Content Area: English Course: English III · 3. Chaucer’s The Canterbury Tales 4. “Sir Gawain and the Green Knight” 5. “Morte d’Arthur” – Sir Thomas Malory 6. Early

SHORE REGIONAL HIGH SCHOOL DISTRICT

West Long Branch, New Jersey

Content Area: English Course: English III

Mr. Leonard Schnappauf, Superintendent/Principal

Dr. Robert McGarry, Director of Curriculum and Instruction

BOARD OF EDUCATION

Anthony F. Moro, Jr., President Tadeusz “Ted” Szczurek, Vice President

Nancy DeScenza David Baker

Elizabeth Garrigal Diane Merla

Russell T. Olivadotti Ronald O’Neill

Frank J. Pingitore Paul Rolleri

Date of Last Revision and Board Adoption: 9/24/2009

2

English

English III

REVISION PREPARED BY

Melissa Bahrs

3

Table of Contents English Program Mission Statement…………………………...…………………………………………………………...………….…4

Course Description and “Big Ideas”……………………………………………………….……………………….…………………..…4

Essential Questions ……………………………………………………………………………………………………………………….4

Primary (P) Content Area and Secondary (S) Areas of Focus…………………………………………………………………………….6

Benchmark Objectives………………………………………………………………………………………………………………….…6

Scope and Sequence……………………………………………………………………………………………………………………… 6

Learning Resources………………………………………………………………………………………………………………………..7

Grading Procedures………………………………………………………………………………………………………………………. 9

Course Evaluation………………………………………………………………………………………………………………………..10

New Jersey Core Curriculum Content Standards/Cumulative Progress Indicators Addressed in the Course…………………………...11

Units of Study……………………………………………………………………………………………………………………………25

4

English Program Mission Statement The mission of the Shore Regional High School English program is to support students in their development of language skills and in the connections they make to others through oral, written, and varied media communication. Students will explore universal motifs by studying enduring literature and by linking their readings to other areas of knowledge including the arts, history, sciences mathematics, world language, and social sciences. Such activities, which require critical thinking, reading, speaking and writing, will foster the development of tolerance, individuality, academic responsibility, and intellectual curiosity.

Course Description and “Big Ideas”

In their second year of English, students study American literature from pre-colonial times to the present. Topics include the study of American writers, their literature, the influence of their literature on the culture, and the influence of the times on their ideas and writings. In addition, students will consider the influence of this writing on media, culture, literature, and philosophy today. This course is also designed to develop language skills through an integrated study of speaking, grammar, composition, and literature. The writing process is emphasized and students are expected to read critically.

“Essential Questions”

Throughout this course and in the sequence of courses in this content area, students are consistently guided to consider the following essential questions:

1. What common experiences do all individuals share? 2. How does language create and shape our perceptions and our experiences? 3. What are the universal stages in a person's journey toward self-realization? 4. What is effective communication (oral, written, and/or visual media)? 5. What is the author’s purpose in creating a work, and how does the author elicit certain responses in the reader? 6. What responsibility does an individual have after reading a work of literature 7. What is the purpose of inquiry and research? 8. How can research be made authentic? 9. What benefits have you gained from your research? What will you remember forty years from now? 10. What universal themes in literature are of interest or concern to all cultures and societies? 11. What archetypes occur in the world’s cultures throughout history? 12. How are heroes similar and different across cultures? 13. What is the author’s ethical responsibility to the reader?

5

14. How do the ethical decisions that characters make relate to those we make? 15. Why would one person or one population seek to oppress another? 16. Why should one study different cultures through literature? 17. How do customs and traditions vary with cultures? 18. Can individuals or societies have different opinions and still be right?

The course also reinforces learning of other Standards and CPI’s already mastered and contributes to the development of mastery of other standards in the areas of: Visual and Performing Arts, Science, Social Studies, Technology Literacy, Career Education and Consumer/Family/Life Skills.

6

Primary (P) Content Area and Secondary (S) Areas of Focus

Benchmark Objectives

These objectives focus on the achievement of the Standards/Big Ideas as they pertain to the specific course content and are listed in the units of study found within this document. Summative assessment of these objectives may occur at the point in the course when instruction of the components parts is completed (typically at the end of a unit), at the end of a marking period, end of the year, or in areas tested by the State when the tests are scheduled.

Scope and Sequence This represents the order in which units or the “big ideas” of the course are taught. The specific unit content, CPI’s addressed, time frame for instruction and how proficiency will be addressed is included in the units that follow. This list serves the teacher as an overview of course implementation and administrators as a basis for review of lesson plans and orientation for classroom observation. The Units included in this course include:

1. From Oral to Written Tradition: Celts, Vikings, Romans & Anglo- Saxons Shape an Island, a Language, a People 2. Medievalism, Monarchy, Middle Class, & Emergence of Middle Class / Middle English 3. British Literature/Artistic Flowering: Renaissance, Elizabethan Literature and Art, & Shakespearean Genius 4. Dissolution and Restoration of British Monarchy: Literary Reflection

5. Neo- Classicism and Poetry: Form, Structure, and Control in Sensibility & Language 6. British Pre-Romanticism to Full Romanticism: Emotion, Nature, the Divine, and the Individual in Literature 7. 19th C. Industrialization’s Literary Impact in Britain: Hard Times, Satire, and the Allegory 8. British Nationalism, Colonialism, and Victoriana Heydays! – As Literary Experience 9. Modernism and Contemporary Literary Trends for Britains /Post-Colonial Peoples

NJCCC Standard NJCCC Standard NJCCCS Standard 1. Visual and Performing Arts S 5. Science S 9. Career Education and Consumer/ Family/ Life Skills S 2. Health and Physical Education 6. Social Studies S 3. Language Arts Literacy P 7. World Languages 4. Mathematics 8. Technology Literacy S

7

Learning Resources (Textbooks, technology resources, media, primary documents, etc.).

