf/great_expectations.pdf • http://www.penguinreaders.com/par/pdf/level3/TN-CharlesDickens.pdf

Film: Pride and Prejudice Becoming Jane Clueless Great Expectations Suggested Learning Activities: Specific activities will be found in the grade level binders created by Keansburg teachers Narrative Poetry

#1. Overview: This lesson is designed to help students understand the literary elements in a narrative poem and how to identify them. Through this lesson, students will be able to understand how to analyze a narrative poem, which is a very necessary skill in writing Regents Task III essays. They will also learn, through this lesson, how the stylistic techniques used in the poems help illustrate the theme.

Objective: The student will

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http://www.glencoe.com/sec/literature/litlibrary/pdf/great_expectations.pdf�

http://www.penguinreaders.com/par/pdf/level3/TN-CharlesDickens.pdf�

• Read and discuss the poem • Recall and interpret facts and extend meanings • Respond to critical opinion about the poem • Analyze narrative poetry and the use of repetition and metaphor in a poem • Discuss the following themes: courage and honor; leaders and followers

Materials: Poem" The Charge of the Light Brigade" by Alfred, Lord Tennyson(1809-1892)

Procedures and Activities:

1. Motivation: Writing before Reading Ask students to explain the purpose and style of fight songs and cheers at a sporting event. Point out that such chants are rhythmical, direct, emotional, repetitive, and chauvinistic in order to rouse the spirits of spectators and to elicit response from them. Explain the poem we are going to read is a kind of fight song about the Battle of Balaklava(1854), in which the British Light Cleverly Brigade charged enemy Russian troops.

2. Reading and response: o According to stanza 2, why do the men of Light Brigade charge when they know the

order is a mistake? o According to stanza 5, what is the outcome of the battle? o In the last stanza, how does the poet urge us to regard the Light Brigade? o What effect does the repetition of words and lines have on the story of the battle? o List some of the verbs used in stanzas 1,3, and 5. What effect do these verbs have on the

effect on the plot of the poem? o What specific details suggest that very few members of the Light Brigade survived the

famous charge? o After reading a newspaper account of the battle, Tennyson composed the poem in just a

few minutes, but the poem was an instant and lasting success. Soldiers considered the poem "a fine rolling war-chant". In what ways do you think the poem is a "war chant"? What do you think made the poem popular with soldiers?

o Literary elements: a) What is the meaning of the metaphor--"jaw of death" "mouth of hell" ? b) Why did the poet use "half the league" in the first stanza and " Rode the six hundred" in the first three stanzas repetitiously? C) What is the plot and setting? Who are the characters? What is the rising action and falling action? What is the climax and resolution of the story? What is the theme?

3. Reflecting on the poem: Do you agree that the light Brigade should be honored? Why or why not?

Follow-up Activities:

1. Write a journal on " Are courage and devotion to duty necessary even if they lead to the end of life"?

2. Find a newspaper story that causes you to react strongly. Write a response to the article in poetry.

#2. Line it Up The teachers will present the text of several poems typed each as a single paragraph, with no line-breaks or stanza breaks. Put the students into groups, and give each group a poem-paragraph. Each group will arrange the text into lines and stanzas, aiming to create textured lines with rich sounds, listening to the cadences of the phrases and sentences and looking for possible exciting ambiguities created by considered line-breaks (aiming to create at least one line that speaks to both the line that precedes it and the line that follows it). Encourage students to experiment — not merely breaking the text into syntactical units. They may arrange the same text a couple of different ways — trying longer and shorter lines, various stanzas. Together, the group will write a reflection about the process, explaining some of the choices and pointing out the lines

that really seem to shine. Groups will briefly present and discuss the arrangements with each other, then compare them to the original poems and continue discussion. Pride and Prejudice

• http://www.simonsays.com/assets/series/860/CG4_860.pdf • Writing Up the Wedding

A recent trend in newspaper stories about weddings is to describe not only the wedding and the participants but also the evolution of the newlyweds’ relationship. These stories often include anecdotes and interviews with those who know the just-married very well. (You can review the Sunday edition of the New York Times for examples of this kind of story each week and share them with your students.) Ask students to write a similar wedding news story about Elizabeth and Darcy. Their stories can include the traditional information—site of the nuptials, the names and careers of the parents of the bride and of the groom, a list of wedding attendants, and a description of what the bride and groom wore—as well as fictionalized quotations and anecdotes about the courtship by others in the novel. You may want to enhance this activity by asking your students to research wedding customs of Austen’s time.

