by Staci Carney
SED 720
12/5/02

URL: http://www.ncte.org/ej/EJ0921TOC.shtml

Summary: This article maintains that teaching to the AP exam deprives students of the opportunity to delve deeply into the important questions raised by Shakespeare’s plays. According to the author, the argument that students should read Shakespeare and other great authors in order to be culturally literate is neither true nor convincing. Instead, we should read these authors because they help us ask and answer important questions about life and "imagine the ways in which we might act on them in the world that lies beyond the classroom walls." But teaching to the test focuses on conformity and exam "tricks" rather than real student inquiry, understanding, and imagination.

Connection to Literacy: While any study of Shakespeare is, by nature, a literacy activity, the author suggests that all such activities are not created equal. Teaching to the AP exam focuses on reading comprehension and fast, fluid analytical writing. It also focuses on vocabulary development and elements of literature such as tone and theme. What’s missing in many AP classes is real student inquiry and open-ended discussion. These are the activities that help us connect Shakespeare to life in the modern world.

Significance: The article serves as a cautionary tale for anyone teaching AP English literature; but more importantly, it raises serious concerns about the general effect of standardized tests on real learning. Students learn how to succeed on a test rather than learning to ask questions, solve problems, or apply knowledge and ideas to the world around them. In our current test-focused environment, the author is a passionate and eloquent spokesperson for those of us who believe that high test scores shouldn’t be the sole focus of education.

URL: http://www.ncte.org/vm/VM0102TOC.shtml

Summary: This article offers practical strategies for helping students learn to understand and interpret poetry on their own, rather than looking to a teacher or other expert for the "right" answer. The work is primarily student directed, with the teacher acting as a facilitator rather than a lecturer or discussion leader. Students begin by creating their own simple poems from lists of words and phrases about a given topic. Then they read them aloud in pairs, learning how oral delivery contributes to meaning. Next they choose published poetry and work in both small and large groups to figure out what makes the poems interesting and worthwhile. Finally, the article emphasizes that teachers should model their own strategies for interpreting unfamiliar poems, walking students through the process step by step.

Connection to Literacy: At heart, these are reading comprehension tools. If students master the tools, they can take control of their own reading experience rather than being intimidated by new material. The author’s technique emphasizes the fact that teachers don’t have all the answers; students can learn to develop their own interpretations.

Significance: Poetry can be a real challenge for students because meaning is often purposefully obscured and poets commonly make reference to outside material or knowledge. Teaching students how to approach poetry in general rather than how to interpret a specific poem gives them literacy tools they can use in future classes, on standardized tests, or for personal pleasure. The fact that the lessons are student-directed emphasizes the fact that meaning is not absolute and teachers don’t have all of the answers. If students know how to get inside poems, they can make their own meanings.

URL: http://www.ncte.org/ee/ee0351toc.shtml

Summary: This article argues that tagging is a literacy activity, albeit one that is not accepted by mainstream society. Taggers use this form of literacy to communicate with others, express their individuality, acquire power–in short, to engage in the same kind of dialogue with the world for which others employ standard American English. Tagging and other forms of unsanctioned literacy–for example, writing poetry, rap lyrics, or love letters when they are supposed to be engaging in classwork–may not be considered valuable to the mainstream culture, but they help students form a deep connection with the community that is most important to them. By respecting and appreciating these literacy practices, teachers may be able to make connections between the literacy activities that students choose for themselves and the ones that society wants them to learn in the classroom.

Connection to Literacy: The author proposes that all forms of literacy are valuable, no matter how far they stray from the norms of the classroom. In fact, forms of literacy such as tagging, poetry, and rap often call upon many of the skills teachers want their students to learn in an English class: "…such as a strong sense of audience and purpose, and the ability to manipulate and vary writing styles in response to varying contexts."

Significance: By respecting the literacy activities students choose for themselves teachers can build a bridge to otherwise disenfranchised students. The author does not recommend trying to move underground activities into the classroom; she believes that removing the activities from their social context may eliminate the very reason students engaged in the activities in the first place. But teachers can use the students’ literacy practices to open up "conversations about why and how we choose the particular languages we do in particular situations." Respect for their talents also builds the kind of trust and understanding that may make disenfranchised students more willing to engage in the classroom.

URL: http://www.ncte.org/ej/EJ0922TOC.shtml

Summary: This article offers strategies for teaching students to "decode" stories told by multiple narrators or in multiple genres. Students who are unfamiliar with such texts may find them confusing or hard to read. Rather than being directed through the story by a single narrator, students must piece together information presented by different people or in different ways (news reports, letters, memos, journals, etc.). In order to make sense of it all–to reconcile conflicting accounts, make judgments about a narrator’s reliability, or understand a nonlinear tale–students need to employ metacognitive strategies to understand their own reading processes. The author suggests a number of activities to prepare students for such reading.