1. Prentice Hall Literature: Timeless Voices, Timeless Themes-The British Experience (2000) 2. Beowulf, “The Wanderer,” “The Seafarer,” “the Wife’s Lament,” and Bede’s “History of the English Church and People” 3. Chaucer’s The Canterbury Tales 4. “Sir Gawain and the Green Knight” 5. “Morte d’Arthur” – Sir Thomas Malory 6. Early English and Scottish Folk Ballads: “Twa Corbie,” “Barbara Allan,” “ Lord Randall,” “Get Up and Bar the Door”

7. Letters of Margaret Paxton 8. Sonnets: Sir Thomas Wyatt, Spenser, Sidney, Shakespeare, Raleigh, Marlowe

9. Utopia excerpts: Sir Thomas More 10. Queen Elizabeth I’s “Speech Before Defeating the Spanish Armada” 11. The King James Bible excerpts 12. Macbeth: William Shakespeare 13. “Meditation 17” John Donne 14. “On My First Son,” On My First Daughter,” “Song: to Celia”—Ben Jonson 15. “To His Coy Mistress by Marvell paired with “To the Virgins, to Make Much of Time,” by Herrick 16. from “Eve’s Apology in Defense of Women” -- Amelia Lanier 17. from “Light Shining in Buckinghamshire” -- Caryl Churchill 18. from The Diary -- Samuel Pepys 19. from “A Journal of the Plague Year” -- Daniel DeFoe 20. from “The Rape of the Lock”—Alexander Pope’s mock epic / Pope’s Epigrams 21. A Dictionary of the English Language -- Samuel Johnson 22. “A Nocturnal Reverie” --Anne Finch, Countess of Winchilsea 23. “Elegy Written in a Country Churchyard” – Thomas Gray 24. “An Introduction to Frankenstein” – Mary Wollstonecraft Shelley 25. Robbie Burns’ “To a Mouse” and “To a Louse” 26. Joanna Baillie’s “Woo’d and Married and A’ ” 27. William Blake’s Poems and Illustrations 28. William Wordsworth’s Poems: “Lines Composed a Few Miles Above Tintern Abbey,” “The World is Too Much with Us,” and “London, 1802” 29. Samuel Taylor Coleridge: “Kubla Khan” and “The Rime of the Ancient Mariner” 30. Lord Byron: “She Walks in Beauty, Like the Night,” Childe Harold’s Pilgrimage, Apostrophe to the Ocean,” “ from Don Juan” and (speech): “Speech to Parliament in Defense of the Lower Classes” 31. “Ozymandias” -- Percy Bysshe Shelley 32. John Keats: “On First Looking into Chapman’s Homer,” “When I Have Fears That I May Cease to Be”

8

“Ode on a Grecian Urn” 33. “On Making an Agreeable Marriage” -- nonfiction essay by Jane Austen 34. “Mr. Collins’ Proposal” excerpt from Pride and Prejudice novel by Jane Austen 35. “from A Vindication of the Rights of Woman” – Mary Wollstonecraft 36. “from The Sense and Sensibility Screenplay and Diaries” -- Emma Thompson 37. “ Ulysses” and “The Lady of Shallot” – Alfred, Lord Tennyson 38. “Love Among the Ruins” and “My Last Duchess”– Robert Browning 39. Elizabeth Barrett Browning’s “Sonnets from the Portugese” 40. “Dover Beach” -- Matthew Arnold 41. “Recessional” -- Rudyard Kipling 42. “Condition of Ireland” from The Illustrated London News 43. “A Modest Proposal” -- Jonathan Swift 44. “from Gulliver’s Travels” -- Jonathan Swift 45. “Opening Statement for the Inaugural Session of the Forum for Peace and Reconciliation” – Judge Catherine McGuinness 46. Hard Times -- Charles Dickens 47. Thomas Hardy: “Ah, Are You Digging on my Grave?” and “The Man He Killed” 48. Thomas Hardy: The Mayor of Casterbridge 49. Jane Austen: Pride and Prejudice (complete novel) 50. “To an Athlete Dying Young” -- A.E. Houseman 51. “God’s Grandeur” -- Gerard Manley Hopkins 52. “Demon Lover” – Elizabeth Bowen 53. William Butler Yeats: “When You Are Old,” “ The Lake Isle of Innisfree,” “The Second Coming” “Sailing to Byzantium” 54. Dylan Thomas: “Fern Hill” 55. The Handmaid’s Tale -- Margaret Atwood 56. T.S.Eliot: “The Hollow Men” 57. George Orwell: “Politics and the English Language” 58. George Orwell: “Shooting an Elephant” 59. George Orwell: 1984 60. Aldous Huxley: Brave New World 61. William Golding: Lord of the Flies 62. Seamus Heaney – “Follower” 63. Eavan Boland – “Outside History” 64. Doris Lessing - “No Witchcraft for Sale” 65. Tony Blair – “The Rights We Enjoy, the Duties We Owe” -- speech 66. Joseph Conrad --- Heart of Darkness and The Secret Sharer 67. James Joyce -- The Dubliners 68. Muriel Spark – “The First Year of My Life”

9

69. Anita Desai – “A Devoted Son” 70. Nadine Gorimer – “The Train from Rhodesia” 71. V. S. Naipaul – “B. Wordworth” 72. Arthur C. Clarke – “We’ll Never Conquer Space” 73. Joni Mitchell – “They Paved Paradise” 74. www.youtube.com 75. www.tolerance.org 76. www.proboards.com/index.html 77. www.wikispaces.com 78. www.grammar.ccc.commnet.edu/grammar/powerpoint.htm 79. www.bedfordsstmartins.cvom/everyday_writer3e/aaddresources/exercises.html#intro 80. [email protected] 81. www.powerpointforteachers.blogbspot.com/ 82. Perrine’s Literature: Structure, Sound, and Sense Ninth Ed. 83. Wole Solyinka – “Telephone Conversation” 84. Billy Collins – “Introduction to Poetry” 85. John Milton – “On His Blindness” 86. John Milton – from Paradise Lost 87. Abnea Busia - “Still Not Free” 88. Kaffir Boy – Mark Mathabane 89. “Midsummer XXIII” – Derek Walcott 90. “We’ll Never Conquer Space” – Arthur C. Clarke

Grading Procedures The final course proficiency grade will be the average of the four marking period grades and the department prepared mid-year and final examinations aligned with NJCCCS/CPI and benchmarks for the content studied in the course. Marking period grades will be based on the average of unit grades and any special cross-unit projects. Unit assessments, delineated for each unit, will include such measures as:

1. Written and Performance Measures of proficiency objectives (coded to NJCCS/CPI’s) 2. Records of oral participation in classroom discussions related to unit objectives 3. Records of achievement of lesson objectives (i.e. quizzes, relevant homework) 4. Research paper and Oral Defense assessment

10

Course Evaluation

Course achievement will be evaluated as the percent of all pupils who achieve the minimum level of proficiency (final average grade) in the course. Student achievement levels above minimum proficiency will also be reported. Final grades, and where relevant mid-term and final exams, will be analyzed by staff for the total cohort and for sub-groups of students to determine course areas requiring greater support or modification). Course evaluation requires the pursuit of answers to the following questions:

1. To what extent is the course content, instruction and assessments aligned with the required NJCCS? 2. Are content, instruction and assessments sufficient to demonstrate student mastery of the Standards/CPI’s? 3. Do all students achieve the set proficiencies/benchmarks set for the course, including CPI’s designated to be reinforced,

introduced, and developed?