• Tackling Prejudice in Fiction In Pride and Prejudice, Austen displays a keen insight into human relationships through her portrayal of the manner in which Darcy and Elizabeth overcome their prejudices and learn to love each other. Ask your students whether they have ever had to overcome prejudice in any of their personal relationships—not only with romantic partners but also with friends and family members. Ask students to consider the sources of their misperceptions and prejudices and the steps they took to clear them up; then lead a discussion about these experiences. What dramatic elements might they contain? When the discussion is complete, ask your students to write a brief scene based on the preceding discussion or from a short story or play in which some form of prejudice or misunderstanding gets in the way of two characters falling in love with each other. Then have students trade stories with one another, read one another’s work, and suggest ways the authors might depict the characters overcoming their prejudices. Give the writers time to finish their stories by resolving the conflicts they had set up.

Great Expectations

• http://help4teachers.com/great.htm 1. Research Charles Dickens and write a report about his life. Include facts about his early childhood, his experiences with poverty and debt, his success as a reporter and novelist, and his marriage toCatherine Hogarth. Include in your report a section on the historical events that were shaping England during Dickens's lifetime. Explain how Dickens incorporated the changes that went on around him and his opinions about them into his writings, particularly in Great Expectations. 2. Write a composition on how Charles Dickens's novels are a commentary on the social values of society. Explain how he critiqued human nature, politics, and social morals in Great Expectations. Also include the reaction of his readers at the time his books were published. 3. Write an essay that discusses the benefits and or the drawbacks of having Pip as the narrator of this story. Why do you think that Charles Dickens chose to write it from a first person point of view?

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http://help4teachers.com/great.htm�

What information is the reader privy to or not accessible to with Pip as the narrator? Do you think this was the best point of view for this story? Why or why not? 4. Reread the final paragraph in Chapter 9 in which Pip asks the reader to reflect upon a day in which great changes were made due to a memorable event. Think of a situation in your life, good or bad, that began with a single event. Write about this event and the chain of events that followed it. Would you change anything about what took place? Explain. 5. In Chapter 21, Pip meets Herbert Pocket at his place of residence. Herbert explains that his place is nothing splendid because, "I have my own bread to earn, and my father hasn't anything to give me, and I shouldn't be willing to take it, if he had." Discuss how being handed a future versus earning a future for oneself is one of the themes of this novel. Which characters are affected by the notion of this theme? In your opinion, which option is the better one? Explain. 6. Analyze the settings that Dickens uses in this novel. Research the actual places that he used and give a brief history or background about them. Discuss how the settings impact events of the novel and help to bring about the moods of various situations. 7. Write an essay that explains the significance of the following comment made by Herbert in Chapter 22. "My father most strongly asseverates; because it is a principle of his that no man who was not a true gentleman at heart, ever was, since the world began, a true gentlemen in manner. He says, no varnish can hide grain of the wood; and that the more varnish you put on, the more the grain will express itself." What does Herbert's comment mean? What do you think the accepted characteristics of a true gentleman were in this novel? Was this comment foreshadowing anything? In general, what characters in the novel could be linked to this comment? 8. Analyze how each character's place of residence was a reflection upon their character. Make sure to include a description of the home and a description of the character. Use the following characters for this assignment: Joe, Miss Havisham, Herbert, Jaggers, and Wemmick. As a challenge, show how Pip's changes in residences reflected his change in character. 9. In this novel, Dickens used a great deal of irony, particularly involving the labels placed upon people in society. Find examples in this book where those labels proved to be misleading. (Think about money and stature versus personality and character). Give examples in our society in which labels have been misleading. 10. Write an essay that demonstrates how this novel was an expose on materialism versus relationships. Which relationships in this novel were affected by the desire for wealth or stature? What message doyou think Dickens was trying to convey to his reader? 11. Write an essay that compares and contrasts Pip and Joe and Estella and Biddy. 12. Watch one of the movie versions of Great Expectations. Compare and contrast the movie with the novel. Make sure to include your opinion as to which one you liked more along with an explanation as to why. Performance Tasks: Poetry

• Apply Through Writing Think about a sad, funny, interesting or exciting event that has taken place in your life or in the world around you. Consider three or four main points about the event that a reader would need to know in order to make sense of your ideas. Now, write a narrative poem with or without lines that rhyme, using each of the main points as a central idea for each stanza.

