Say/Do #11

Organizing Units with Literature

Calkins, Lucy.  Pathways to the Common Core p. 62-65
Herz, S and Gallo, D.  From Hinton to Hamlet.  93-130. 

Probst, R.  Response and Analysis p. 101-116

Richison, J. Hernandez, and Carter, M.  Theme Sets for Secondary Literature: How to Scaffold Core Literature ch. 1-7

“Say”

Organizing units with literature is effective. It allows for the organic flow of topics and themes. Probst notes that literature “leads us” to different topics; failing to follow through with adequate planning - for the sake organizing content chronologically or by genre, for example - is a disservice to students. Probst promotes organizing unites by theme, with related literature. However, it is not enough to merely teach thematically cogent literature. As a teacher, I will have to make thematic connections clear to students.

In “Building Bridges”, the authors state that most students will not read canonical literature from beginning to end; it is simply not interesting to them. In addition to teaching those canonical texts required by most school districts, it is imperative to include related high-interest young adult literature. Roberts points out in a previous reading, “Teaching Young Adult Literature”, that YAL can generate a love of reading. Such enthusiasm is a boon to class discussions.

            Herz and Gallo also discuss the usefulness of “thematic extensions”. Though I was unfamiliar with this term, I was already familiar with the concept: the activity is very familiar to the idea of book clubs, as practiced in EDSE 786. The movement from small-group discussion to class discussion is useful in helping students to open up. Having those group discussions be based on separate, yet related, readings is an excellent way of enriching the wider dialogue.

            In Pathways to the Common Core, the authors suggest that multiple genres, as well as multiple media be used as texts in the classroom. This suggestion is consistent with advice given early in this course, on the importance of visual literacy, as well as how visuals can bridge the gap for less advanced readers and enrich texts for all students. Mary Rice notes that works such as graphic novels and manga can really spur student interest.

“Do”

For my “Do”, in following with the advice given in Pathways to the Common Core, I decided to include the resources I collected during Maymester:

http://handrt.wikispaces.com/Resources

In particular, I am interested in the website “Cocompose”. Working on an audio project recently in this class, I found that it was rewarding and challenging.

Say/Do #10

Say/Do #10

Reading Like a Writer

Anderson, Jeff. Mechanically Inclined: Building Grammar, Usage, and Style into Writer's Workshop. Portland, Me.: Stenhouse, 2005. Print.

Beers, Kylene. When Kids Can't Read: What Teacher's Can Do. [S.l.]: Bt Bound, 2003. Print.

Calkins, Lucy, Mary Ehrenworth, and Christopher Lehman. Pathways to the Common Core: Accelerating Achievement. Portsmouth, NH: Heinemann, 2012. Print.

Zuidema, Leah A. “The Grammar Workshop: Systematic Language Study in Reading and Writing Contexts”. English Journal 101.5, 2012.

“Say”

            In “The Grammar Workshop”, Zuidema raises a point that I had not considered: perhaps our strict adherence to “teaching grammar in context” limits our ability to actually teach grammar. This does not mean that this form of teaching is incorrect, but that it “trenches” our teaching. In the same way that our view is trenched through such thinking, students may fail to see the connection between grammar in texts to their own writing. Zuidema states that it is important for students to “explore and play with grammar as it is used in authentic texts”. I agree. If our primary focus in a lesson is to teach grammar, could we not use text to make our teaching more authentic? The teaching of grammar should not be limited to incidental, brief dissections of canonical texts. In a similar manner to Gallagher’s concept of “Readicide”, I believe that workbooks and excessive close analysis of grammar can cause students to resist experimenting with language.

In Mechanically Inclined, the author echoes Zuidema by stating that grammar and mechanics must be taught systematically. As a teacher,  Anderson felt that his “advice and admonitions” were scattershot. He characterizes his previous attempt at teaching in-context of text as arbitrary and superficial. His solution is also to anchor lessons in grammar with text. In Pathways to the Common Core, the authors explain that language standards in the Common Core call for students to learn how to use grammar, rather than only defining grammatical terms. Ray’s suggestion in Wondrous Words to give students room to explore and play with language also falls in line with this thinking.