In this course, the goal is that a minimum of 95% of the pupil’s will meet at least the minimum proficiency level (D or better) set for the course. The department will analyze the achievement of students on Unit Assessments, Mid-term and Final Exams and Final Course Grades, with specific attention to the achievement of sub-groups identified by the state to determine if modifications in the curriculum and instructional methods are needed.

11

New Jersey Core Curriculum Content Standards/Cumulative Progress Indicators Addressed in the Course Primary: Language Arts Literacy

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.

Cumulative Progress Indicator

A. Concepts About Print/Text

Addressed in this course?

1. Interpret and use common textual features (e.g., paragraphs, topic sentence, index, glossary, table of

contents) and graphic features, (e.g., charts, maps, diagrams) to comprehend information.

2. Identify interrelationships between and among ideas and concepts within a text, such as cause-and-

effect relationships.

B. Phonological Awareness

No additional indicators at this grade level.

C. Decoding and Word Recognition

1. Decode new words using structural and context analysis.

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.

12

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.

4. Clarify pronunciation, meanings, alternate word choice, parts of speech, and etymology of words using the dictionary, thesaurus, glossary, and technology resources.

5. Define words, including nuances in meanings, using context such as definition, example, restatement, or contrast.

G. Comprehension Skills and Response to Text 1. Apply a theory of literary criticism to a particular literary work. 2. Analyze how our literary heritage is marked by distinct literary movements and is part of a global

literary tradition.

3. Compare and evaluate the relationship between past literary traditions and contemporary writing. 4. Analyze how works of a given period reflect historical and social events and conditions. 5. Recognize literary concepts, such as rhetorical device, logical fallacy, and jargon, and their effect on

meaning.

6. Interpret how literary devices affect reading emotions and understanding. 7. Analyze and evaluate figurative language within a text (e.g., irony, paradox, metaphor, simile,

personification).

8. Recognize the use or abuse of ambiguity, contradiction, paradox, irony, incongruities, overstatement and understatement in text and explain their effect on the reader.

13

9. 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.

10. Identify and understand the author’s use of idioms, analogies, metaphors, and similes, as well as metrics, rhyme scheme, rhythm, and alliteration in prose and poetry.

11. Identify the structures in drama, identifying how the elements of dramatic literature (e.g., dramatic irony, soliloquy, stage direction, and dialogue) articulate a playwright’s vision.

12. Analyze the elements of setting and characterization to construct meaning of how characters influence the progression of the plot and resolution of the conflict.

13. Analyze moral dilemmas in works of literature, as revealed by characters’ motivation and behavior.

14. Identify and analyze recurring themes across literary works and the ways in which these themes and ideas are developed.

15. Identify, describe, evaluate, and synthesize the central ideas in informational texts.

16. Distinguish between essential and nonessential information.

17. Analyze the use of credible references.

18. Differentiate between fact and opinion by using complete and accurate information, coherent arguments, and points of view.

19. Demonstrate familiarity with everyday texts such as job and college applications, W-2 forms, contracts, etc.

20. Read, comprehend, and be able to follow information gained from technical and instructional manuals (e.g., how-to books, computer manuals, instructional manuals).

21. Distinguish between a summary and a critique.

22. Summarize informational and technical texts and explain the visual components that support them.

23. Evaluate informational and technical texts for clarity, simplicity and coherence and for the appropriateness of graphic and visual appeal.

24. Identify false premises in an argument.

25. Analyze foundational U.S. documents for their historical and literary significance and how they reflect a common and shared American Culture (e.g., The Declaration of Independence, The Preamble of the

14

U.S. Constitution, Abraham Lincoln’s “Gettysburg Address,” Martin Luther King’s “Letter from Birmingham Jail”).

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.

7. Produce written and oral work that demonstrates synthesis of multiple informational and technical sources.

8. Produce written and oral work that demonstrates drawing conclusions based on evidence from informational and technical text.

9. Read and compare at least two works, including books, related to the same genre, topic, or subject and produce evidence of reading (e.g., compare central ideas, characters, themes, plots, settings) to determine how authors reach similar or different conclusions.

15

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. Define and narrow a problem or research topic.

3. Use strategies such as graphic organizers and outlines to plan and write drafts according to the

intended message, audience, and purpose for writing.

4. Analyze and revise writing to improve style, focus and organization, coherence, clarity of thought,

sophisticated word choice and sentence variety, and subtlety of meaning.

5. Exclude extraneous details, repetitious ideas, and inconsistencies to improve writing.

6. Review and edit work for spelling, usage, clarity, and fluency.

7. Use the computer and word-processing software to compose, revise, edit, and publish a piece.

8. Use a scoring rubric to evaluate and improve own writing and the writing of others. 9. Reflect on own writing and establish goals for growth and improvement.

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

1. Analyze 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.

16

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.

13. Write sentences of varying length and complexity using precise vocabulary to convey intended meaning.

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.

4. Use transition words to reinforce a logical progression of ideas. 5. Use knowledge of Standard English conventions to edit own writing and the writing of others for

correctness.

6. Use a variety of reference materials, such as a dictionary, grammar reference, and/or internet/software resources to edit written work.

7. Create a multi-page document using word processing software that demonstrates the ability to format,

17

edit, and print. 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. Write a variety of essays (for example, a summary, an explanation, a description, a literary analysis

essay) that:

Develops a thesis; Creates an organizing structure appropriate to purpose, audience and context; Includes relevant information and excludes extraneous information; Makes valid inferences; Supports judgments with relevant and substantial evidence and well-chosen details; and

provides a coherent conclusion.