Connection to Literacy: The activities the author proposes get students thinking about their own reading and thought processes. Students learn that as readers they are active meaning-makers, not passive receivers of information. This awareness, combined with the reading tools they develop, help students improve their reading comprehension and their ability to analyze texts.

Significance: This is a wonderful article because it describes practical ways in which teachers can model effective reading strategies. While the article focuses on stories with multiple narrators or genres, the techniques would be useful for more traditional texts as well. Stories with unreliable narrators, mysteries, or other books where information is withheld are perfect candidates for the strategies described in this article.

URL: http://www.ncte.org/rte/RTE0363TOC.shtml

Summary: This article details the results of a study designed to consider the effect of anxiety on ELL students. The study, which addressed Mexican-born middle school students, employed questionnaires and focus groups in order to pinpoint the factors that lead to ELL anxiety in both ELL and mainstream classrooms. The researcher found that while students may experience academic anxiety in both kinds of classrooms, students in mainstream classes bear the additional–and often much more dramatic–burden of interactional anxiety. Anxiety can lead to self-defeating thoughts, withdrawal from the educational environment, and an inability to concentrate on the task at hand because the student is preoccupied with feelings of anxiety. Thus academic success an ELL classroom may not be a good predictor of success in a mainstream classroom. Teachers and administrators need to be able to identify highly anxious students and provide them with support or classroom accommodations, examples of which are included in the article.

Connection to Literacy: This article addresses the difficulty students may face in developing literacy skills–reading, writing, and speaking–in a non-native language. It emphasizes the fact that literacy development isn’t purely academic. It’s also related to issues such as self-image, peer interaction, fear, and loss of identity. If we address these factors in the classroom, we may be able to help ELL students achieve a higher level of English proficiency and overall academic success.

Significance: According to the article, only 63% of 18-24 year old Hispanic students receive a high school diploma or GED. Difficulties that ELL students face in mainstream classrooms contribute to this unfortunate statistic. In order to combat such problems, teachers not only need to be prepared to provide ELL students with academic support, but also to help them relieve the anxiety that may get in the way of their success. However, teacher-training programs don’t always prepare mainstream teachers for ELL students in their classrooms–particularly with regard to addressing student anxiety.

URL: http://www.nytimes.com/learning/teachers/lessons/20020829thursday.html?pagewanted=all

Summary: In this lesson, students learn about different methods for finding information on the Internet and examine what makes a source credible. They begin with a journal exercise about how they find and evaluate information for research papers; afterward, the class discusses what makes sources credible. Next, they read and answer questions about an article on librarians who answer questions online in a live-chat format. In small groups, students choose a topic and use three different methods for finding information online. The class discusses the results and students complete a written evaluation of the different methods as homework.

Positive Aspects: This is a great topic. More and more students are turning to the Internet for research and they need to know how to make sure the information they’re using is credible. The lesson is very detailed and includes vocabulary, assessment, and interesting extension activities. It also lists specific sites for the three different methods, which is helpful for teachers who might not have used them before.

Development Areas: Many teachers have never used these resources, so more information on how to use them would probably be a good idea.

Adapting to the Classroom: I would probably skip the discussion questions that relate to the news article. They aren’t as interesting or informative as the rest of the assignment. As a substitute, I would use some of the follow-up and interdisciplinary questions about government regulation of online information or the influence of advertisers.

URL: http://www.pbs.org/wnet/dancin/resources/lesson_plan-t2.html

Summary: In this lesson, students explore different ways of reading a very brief scene from Hamlet. The class begins by reading the lines aloud and discussing the meaning of any unfamiliar words or phrases. In a second and third readings, the class is divided into two halves. Each half reads the lines of one of the two characters. After each reading, students try to figure out who the characters are and what’s happening in the scene. Next, the students are divided into teams of two. Each team is instructed to perform the scene in a certain familiar style–for example, a western, silent movie, horror film, or soap opera. After they’ve had a few minutes to practice, the perform for the class, which has to try and guess the style being used. After everyone has performed, the class discusses how the teams conveyed their styles and which ones worked best for the scene. At the end of class, the teacher encourages to experiment with other parts of the play as they read them.