            Beers is mostly concerned with “studying” vocabulary, rather than “memorizing” it. In vocabulary workbooks, students are not engaged; they merely memorize isolated words, outside of the context of actual text. We aspire to be “teachers” – not “trainers”. In a conversation with teachers who tried using the words within vocabulary books in the classroom (the idea of imposing an arbitrary selection of words onto daily class discussion), the teachers were flummoxed. They were unable to help students make sense of the random selection. Beers’s idea of using graphic organizers to learn vocabulary words seems like a good strategy.

“Do”

            The following lesson plan worked out very well in my “virtual teaching” last year.

Robert Hand

ENGL 547

Dr. Clary

November 18th, 2011

VT Lesson Plan

Subject: Grammar

Topic: Grammar as a Tool for Creative Expression                          

Title of Lesson: Language Rules in Art

Duration: 25 minutes

Objectives:

Students will be able to...

1. Analyze writing and examine the manner in which authors attain their intended effect (E1. 1.5).

2. Use a variety of types of sentences (E1. 4.2).

3. Recreate a narrative to convey tone and mood (E1. 5.2).

Purpose:

            In an attempt to increase the amount of class time spent on creative writing, I will give a brief lesson on the manners in which grammar can enhance dramatic effect. This lesson can serve as an introduction to creative writing structure, which is good for both analytical and creative writing skill.

Materials:

            - Projector

            - "Bad version" of "Tell-Tale Heart" by Edgar Allan Poe

            - Excerpt of "Tell-Tale Heart"

Procedures:

Procedures for Introducing the Lesson (10 minutes): 

            I will begin the lesson by asking students to write down their own samples of what Anderson calls "short, provocative texts". Students will be told that they will be           expected to share this writing. This is the prompt:

                        Detail the most hectic, funny, or strange trip to class you've ever experienced on                       campus.

            Students will then partner up and share their samples with their partner. From each           student's partner's paper, they will circle one or two sentences which strike them as    the most interesting/effective, and rewrite them on the reverse side of their own          paper.

            Volunteers will then share the samples they have found and I will place the   rewritten samples on the projector. With each sample, we will examine the sentence             as a class. I will model the sort of analysis I am looking for by pointing out the        manners in which grammar are used for dramatic effect. This may include       interrupter/serial/close commas, semicolons, or lively word choice. Through             discussion, I will emphasize the effect mechanics can have on drama.

            I will list good "creative" grammar on the board as they arise in discussion.

Procedures for Developing the Lesson (10 minutes): 

           

            I will then pass out copies of a poorly written version of "The Tell-Tale Heart".         Students will rewrite the passage in their own language, incorporating some of the             techniques introduced in class today. They will be given about five minutes to do          this.

           

            Afterwards, students will share rewrites. I hope to see students are actually incorporating techniques introduced earlier. Depending on time, I may take one or two volunteer samples to show to the class.

Procedures for Concluding  the Lesson (5 minutes): 

            I will wrap up the lesson by showing the original text of this portion of "The Tell-     Tale Heart". I will point out some recurring strategies Poe implements for tension.

Evaluating/Assessing the Learning:

Before the lesson:

            I will walk about the class, ensuring that students are participating. The brief discussion after the activity will elucidate whether or not students are following the lesson.

During the lesson:

           

            During the rewrite, I will again walk about the class, ensuring that students are participating.

After the lesson:      

            The brief analytical discussion of Poe's work will demonstrate whether or not          students have a grasp of "dramatic grammar".

"Bad Version Handout":

A terrible author has murdered a man! It is up to you to dignify his last few moments as a free man by improving this narrative of the moments leading up to his arrest.

This is an excerpt of "The Tell-Tale Heart" by Edgar Allan Poe. You should not worry about relaying the plot accurately. Rewrite this passage on the space below, using some of the techniques we have discussed in class today.