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, college applications, and written proposals.

7. Demonstrate personal style and voice effectively to support the purpose and engage the audience of a piece of writing.

8. Analyze deductive arguments (if the premises are all true and the argument’s form is valid, the conclusion is true) and inductive arguments (the conclusion provides the best or most probable explanation of the truth of the premises, but is not necessarily true.)

18

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).

19

8. Participate actively in panel discussions, symposiums, and/or business meeting formats (e.g., explore a question and consider perspectives).

9. Paraphrase comments presented orally by others to clarify viewpoints. 10. Give and follow spoken instructions to perform specific tasks to answer questions or to solve

problems.

1. Select and use precise words to maintain an appropriate tone and clarify ideas in oral and written communications.

2. Improve word choice by focusing on rhetorical devices (e.g., puns, parallelism, allusion, alliteration).

D. Oral Presentation

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

2. Use a variety of organizational strategies (e.g., focusing idea, attention getters, clinchers, repetition, and transition words).

3. Demonstrate effective delivery strategies (e.g., eye contact, body language, volume, intonation, and 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).

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

20


A. Active Listening


1. Discuss, analyze and extend ideas heard orally.

2. Distinguish emotive from persuasive oral rhetoric.

3. Demonstrate active listening by taking notes, asking relevant questions, making meaningful

comments, and providing constructive feedback to ideas in a persuasive speech, oral interpretation of a literary selection, or scientific or educational presentation.

4. Identify and define unfamiliar vocabulary through context in oral communications.

5. Analyze how a speaker’s word choice and nonverbal cues reveal purpose, attitude, and perspective

B. Listening Comprehension

1. Summarize, make judgments, and evaluate the content and delivery of oral presentations.

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.

21

5. Follow oral directions to perform specific tasks to answer questions or solve problems.

6. Paraphrase information presented orally by others.

7. Analyze the ways in which the style and structure of a speech supports or confuses its meaning or purpose.

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.

4. Examine the commonalities and conflicts between the visual and print messages (e.g., humor, irony,

or metaphor) and recognize how words, sounds, and images are used to convey the intended messages.

B. Visual and Verbal Messages

1. Analyze media for stereotyping (e.g., gender, ethnicity).

22

2. Analyze visual techniques used in a media message for a particular audience and evaluate their

effectiveness.

3. Analyze the effects of media presentations and the techniques to create them.

4. Analyze visual techniques used in a media message for a particular audience and evaluate their effectiveness.

5. Analyze the effects of media presentations and the techniques to create them.

6. Compare and contrast how the techniques of three or more media sources affect the message.

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, cf. health and physical education standards and visual and performing arts standards).

2. Identify and discuss the political, economic, and social influences on news media.

3. Identify and critique the forms, techniques (e.g., propaganda) and technologies used in various media

messages and performances.

4. Create media presentations and written reports using multi-media resources using effective images, text, graphics, music and/or sound effects that present a distinctive point of view on a topic.

23

Secondary Content Area: Visual and Performing Arts 1.1: Aesthetics A: 2, 3; B: 1 1.2: Creation and Performance B: 2; C: 2, 4 1.3: Elements and Principles B: 1,3; C: 1, 2; D: 2 1.4: Critique A: 1,3; B: 1, 2 1.5: History/Culture A: 1, 2; B: 1, 2 Secondary Content Area: Social Studies 6.1: Social Studies Skills A: 1, 2, 3, 4, 5, 6, 7, 8 6.2: Civics A: 5; D: 1,2, E: 12, 13, 14, 15 6.3: World History B & C reinforce; D: 3,4,5,6; E: 1, 2, 3,6; F: 1, 2; G: 1,2; H: 1,2, 3,4 6.4: United States and New Jersey History Reinforce C; D: 1,2; E: 1, 3; F: 1; I: 4; J: 5,6 6.5: Economics A: 8; B: 4,5, 7,8 6.6: Geography A: 1,2,3,4,5; B: 1, 2, 3; D: 1,2, 3, 4, 5; E: 1, 3, 8 Secondary Content Area: Science 5.1: Scientific Processes

24

A: 1, 2, 3; B: 1, 2 5.2: Science and Society A: 1; B: 1, 2 5.3: Environmental Studies A: 1; B: 1, 2 Secondary Content Area: Technological Literacy 8.1: Computer and Information Literacy A: 1, 5, 6, 7, 8, 9; B: 1, 2, 3, 4, 5, 6 , 7, 8, 9, 10, 11, 12 8.2: Technology Education A: 3; C: 3

Secondary Content Area: Career Education and Consumer, Family and Life Skills 9.1: Career and Technical Education A: 1, 2, 3; B: 1, 2, 3, 4, 5 9.2: Consumer, Family, and Life Skills A: 1, 2, 3, 4; B: 1, 2, 3; C: 1, 2; D: 1, 2, 3, 4, 5; E: 6

25

Unit 1: Oral to Written Tradition: Celts, Vikings, Romans & Anglo-Saxons Shape a Land, a Language & a People

Unit Question(s) Objectives Resources Formative Assessment Strategies

Pacing Guide

Marking Period

1. What common experiences do all groups of people share as they seek cultural and literary identity as a nation?

2. How may the oral tradition as a literary expression trump and/or complement written tradition?

3. What are the sacrifices that groups make in order to forge nationhood, language, and a literature?

4. What responsibility does an individual have after reading about emerging cultural identities?

5. How may the hero’s quest represent a nation and its people?

Students will be able to:

1. read critically and connect ideas to unit study.

2. trace “heroic /national vocabulary” from a literary work and discuss orally and in writing the emergent nation as seen in an evolving language.

3. analyze literary elements, including rhetorical devices, primary and secondary sources, historical narrative, and cultural artifacts..

4. know and understand the Anglo-Saxon epic, Old English caesura and kennings, and the epic hero convention in British/all literature.

5. understand documents of critical importance in early (OE) history.

6.read “two sides of a story” – as in Beowulf and Grendel.

7.read a translated OE national epic & compare and contrast to a contemporary novel re: same epic/different POV.

8. write in clear expository form about issues of national transformation.