Positive Aspects: I see this lesson as a fun ice-breaker for studying Shakespeare. His plays can be intimidating for students, so a fun lesson that allows them to experiment and be funny or silly seems like a great way to get over the fear that it’s too hard or too boring. The lesson also teaches reading tools for Shakespeare. Students read aloud, determine the meaning of unfamiliar vocabulary, figure out what can be known based on the text, try to visualize what the characters are doing as they deliver their lines, etc. The steps are detailed and clear.

Development Areas: Students might not be familiar with all of the styles suggested by the lesson plan, so the teacher would have to make sure that students knew how to act out their assigned styles. The lesson also suggests giving them five minutes to practice their scenes, but I suspect it would take longer. Getting their attention at the end of practice time would also be a challenge.

Adapting to the Classroom: I like this lesson, so I wouldn’t change very much. I would probably experiment with other sections of text, since the one presented in the lesson doesn’t seem very interesting. Since the focus of the lesson is to get comfortable with the material and enjoy it, I would not assess my students on the activity.

URL: http://www.nytimes.com/learning/teachers/lessons/20020816friday.html?pagewanted=all

Summary: After a short journal exercise, students work in small groups to research the life and work of a Harlem Renaissance artist. Then they prepare a class performance dedicated to the artist.

Positive Aspects: While the related article is about Zora Neale Hurston, this lesson can be connected with any Harlem Renaissance writer studied in class. Students must do independent research and work together on a performance. Students can also choose different kinds of artists–musicians, writers, visual artists, etc–which makes the project more interesting and takes it beyond literature.

Development Areas: The amount of time allotted seems unrealistic.

Adapting to the Classroom: The lesson implies that all of the group work can take place in one class period, with students practicing their individual parts at home. This seems unrealistic, so I would give them more class time to work together.

URL: http://www.askeric.org/cgi-bin/printlessons.cgi/Virtual/Lessons/Language_Arts/Literature/LIT0008.html

Summary: Students begin by listening to music and looking at a work of visual art in order to think about ways in which art is expressive or creates a mood. Next, the teacher shows a section of the movie Dead Poets Society where Robin Williams’ character talks about what poetry is. The students discuss figurative language and create their own examples. Finally, students write their own poems following a specific structure.

Positive Aspects: This is a multimedia lesson that shows that many of the features and goals of literature are found in other art forms as well. Writing a poem that follows a specific format can be fun and is easier for students who don’t write poetry on their own.

Development Areas: The directions for discussion are vague. For example, after showing the movie clip, the only direction is to "Discuss the message of this piece with the class." No amount of time is specified.

Adapting to the Classroom: I’d want to make a clearer connection between music, the visual arts, and poetry. I’d also use the lesson to segue into published poetry that uses strong figurative language.

URL: http://www.askeric.org/cgi-bin/printlessons.cgi/Virtual/Lessons/Language_Arts/Literature/LIT0202.html

Summary: This lesson explores the idea of propaganda in relation to advertising. Students evaluate magazine advertisements based on passages from 1984. Then they create new ads that attempt to avoid any negative aspects in the original (based on the book passages). Finally, evaluate the ad in an essay, citing quotes from the novel as evidence.

Positive Aspects: The lesson plan is well organized, with clear objectives. It applies aspects of the novel to real life. It comes with an assessment rubric and a handout that explains the assignment and lists the passages in the novel to which the students refer. The lesson also incorporates a creative element.

Development Areas: The essay isn’t fully described in either the lesson plan or the handout. Some of the sentences in the handout are confusing.

Adapting to the Classroom: I would rewrite the handout to eliminate confusing sentences and clarify the tasks students are to complete–particularly the essay.

11^th Grade American Literature
30 students

Topic: "Benito Cereno," by Herman Melville
Time: 3 60-minute class periods

Objective: Through this story, students will learn about literary elements and devices such as mood, foreshadowing, and point of view. They will develop a better understanding of the story and Melville’s style by writing their own versions of the story.

--30 copies of "Benito Cereno" (http://www.amazon.com/exec/obidos/ASIN/0486264734/qid=1038712866/sr=2-1/ref=sr_2_1/103-0026879-3575059)

--30 copies of vocabulary handout

--30 paperback dictionaries

--30 copies of a drawing showing a labeled cross-section of a ship

--overhead projector and transparency of the ship cross-section

Previous Assignment: Students were asked to write a one-page biography of Herman Melville in preparation for studying "Benito Cereno."