          The officers were satisfied... I felt nervous. I wanted them to go away. My     head hurt. My ears rang. They were still sitting there and talking. The ringing in          my ears got more distinct. I tried talking more to get rid of the anxiety. I           noticed that the ringing noise was not in my ears.

          I got pale. I talked more with a high voice. The ringing got louder. I quietly    gasped for breath. I talked faster but the noise got louder. I began walking about the room. I wished the officers would go away.  I talked very quickly and    loudly. I moved the chair I was sitting on and dragged it on the floor. I suspected the officers could hear the ringing too. I think they were making fun     of me by pretending not to notice it.

          Then I called the officers villains and showed them the body under the floorboard.

 "Good Version" to be projected in front of class:

The officers were satisfied... But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears; but still they sat, and still chatted. The ringing became more distinct : I talked more freely to get rid of the feeling: but it continued and gained definitiveness -- until, at length, I found that the noise was NOT within my ears.

No doubt I now grew VERY pale; but I talked more fluently, and with a heightened voice. Yet the sound increased -- and what could I do? It was A LOW, DULL, QUICK SOUND -- MUCH SUCH A SOUND AS A WATCH MAKES WHEN ENVELOPED IN COTTON. I gasped for breath, and yet the officers heard it not. I talked more quickly, more vehemently but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why WOULD they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men, but the noise steadily increased. O God! what COULD I do? I foamed -- I raved -- I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder -- louder -- louder! And still the men chatted pleasantly , and smiled. Was it possible they heard not? Almighty God! -- no, no? They heard! -- they suspected! -- they KNEW! -- they were making a mockery of my horror! -- this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! -- and now -- again -- hark! louder! louder! louder! LOUDER! --

"Villains!" I shrieked, "dissemble no more! I admit the deed! -- tear up the planks! -- here, here! -- it is the beating of his hideous heart!"

-"The Tell Tale Heart" by Edgar Allan Poe.

Say/do #9

Say/Do #9

Writing Multiple Genre

Romano, T. (2000). Blending genre, altering style: Writing multigenre papers. Portsmouth, NJ: Heinemann.

Styslinger, M. Multigenre-Multigendered research papers.

Biltz, S. Teaching literature through the multigenre paper: An alternative to the analytical essay

“Say”

            Romano really demonstrates how using taking a multigenre approach can improve student comprehension and engagement. As Mary Rice pointed out in “Using Graphic Texts…”, the use of images can help underachieving students to understand text, as well as enrich text for all students. Expanding this idea beyond visual literacy to include songs, performance, and technology seems like a sound choice. Biltz points out that she has seen in her students a greater synthesis of classroom material, more “reading like a writer”, and an increased sense of ownership in work. As a digression, I felt that Biltz’s suggested activities were too anchored in a particular text. I feel that a broad theme is more appropriate for a multigenre project. Romano’s examples of multigenre work are powerful. I can see that allowing students to express themselves in many modes is advantageous.

            In chapter 8 (“Create Flow”), the author points out that, due to the implicitly loose prompts of multigenre projects, teachers should not merely pick up projects and return a grade. Students should interact, discussing the content and organization of their work. Biltz also notes that students should reflect and evaluate their own work .They can collaboratively work to link genres and create flow.

As Dr. Styslinger points out in “Multigenre-Multigendered Research Papers”, organizing content into “focuses”, or “themes” is effective. This is opposed to organizing content by genre. Obviously, it is impossible to use a multigenre approach to teaching while organizing content by genre. Having students critically think about preconceived notions is an excellent idea. Gender is a key topic to discuss in class. Many adolescents base a large part of their personalities and lifestyle on gender roles. These preconceptions can cause individuals to enter abusive relationships, take risks, and hold prejudices against different groups of people.

“Do”

            My “Do” is a bit perfunctory, but it does focus on having students respond to prompts in different ways. The questions for each chapter are not meant to serve as a “got ya” quiz, but to guide students towards key scenes of each chapter.