8. express an opinion incorporating selected rhetorical devices.

1. Bede’s History of English Church & People

2. Anglo-Saxon Chronicles – K.Alfred

3. Beowulf

4. “The Seafarer”

5. “The Wanderer”

6. “The Wife’s Lament

7. Bayeux Tapestry

8. Howard Gardner’s Grendel

1. Think, Pair, Share

2. Reflective Questions with wait time

3. Concept assessment before and after

4. Hero’s Journal: chart vocabulary as it shapes a language, literature &people

5. Brief in class written response relating to the unit ideas

6. Portfolio review with teacher

7. Homework as a monitor of learning

8. Jigsaw: Cooperative Learning Technique

9. Mini-Debates re: unit’s emerging ideas. Share out.

September 1

26

Standards

Instructional Activities, Methods, and Assignments

Unit Summative Assessment(s)

3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

1With partner, create a work of non-print literature representing OEng. times / culture: song, chant, sword design, kilt clasp, clan graphic.

2.Collaborative learning groups write a clan’s identity page – illustrate or sing, etc. Share out in both oral and written tradition.

3. Oral interpretations of Anglo-Saxon epics, poems, and historical documents

4.Obituary for Grendel, Grendel’s Mom, or for Beowulf: pairs create and present to “assembled tribespeople”

5. Guided Instruction w/ Discussion

6. Share examples of musical lyrics that express your feelings a clan, a people, a nation emerging.

7. Write in journal/creative, persuasive, narrative and expository/informational formats.

8. View digital media and respond to non print text to amplify readings and discussion.

1. Quizzes

2. Essays

3. Tests

4. Homework

5. Partnered NonPrint Lit. - OEng. Presentation

6. Presented Obituaries of Beowulf, etc.

7. Findings of Collaborative Group

8. Musical Lyrics Discussion/Participation

.

27

Unit 2: Medievalism, Monarchy, & Emerging Middle Class/Middle English Language and Literature


Pacing Guide

Marking Period

1. In what ways may a hierarchical structure both repress and alternately force an individualistic expression in a people?

2. How does a middle class form, and what may this emerging middle class do to shape a nation’s literature, expression, and culture?

3. How are vocation and self-expression / literary expression related?

4. How was a hero (king, knight, lady, ecclesiast, etc.), depicted in medieval terms, and how does this medieval heroic model mesh with contemporary heroic models?

5. In what ways do the people of a particular era represent their lifestyle and values in literary works via a set of coded images --- and what contemporary literary/artistic works do the same?

6. How may (or may not) a non-print depiction of a point of literature, history, and two cultures/nations combining become a work of literature in itself?

7. In what ways may the combining of two languages, literatures, and cultures create its own strong entity, and in what ways will the combining of two nations potentially weaken the literary/linguistic expression of the new nation?


1. read critically and connect ideas to unit study: nation, monarchy and feudalism, literature of the educated/Chaucer, middle class emerges.

2. compare and contrast works from varied genres within monarchy/middle class emergent thematic cluster.

3. identify and appreciate narrative voices and perspectives from crosssection of Mid.English literature (exam.: Chaucer’s General Prologue).

4. write in both clear expository prose and via creative expression about issues of vocation and individualism within feudalism/emerging middle class.

5. use multi-media to communicate the themes and perspectives of a person’s place, station, vocation, etc. in feudalism and in new middle class of Britain.

6. research non fiction accounts of war and compare/contrast to works of fiction

7. critique film about war using a critic’s tone.

8. understand how imagery conveys tone in a literary work.

1.Chaucer’s General Prologue.

2.RTO: Research from books and online re: Geoffrey Chaucer’s world and the richness of feudalism, monarchy,ecclesiastical, and middle class life in Medieval England.

3.Monty Python,First Knight, Heath Ledger as knight ….film clips viewed for perspectives of medieval times in Britain.

4. View Bayeux Tapestry pictures and discuss clash between English and Normans.

1.Think, Pair, Share

2. Reflective Questions w/wait time

3. Concept assessment before and after/RTO work

4. Summarize main ideas of medieval era/readings

5. Brief in class written response relating to unit literature &ideas

6. Homework as monitor of learning

7. Teacher check: critical reading/ viewing understanding progress

October 1

28

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

1. Write a medieval eye-witness report of the Wife of Bath at work cloth-selling and at work at her marriage vocation.

2. Students view a scene from First Knight, Heath Ledger knight film scenes, or Monty Python --- and write about British medieval experience using a distinctive tone.

3. Find an article, news account, or essay about any monarchy-style government and compare this account with an incident or description from a scene from one of the selections read during the unit.

4. Write a letter to the “teller of a tale” in Chaucer’s Canterbury Tales, explaining how you feel as audience, and why. 5. Divide into small groups and have students research feudal, ecclesiastical, monarchy, peasant, and emerging middle class roles in Chaucer’s day.. Report to the class the group’s findings.

6. Divide the class into teams to debate the topic: Can feudalism promote any human rights?

1. Quizzes

2. Essays

3. Tests

4. Homework

5. Letter to a Chaucer Tale-Teller

6. Debate

7. Monarchy news-article comparison

8. Medieval Eye-Witness Report

29

Unit 3: British Literary/Artistic Flowering: Renaissance, Elizabethan Literature and Art, & Shakespearean Genius


Pacing Guide

Marking Period

1. What is behind the emergence of the spirit of the individual in a culture, country or in the world? 2. What is the author’s purpose in creating a work, and how does the author elicit certain responses from the reader? 3. How does language created and shape our perceptions about one another? 4. What is the role of the poet and/or dramatist and of the audience in a society such as Renaissance England - and what is comparable today? 5.What forces may occur to try to combat the artistic and cultural flourishing of a people or a region, and how will these tensions play out in the creative works of a people? 6.What is the purpose of academic inquiry? 7.In what ways does/does not your own academic inquiry feel authentic and valid?


1.read a sonnet and understand its conventions (rhyme scheme, lines, themes, thematic cluster, etc.)…then create sonnets: illustrate/sing/ dance them!

2. read a major speech from Q. Eliz. I, and analyze rhetorical elements of pathos, logos, and/or ethos in speech.

3.describe the role of the poet/dramatist and the role of the audience in Elizabethan England.