• Songs as Narrative Poetry Use a website on the Internet such as Lyrics.com to make a list of your 10 favorite songs. Determine whether the lyrics to the songs form narrative poems. If so, tell what the story of the song is about. Use the following chart to record your answers. Song Title Narrative Poem?

(Yes or No) This Song Tells a Story About…

Pride and Prejudice

1. Place students in rows of five and assign them each a character from the book. Tell them to begin writing as many details as they can about their character until they are told to stop. At this time, they are to hand their work to the person behind them. Once they have read the new writing they are to add more details about this new character until they are told to stop. Repeat the process three times. Review characters with the class when the process is complete. 2. Write an essay illustrating the novel as a good representation of the Romantic or Victorian period of Literature. 3. Create a power point presentation illustrating English society's laws and traditions regarding inheritance, marriage, and court. 4. List an example of pride where the following characters are concerned: Mr. Collins, Darcy, Elizabeth, Charlotte, Mrs. Bennet, and Jane. Record your ideas as a journal entry. 5. Write an essay discussing the issue of pride and the following characters: Mr. Collins, Elizabeth, Bingley, Darcy and Jane. 6. Create a list of the benefits and drawbacks to an arranged marriage. Record ideas as a journal entry. 7. Hold a mock debate between Lady Catherine and Elizabeth regarding the roles of women in society. 8. Create a "matchmaking" video highlighting a profile for one of the following eligible bachelors: Darcy, Wickham, Collins, or Bingley. 9. Define the word prejudice and outline several examples that the Bennet family experience. 10. Support or refute that the following quote still applies to women of today: "The loss of virtue is irretrievable-that one false step involves her endless ruin-that her reputation is no less brittle that it is beautiful-and that she cannot be too much guarded in her behavior towards the undeserving of the other sex." 11. Using a list of vocabulary words from a section of the book, have students write a story with a plot similar to the novel incorporating as many of the words from the list as possible. Great Expectations We Need an Expert! (A Lesson in Character Development) Like most of Dickens’s novels, Great Expectations contains a large cast of fascinating characters. Some have big parts; others are supporting players and a few make brief cameo appearances. Keeping track of all the characters (who they are and why they are significant in Pip’s life) is not easy for first-time readers of the novel. This lesson plan uses a written organizer, oral reports, and discussion to clarify characters in their relationship to Pip. This is an ongoing activity during the first two stages of the novel and will require approximately ten to fifteen minutes of class time each day. Students will complete the handout as homework on an ongoing basis as well. What To Do: 1. Divide the class into expert groups of 3-4 students. 2. Assign a character to each group. Choose from Joe Gargery, Mrs. Joe, Biddy, Mr. Pumblechook, Wopsle, Abel Magwitch, Compeyson, Orlick, Estella, Miss Havisham, Drummle, Mr. Jaggers, Molly, Mr. Wemmick, Herbert Pocket. Major characters who appear throughout the novel may be assigned to several students. Minor characters can be grouped together. 3. Remind students that we learn about characters through what they say and do and through what others say of them and to them. 4. Distribute Handout #2. 5. Tell students to complete (as a homework assignment) this form for each chapter in which their character appears. 6. As each chapter is completed, the expert group will report to the class on what they’ve discovered. Discuss how this new information affects our perception of Pip. This should take ten to fifteen minutes of class time, depending on how many characters appear in the chapter. (If you assign multiple chapters at a time, adjust class discussion time accordingly.) 7. Post completed chapter notes on a wall or bulletin board so students can reread them and follow the developing relationships. 8. Ask the class to determine the two most significant quotes from each character at the end of each Stage of the book. Choices must be justified by their expression of the innate nature of the character and by their importance to Pip’s unfolding story. How Did It Go?