Lesson Plan

Instructor And Room #: Mr. Nuzum A5	Date & Length:  11/1 45 minutes	Subject and Block/Period: English IV	Topic: Frankenstein – Review Through Chapter 21
Student Objectives:        Students will -          Recall the characters and their relationships in Frankenstein. -          Collaboratively select a key scene in Frankenstein, then illustrate the scene. -          They will present their work.			Common Core -          RL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. -          SL.11-12.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. -          W. 11-12.9 Draw evidence from literary or informational texts to support analysis, reflection, and research.
Items to Display as Agenda:  -          Character maps -          Key Scenes Activity
Purpose: -          Student comprehension of the past few chapters seems shaky. This activity will refresh students on key scenes in several ways: through rereading, collaboration, interpretation, and through presentations of other scenes. Roles are emphasized in group work, in order to encourage each student to participate.
Lesson Procedures: -          I will pass out copies of the character maps for students who did not print them at home. This is a supplementary material which may help during group discussions. -          Students will be formed into groups of 4 members each. Half of the class will be assigned to chapter 20, and half will be assigned to chapter 21. -          For project details, see handout. -          This will, in all likelihood, take two class periods to finish. If students work more quickly than I anticipate, we can begin presentations today. Students will take notes on other group presentations.
Assessments and Assignment: -          I will take notes on student presentations, as well as grade turned-in materials.

_____________________________________________

Name ______________________________                            Date ___________________

Key Scenes Activity

In this activity, you will illustrate a key scene of the chapter you are assigned. Skim through the chapter with your group and discuss with your group what you consider to be the most important scene in the chapter. Please let me know when you have selected a scene, so that I can approve of it.

Select a scene which you consider the most important. Discuss the conflict or tension in this scene with your group. Who are the key characters that you should include in your illustration?

What sort of symbolism, or imagery do you think is important?  Use these symbols and images in your illustration!

Depending on which chapter you are assigned, answer the questions below on a separate sheet of paper. Ch. 20 1. Why does Victor change his mind about creating the female? Who watches him as he destroys the female? 2. What happens shortly after Victor destroys the female? How is this similar to what happened after Victor created the Creature? 3. What happens when the Creature visits Victor? What does the Creature promise to do? What does Victor understand that promise to mean? 4. What happens when Victor goes out in a boat to dispose of the female creature's remains? Where does he end up? What happens when he lands?

Ch 21 1. Who is Mr. Kirwin and how does he treat Victor? What has happened to cause Victor's arrest? What happens to Victor after his arrest? 2. What happens when Victor wakes up? Who is there? 3. What happens at Victor's trial? 4. How does Victor feel as they leave Ireland and go to France? Ch. 22 1. Why doesn’t Victor go home quickly? 2. What does Elizabeth say in her letter?  How does Victor respond to her? 3. What are the marriage plans?  How does Victor prepare for what he fears might happen? 4. How do Victor and Elizabeth get to Evian and why do they stop there?

Group Roles

Write down the name of each group member in the box with their role.

Scribe
Illustrator	Spokesperson

There are three roles in a group.

-          The Scribe writes down answers to the discussion questions on the previous page. They also

help to organize the project layout.

-          The Illustrator plans out the project with the group, then draws most of the illustration.

-          The Spokesperson introduces the project to the class and describes the choices that the

group made. They should prepare notes for the presentation; do not present “off-the-cuff”.

Regardless of your role, you should participate in group discussion. Every member should help select the key scene that your group will present. You should not begin planning your poster layout before you select a key scene. You should not begin drawing before you know which symbols and imagery you will use.

Here is what you will be turning in, when you complete your poster:

1.      Answers to discussion questions on previous page

2.      Spokesperson’s presentation notes

3.      Finished poster

Make sure that all group member names are on each item

Say/Do Artifact #8

Say/Do Artifact #8

Reading Like a Writer

Calkins, Lucy, Mary Ehrenworth, and Christopher Lehman. Pathways to the Common Core: Accelerating Achievement. Portsmouth, NH: Heinemann, 2012. Print.