4.read and understand Shakespearean language by working with Eliz. Language from Shakespearean play/facilitated and supported by instructor until understanding begins to flow.

5.orally interpret/act out scenes from a Shakespearean play, focusing on charting symbols from the play.

6.view film scenes from Shakespearean play and discuss orally and in writing the symbols depicted via the acting and staging, etc.

7. write about the role of the Elizabethan poet/dramatist, actor, audience

1.Sonnets from Wyatt, Spenser, Sidney, Shakespeare, Marlowe, Raleigh 2. Macbeth 3.Q. Eliz. I’ s “Speech Before Defeat of Spanish Armada” 4.Scenes of staged Elizabethan play- Rose Theater: film Shakespeare in Love. 5.RTO Research re: Elizabethan times and literature and today’s comparable elements 6.Amelia Lanier: “In Defense of Eve” 7. Viewed (specified) scenes w guided activities: Elizabeth (Blanchett), Macbeth, Shakespeare in Love, etc.

7.

1.Oral interpretations, discussions, sharings

2Reflective Questions with wait time

3.Concept assessment before and after reading and before and after viewing Elizabethan staging, life film scenes.

4.Culture log, listing each significant event in sequence read about, viewed, and/or discussed

5.In- class written response re: unit ideas. Share out.

.6. Homework as a monitor of learning

7. Jigsaw: Cooperative Learning Activity

November 1/2

30

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

1.In groups, illustrate one of the sonnets read in this unit that aroused strong feelings, using desired Elizabethan literary/artistic conventions (example: illumination)

–2.--Oral interpretations of illustrated sonnets.

3. View Shakespeare in Love selected scenes on staged plays, Elizabeth, etc.: write a viewer’s response in ongoing log to describe Elizabethan life and artistic/literary expression.

4.Guided instruction on understanding Elizabethan language w/ small group practice.

5.Individual silent readings of Elizabeth I’s “Defeat of Spanish Armada Speech,” followed by volunteer oral interpretations and then general class discussion re: rhetorical elements.

6.RTO work on researching Elizabethan times and one literary work.

7. Guided instruction on formulating research, steps to writing of formal paper.

1. Quizzes

2. Essays

3. .Illustrated/Group Presented Sonnet

4. Homework

5. Collaboration, Illustrations & Presentations of sonnets

6. RTO Elizabethan Era research work as graded process

7. Teacher-guided Elizabethan Era Research Steps

8. Actual Research Paper MLA style 3-5 pp.

9. Pairing of Lanier feminist satiric essay to a modern feminist or other societal issue satiric essay…share out with class.

31

Unit 4: Dissolution and Restoration of British Monarchy: Literary Reflection


Pacing Guide

Marking Period

1. What are some universal stages in a nation’s journey toward self-realization, and in what ways may these differ from individual strivings toward self-realization?

2. How may diary work represent a distinct literary expression – in the 1600’s and in 2009 (re: traditional diaries, other creative literary/narrative diaries, and social networking sites, Twittering, etc.)?

3. What responsibility does an individual have after reading a work of literature?

4. How may we gauge the optimism or pessimism of a particular time period or group of writers?


1. read a government tract from Restoration era in Britain,and be able to understand, write about,discuss, and creatively depict the point of view and tone of the government projector

2.read and comment on primary source/secondary source documents and make a literary analysis/ then creative re-depiction of same (re; De Foe style)

3. read a diary of a particular era and be able to relate to contemporary diaries, blogs, Twittering, Face Book activities, etc.

4. write formally about the Restoration Era in Britain and British Literature

1.Samuel Pepys’ Diary 2.“Journal of a Plague Year” Daniel DeFoe 3.Utopia excerpts Thomas More 5. Student researched

writings from Oliver Cromwell and co.

6. Contemporary diaries, social networking sites, Twitter, blogs, etc.

1.Instructor checks in on progress of government tract writing

2. Groups peer support each other re: dialogue work.

3. Instructor and group leaders support/check-in on lyric and illustration work

4. Homework/Reading Checks

5. Restoration of Charles’ (II) Reign Diary….teacher supports and as needed

6. Compilation of lyrics/ illustrations

December/January

2

32

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

1.write a government tract expressing their values, hopes and dreams, etc. ---using Brit. Monarchy Dissolution times (O.Cromwell) and restoration times. Follow the example of DeFoe’s “Journal of a Plague Year” for a government planner/economic projector persona model.

2. write a dialogue in which the speaker of the dissolving British monarchy exchanges views with his son/daughter/niece/nephew from the post-dissolution/Restoration Times expressing individual perspectives of each of these two juxtaposed times.

3. find examples of lyrics that reflect different ideas about personal rights v. government/institutional structurings --- copy lyrics and illustrate each song., sharing with group..

4 to keep a Restoration Diary in style of Samuel Pepys’ Restoration era diary, recording and illustrating creatively imagined Restoration scenes, diary-fashion.

1.Instructor collects/asks for presentations of government tract writing

2. Dissolution vs. Restoration dialogue work.

3. Homework/Reading Checks

4. Restoration of Charles’ (II) Reign Diary….submitted

5. Compilation of lyrics/ illustrations submitted.

33

Unit 5: New Classicism and Poetry - Form and Structure in Sensibility and Language


Pacing Guide

Marking Period

1. How does language create and shape our perceptions and our experiences? 2. How does the author elicit certain responses from the reader? 3. Can two distinct movements co-exist in an era? If so, how will these present, especially in the literature of the day? 4. How may an author establish a single or multiple point(s) of view in a literary work? 5. What relationships exist between carpe diem ideas of 17th C, Britain and carpe diem ideas/song and popular culture sentiments of early 21st C?


1. analyze the structure of poems from the neoclassical age in British Literature

2. understand and appreciate metaphysical poetry.

3. write about the correlation of a formal and restored age in a government/nation and its formalized, structured poetic / literary expression

4. trace metaphysical symbols and literary conceits.

5.read and analyze a metaphysical “meditation” or sermon.

6.will work collaboratively to first analyze and then more creatively depict a formalized metaphysical conceit such as in Donne’s “Meditation 17.”

7. read and understand carpe diem poetry.

8. create modern carpe diem poems, songs, rap songs.

1.Sonnets from John Donne

2.“Meditation 17” – John Donne

3.Ben Jonson-‘s sonnets and later poems/PHall text.