When this lesson is completed students should be able to explain how supporting characters impact the plot and help the reader determine the whys and the ways in which the protagonist changes. Handout #2 We Need an Expert! Character: _______________________________________________________________ Chapter: ________________________________________________________________ Key Quote(s) or Action(s): _________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Importance to Pip: ________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Assessments/Evidence of Learning:


Accommodations:


AP English 12 Theme: Emerging Modernism Length of time: 10 blocks Essential or Driving Question(s): How do literary devices influence the reading of different styles of poetry? How do the values of a culture influence the literature of the time period? How can the ideas from the past be connected to the present and the future? How do the elements of plot apply to these novels? Standards or Established Goals:


D. Fluency




comprehension.








































































A. Discussion





C. Word Choice








A. Active Listening






































• Interpret meaning of events and stories as contained in a plot outline • Analyze, interpret, and understand narrative poetry • Apply knowledge to new situations and diverse contexts by comparing stories to themselves, other

texts, and to world situations • Recognize other points of view and support their thinking • Empathize with characters and situations by transitioning to another’s perspective • Think about own thinking and use text to support any answer • Express themselves in a variety of written forms including narrative and exposition • Appreciate ways in which a novel can be "futuristic" in a historical sense

Knowledge/Skills: (directly from Interval Assessments) Characterization Main Idea Cause and Effect Author’s Purpose Theme Figurative Language: Alliteration, Similes, Metaphors, Imagery



Graphic Sources Sequence of events Author’s Viewpoint Drawing Conclusions Making Inferences Suggested Print Materials/Resources/Internet Links: Poetry/short stories can be found in the English IV McDougal Littell textbook or printed as needed from electronic sources William Butler Yeats D.H. Lawrence James Joyce Katherine Mansfield T.S. Eliot Dylan Thomas Novels Brave New World – Aldous Huxley 1984 – George Orwell Internet Links Brave New World

• http://www.webenglishteacher.com/huxley.html • http://english.byu.edu/novelinks/Novel%20pages/Brave%20New%20World.htm

1984 • http://school.discoveryeducation.com/lessonplans/programs/1984/ • http://www.mrjeffrey.com/English%20IV/1984/Anticipation_Guide__1984.doc • http://www.webenglishteacher.com/orwell.html

Suggested Learning Activities: Specific activities will be found in the grade level binders created by Keansburg teachers Brave New World

• http://www.sdcoe.k12.ca.us/score/bnw/bnwtg.html 1984

• http://www.sdcoe.k12.ca.us/score/1984/1984tg.html • http://www.eduref.org/Virtual/Lessons/Language_Arts/Literature/LIT0202.html •

Performance Assessment: 1984

1. Brotherhood Cartoons. Ask students to create political cartoons that may have appeared in a secret publication of the

http://www.webenglishteacher.com/huxley.html�

http://english.byu.edu/novelinks/Novel%20pages/Brave%20New%20World.htm�

http://school.discoveryeducation.com/lessonplans/programs/1984/�

http://www.mrjeffrey.com/English%20IV/1984/Anticipation_Guide__1984.doc�

http://www.webenglishteacher.com/orwell.html�

http://www.sdcoe.k12.ca.us/score/bnw/bnwtg.html�

http://www.sdcoe.k12.ca.us/score/1984/1984tg.html�

http://www.eduref.org/Virtual/Lessons/Language_Arts/Literature/LIT0202.html�

Brotherhood. Encourage them to use contemporary political cartoons from newspapers and magazines as models.

2. Be Warned! Let students design posters or T-shirts that express the warnings of 1984 that relate specifically to our time. Suggest that their creations include both visual and verbal warnings and that they are specific about what they are warning against. Encourage students to use language and images from the novel.

Assessments/Evidence of Learning:


Accommodations:


Documents

English Grade 12 Pace Chart · 2012. 8. 30. · 9. Provide compelling openings and strong closure to written pieces. 10. Employ relevant graphics to support a central idea (e.g.,