Daniels, Harvey, and Nancy Steineke. Mini-lessons for Literature Circles. Portsmouth, NH: Heinemann, 2004. Print.

Ray, Katie Wood. Excerpts from Wondrous Words: Writers and Writing in the Elementary

 Classroom (1999, NCTE). Print.

“Say”

In Wondrous Words, Ray argues that model texts, aside modeling the process of “reading like a writer”, are integral to teaching students how to write. The first chapter of Wondrous Words demonstrates the importance of exposing students to well-crafted mentor texts. There is a large disparity between Justin’s “Something Dead” and Kyle’s poem to his mother. In the former, the student was inspired by a poem with an unusual structure. He was motivated to emulate the format, using his own ideas. On the other hand, Kyle did not have such a model to work from; he defaulted to a popular, worn framing line. Indeed, when Ray introduced an appropriate model text, Kyle was able to more adequately express himself, through a new structure. In order to “read like a writer”, we must first learn to write from writers.

            However, we cannot show students well-crafted texts, and then simply rely on them intuitively separating craft from content. Teachers should identify specific strategies that writers employ in their works, so that students can understand it. Common Core Standards “ask readers to investigate the effect of authors’ decisions – about language, structure, point of view, voice, style – on the meaning of texts” (CC). There is a good idea for a lesson in Mini-Lessons for Literature Circles that has students work in groups, to determine what writing strategies authors employ in shared passages. The authors also advise teachers to perform read-alouds, as these can intrigue students.

Ray offers many examples of writing strategies, including sentence fragments, close echoes, and intentional vagueness. She also provides some good texts to demonstrate these strategies with. However, she notes that students should also search for writing strategies themselves. The author later points out that this sort of teaching should be done consistently, so that students can become comfortable with “reading like a writer”. Merely having students emulate structures is inadequate. As Beers points out, comprehension is a “process” – not a “product”. In the context of writing, we need to teach students specific writing skills.

“Do”

For my “Do”, I’ve put together 5 short stories/poems that I believe serve as good model texts. With each text, I have a link to the work, as well as a couple of the writing strategies that I would help students to identify.

-          “The Model Millionare” by Oscar Wilde -
http://www.eastoftheweb.com/short-stories/UBooks/ModMil.shtml

            In this short story, the speaker takes a very conversational tone with the audience. He makes exclamations, asks rhetorical questions, and uses unconventional structure. Another strategy that the writer uses is to betray audience expectations. Wilde writes in a deliberately contrarian manner, which can really grab attention (for example: “Trevor was a painter. Indeed, few people could escape that nowadays. But he was also an artist, and artists are rather rare.”).

-          “Acquainted with the Night” by Robert Frost –

http://www.internal.org/Robert_Frost/Acquainted_with_the_Night

            In this poem, Frost makes use of repetition and metaphor. He also uses an anecdote to convey larger themes: “I have passed by the watchman on his beat/ And dropped my eyes, unwilling to explain”.

-          “An Occurrence at Owl Creek Bridge” by Ambrose Bierce

http://fiction.eserver.org/short/occurrence_at_owl_creek.html

            Bierce often uses flashbacks in his work. This short story is a great example of how a non-chronological approach to storytelling can be effective. Another strategy that he employs is the use of an unreliable narrator.

-          “A Day in the Life” by The Beatles -

http://www.lyricstime.com/beatles-a-day-in-the-life-lyrics.html (beware pop-ups!)

            In this song, there are two distinct speakers. The manner in which these two at-first seemingly unrelated narratives interweave is interesting. The lyric writers also change meaning in a stanza through the stanza’s final line, which has a powerful impact (example: “I saw a film today/ The English Army had just won the war/ A crowd of people turned away/ But I just had to look/ Having read the book”).

-          “The Tell-Tale Heart” by Edgar Allan Poe –

http://xroads.virginia.edu/~hyper/poe/telltale.html

            This short story also takes use of an unreliable narrator. Poe uses a very unconventional writing style to convey tension.