4.Andrew Marvel:“To His Coy Mistress”

5.Robert Herrick: “To the Virgins, to Make Much of Time”

6. Modern carpe diem literature, rap music, etc.

1.Oral Interpretation-followed by think, pair, share

2.Reflective Questions with wait time

3. Concept assessment before and after—teacher checks on via notes look and questioning

4.Orally summarize/group share main ideas re: metaphysical themes/poems and contrasting carpe diem poetry

5.Teacher checks on first draft/ in class written response contrast essay: metaphysical poetry vs. carpe diem poetry.

6. Homework to monitor learning

7. Teacher checks on metaphysical vs. carpe diem collaborative groups


January -February

1 & 2

34

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

1. Write an epitaph for one of the metaphysical poets (like John Donne) that expresses his or her achievements and philosophy of life.

2. What message would one of the poets of 17th C.England (metaphysical or carpe diem) give to aspiring young writers? Develop and deliver the speech that he or she would give.

3. Work in a group to develop carpe diem lyrics/expressions, poems …and establish a dialogue between your own carpe diem songster and the poets of 17th c. England such as Marvel and Herrick.

4. Write a letter to one of the poets from the unit expressing your feelings about their experiences and/or views

1. Epitaph writing and presentation

2. Essay: contrast metaphysical v. carpe diem

3. Original carpe diem poem

4. Original carpe diem dialogue

5. Homework

6. 17th C. British Poet’s Speech

7. Letter to the poet

8. 17th C. Brit. Lit. Unit Test

35

Unit 6: British Pre-Romanticism to Full Romanticism


Pacing Guide

Marking Period

1. What common experiences do all individuals share—and how may those experiences coalesce into a literary movement such as Romanticism?

2. What is the author’s purpose in creating a work, and how does the author elicit certain responses in the reader?

3. What are the universal stages in an individual’s journey toward self-realization?

4. How can a carefully crafted structure and style contribute to a poem’s meaning and thematic import?

5. What is the value of a planned, shared creative event regarding poetry or any literary / cultural movement?


1. discover and comprehend the structuring of a major poem by its poet (Gray), and have that knowledge of the poet’s structure lead to an incisive understanding of the poem. see in Gray’s “Elegy…:” the beginning themes of Romantic ideals, and to begin comprehending Romantic ideals.

6. read British Romantic poets’ work, and recognize themes of the individual, emotion, spirit, nature, and the divine in those poems.Discuss orally and in writing the themes of British Romantic poetry/and to correlate the poems’ thematic threads

7. create an organized class activity that is cohesive, inclusive to all, and highly instructional – and fun – re: British Romantic Poetry. Use digital media and other RTO means to research and to prepare/present an Animoto or a Glogster. Com British Romantic Poet Presentation.

1.Thomas Gray’s “Elegy Written in a Country Churchyard”

2.William Wordsworth biog. data:Father of Romanticism/text and internet-discovered:A.”Tintern Abbey”B.“The World is Too Much With Us” C.”London, 1802”

3.Coleridge: A.“Kubla Khan” B. “RimeAncie.Mariner”

4 .Lord Byron poems

5.Percy Bysshe Shelley“Ozymandias”

6.Keats:A. “Homer’sChapman”B. either Keats “Ode”

7.Mary Shelley: Frankenstein excerpt & film clips

1.Think, Pair, Share on Gray

2. Reflective Questions with wait time: Romantic Poets and Themes Discovery

3.Concept assessment before and after/report out findings at midway point.

3. Brief in-class journal response relating to the unit ideasRTO – teacher checks in/supports students in Animoto and Glogster.com discoveries

4. 5.Monitor students’ Romantic Circle planning

February- March

3

36

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

1.Teacher-guided discovery of British Pre-Romantic Thomas Gray and the reading/sections of his poem “Elegy Written In a Country Churchyard” --- literary analysis of poem’s sections “discovered,” taught and paraphrased by students

2.Student collaborative group discovery of main tenets of Romantic Poetry…in Britain…to share out with group. Teacher and students place composite findings on white board ---together discover common trends/themes.

3.Students prepare a cohesive British Romantics Poetry Circle Day…to host an early “19th C. British Romantics Club and Sharing of Poems.”

8. RTO Internet and book research…as activity

9. …to support Glogster.com or Animoto digital media presentation on a British Romantic poet.

10. Students (pairs) give digital media presentations using Animoto or Glogster.com…depicting and instructing re: chosen British Romantic poet.

6. Collaboratively create and present a digital media project that shows a British Romantic Poet’s work and themes---usingAnimoto or Glogster.com

7. Varied activities to encourage and develop students’ repertoire of reading strategies.

1. Independent Animoto or Glogster. Com interactive posters using technology depicting Brit. Romantic Poet and his/her work:

A. Finished Work

B. Digital Media Presentation

2. Oral Quizzes/Assessment of Students’Formal Knowledge of Pre-Romantic Gray and other British Romantics

3. In-class formal timed essay / literary analysis of Gray classic “Elegy….Churchyard”

4. Romantic Poets’ Circle- Formal Grade for preparation, organization, facilitating, and leadership of greater group – by students.

37

Unit 7: 19th C. Industrialization’s Literary Impact in Britain – Hard Times, Satire, and the Allegory


Pacing Guide

Marking Period

1.Can satire and social allegory accurately depict a societal difficulty? – In what ways will they be effective in correcting societal ills if used to do so?

2 In what ways can the ideal of a free and upwardly moving society also inadvertently lead the individual/group to a negative and/or deprived experience?3.Can simple characters and symbols (example: Blake’s Tom Dacre) reveal a societal ill requiring correction?

4.How do the ethical decisions that characters make relate to those we make in our own lives?

5.What universal themes in literature are of interest or concern to all cultures and societies?


1. connect a novel/poem/nonfiction piece to historical contexts, and be able to ascertain societal trends being depicted in that literary work.

2. evaluate simple characters and literary symbols in order to determine a larger societal event.

3. explain in discussion and in both informal and formal writing how an author uses characterization along with audience to advance a literary work’s literary themes.

4. read a work of social satire in literature, and be able to relate it to the themes and trends of the day of its writing and to contemporary trends and themes.

5.read and write social satire or poems depicting societal problems needing correction.

6.speak and read clearly and well.

1.Jonathan Swift’s “A Modest Proposal” paired with The Illustrated London News’ “Condition of Ireland”

2.Hard Times – social allegory/novel by Charles Dickens

3.Poems by Thomas Hardy: A.”The Man He Killed” B. “”The Darkling Thrush”

4.Poems by William Blake: A. “The Chimney Sweeper” and B. “Infant Sorrow”

5. Excerpts from Lewis Carroll’s Alice in Wonderland and Through the Looking Glass – as social commentary/satire.

1. Oral Interpretaions--- Check for Understanding


3. K-W-L

4. Reflective-writing to assess understanding of satire re: British industrial society


6. Teacher checks on speaking / oral interpretation activities/ offers help

7. Teacher checks in with students on Empathy Logs

8. Reading Checks

April 3-4

38

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

.1. Student will keep an Empathy Log for understanding / relating to/ and- or empathizing with varied struggling characters/ groups from this unit’s works.

2.Collaborative Groups work on note-taking and sharing re: societal ills and corrections/non-corrections noted from the poems, excerpts, and social allegory novels read during this unit.

3. Share out with larger group findings from # 2 above.

4.Collaborative Groups form debate teams re: the issue of the young chimney sweeper (Tom from Blake) , the maltreated students (Sissy Jupe/others from Dickens) and neutral Alice on her lost in rabbit hole trail though others’ machinations and confusions.

5. Debate pro or con those falling victim to either suddenly- industrialized Britain or to government/institutional coldness/same era.

6. Reading checks and first draft of essays in class.

1. Quizzes

2. Interview: Teacher interviews collaborative groups to assess mastery of select literary works of social satire/commentary from unit

3. Essay

4. Unit Tests

5. Homework

6. Debate

7. Empathy Log Effort

39

Unit 8: British Nationalism, Colonialism ,and Victoriana HeyDays


Pacing Guide

Marking Period

1. What common experiences do all individuals share?

2. What ethical responsibilities may be fostered in an individual via the reading of a work of literature?

3. What universal themes of literature are of interest or concern to all cultures/areas of society?

4. Why would one group seek to oppress another group, and can this be rectified both ethically and practically?

5. Should a post-colonized nation’s freed people and their literature be considered that of the colonizing nation or that their own --- or a combination of both?


1. articulate in speech and in writing the shared experiences of those who are victims of injustice, shame, or prejudice, disenfranchisement, or apartheid. 2. understand / appreciate the tension between individual growth and societal “norms.” 3. discern the necessary tension between the public good and individual rights and self-expression. 4 analyze the narrative thread in a poem, pairing with student to brainstorm/assess/note-take. Share out to larger group/ discussion.5..use context clues to determine the most suitable meaning of a word. 6.Write a contrast essay showing understanding post-discussion, about nationalism themes vs. colonized themes,work collaboratively to formulate a debate position and delivery re: the rights of one nation to overpower another nation.

7.State in writing – short answer essay --- individual reflection re: author’s intention being conveyed. 8. Listen to an anti-apartheid poem/read an anti- apartheid non-fiction work (excerpts) ….discern the messages.

8

1.Abnea Busia poem: “Still Not Free” (Mandela) 2.Excerpts from Mathabane’s Kaffir Boy. 3.George Orwell’s “Shooting an Elephant” 4.“The Train from Rhodesia” Nadine Gorimer 5.Student – selected free read representing this unit 6.W.B. Yeats’ Poems: A.“Sailing to Byzantium”

B. “The Second Coming”

7. 1984 - Orwell 8 .Brave New World- Huxley

8. The Handmaid’s Tale - Margaret Atwood

10.“MidsummerXXII”-Derek Walcott 11. “We’ll Never

Conquer Space”- Arthur C. Clarke

1. Check on efforts toward debate/assist as needed



4. Timed, brainstorming/ reflexive writing to generate class discussion



7. Round-Robin Presentation of Topic/ with Commentary


May-June 4

40

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B.C

.

1. Quizzes (Reading Checks)

2. Essay: Tie in free-read with one required work from this unit.

3. Test on Unit

4. Homework

5. Debate

41

Unit 9: WORLD VIEW: Modernism and Contemporary Literary Trends for Britain / Post-Colonial Peoples


Pacing Guide

Marking Period

1. Reflecting, can you relate to those of varied cultures and traditions more easily after reading literature about them?

2. In what ways does 20th/21st C. modern insecurity and/or rapid change manifest itself in the literature of its time?

2. What responsibility does an individual have after reading a work of literature?

3. What universal themes in literature are of interest or concern to all cultures and societies?

4. Why would one person or one population seek to oppress another?

5. Why should one study different cultures through the literary experience?


1. to increase knowledge of other cultures and to connect common elements across cultures

2. analyze literary elements such as voice, perspective, and audience in a literary work.

3. discern, discuss, and write about themes, big ideas, and enduring knowledge and ethical intent from the study of literary works.

4. read a poem and discern the attitude of a speaker toward his/her subject.

5.connect via a formal writing assignment two modernism ideas gained from the literary works read in this unit (synthesis essay)

6. Work collaboratively to role-play re: those from an increasingly multi-cultural world and society --- use the role-play to start with characters from this unit’s literary works/ expand out to create other characters.

7. Write a prediction Essay

8. Speak with/collaborate with peers to present an issue clearly to larger group.

1.Think, Pair, Share



4. Role-Playing



7. Reading Check

8. Value Clarification Exercise/Teacher guides

May-June 4

42

Standards



3.1: A, C, D, E, F, G, H

3.2: A. B, C, D

3.3: A, B, C, D

3.4: A, B

3.5: A, B, C

1. Write a prediction essay in which you speculate about the ending of one civilization / start of another.

2. Using suggestions from 101 Tools for Tolerance: (http://www.tolerance.org/ collaboratively plan a “Tolerance Charter” that would encourage students from Shore / others to be more tolerant.

1. Quizzes/Reading Checks

2. Debate

3. Test

4. Prediction Essay

5. Collaborative -present of Tolerance Charter

Documents

Content Area: English Course: English III · 3. Chaucer’s The Canterbury Tales 4. “Sir Gawain and the Green Knight” 5. “Morte d’Arthur” – Sir Thomas Malory 6. Early