1. Briefly discuss Melville’s life and work based on the biographical information students have collected. In particular, discuss events in his life that were the basis of many of his stories. Ask what they found most interesting about him. (10 minutes)

2. Explain that Melville uses a lot of vocabulary that may be unfamiliar to students, including words that refer to ships and sailing. Hand out vocabulary sheet and dictionaries; ask students to begin looking up the words and writing down definitions. They may need to complete this activity at home. Students should keep the sheet handy as they’re reading and turn it in with the essays they’ll write later on. (20 minutes)

3. Hand out ship cross-sections. Using transparency, point out parts of the ship that Melville refers to in the story (figurehead, poop deck, bow and stern, mast, etc.) (5 minutes)

4. Begin reading the story aloud. The story has many long, complicated sentences, so the teacher should pause periodically to demonstrate how to break down the sentences into smaller phrases. Check frequently for understanding. (20 minutes)

5. Ask the students to briefly describe the mood of the story so far. Ask the students to finish the first half of the story as homework. (5 minutes)

1. Pick up the previous day’s brief discussion of the story’s mood. What is it about Melville’s language or descriptions that contributes to the mood? Ask for specific examples from the text. (15 minutes)

2. Ask the class to list words to describe the two captains? What aspects of their characters does Melville explicitly describe? What do we infer from the events of the story? (10 minutes)

3. There’s a definite air of mystery to the story; ask the students for examples of foreshadowing. (5 minutes)

4. Ask students to predict the outcome of the story. Write the predictions on a long sheet of butcher paper taped to the wall. Discuss ways in which the text supports or contradicts the predictions. Leave the predictions up so students can look back at them after finishing the story. (15 minutes)

5. Begin reading the second half of the story aloud. Ask students to finish the story as homework.

1. The story has a dramatic finish, so give the students a few minutes to discuss their reactions to the ending. Was it a surprise or did they figure it out while reading the second half? Check the previous day’s predictions to see if anyone got close. (10 minutes)

2. Discuss student perceptions of Captain Delano. Why do you think he ignores all the warning signs aboard the other ship? How suspicious are you? Do you ever rationalize events around you the way Delano does? How much should we trust our own instincts? (15 minutes)

3. How does Delano represent the American character? What positive and negative characteristics does Melville associate with being American? How does his view compare with other literature we’ve read in this class? (15 minutes)

4. Prep the students for an essay assignment by discussing the importance of point of view in this story. Ask the students to imagine how other characters might see people or events. Explain that they will explore these possibilities by writing a 2-3 page creative essay telling a section of "Benito Cereno" from another character’s perspective. Students should be faithful to the text and try to mimic Melville’s language and tone. (10 minutes)

5. For fun and as a model, read an example essay (either written by the teacher or a student in a previous year). (10 minutes)

Assessment: I want students to focus on the vocabulary worksheet as a reading tool, so there won’t be a vocabulary test. Students will, however, receive points for completing the definitions. The essay grade will be based on the following rubric categories: 1). original ideas that enhance the story; 2). freshness of language with diction appropriate to the piece; 3). appropriate syntax and mechanics; and 4). clearly demonstrates understanding of the original text.

Literacy Aspects: This lesson uses biography, vocabulary, and the ship cross section as pre-reading techniques to better prepare students for the material. The teacher also models another reading technique: breaking down complicated sentences into shorter phrases that can be more easily understood. Class discussion focuses on a variety of literary elements and asks students to provide specific support from the text. The essay provides a writing component that helps students better understand Melville by trying to imitate him.

Reflection/Concerns: This is a great story for teaching reading strategies as well as literary devices. I also like using it in American literature classes because it directly addresses the nature of the American character. The plot of this story packs a wallop, so students often enjoy reading it despite the complicated language. If they like it, they usually also enjoy a lot of discussion. But if, for some reason, they don’t like it, I might need to look for other ways to break up the discussion.

Appropriate for any 9th-12^th grade class
30 students

Topic: Literary Transformations
Time: 1 60-minute class period

Objective: This lesson will introduce students to works of literature that are later transformed by new authors, filmmakers, and other artists. They will explore the idea of stories and themes that transcend their original time and place. This lesson will also lead into an assignment related to outside reading, which is a part of California language arts standards.

--Handout explaining the outside reading assignment and listing examples of stories and their transformations

--A copy of the Greek myth "Pyramus and Thisbe"

1. Begin by asking students if they’ve heard the old adage: a classic is a work of literature that stands the test of time. What do they think this means? What factors might contribute to a book being a "classic"? (15 minutes)

2. Focus on the stories themselves. Are there certain kinds of stories or themes that stay relevant through the centuries? Ask the class for specific examples and write them on the board. (10 minutes)

3. Ask the class to list examples of classics that use the themes the students have cited. Write these on the board next to their themes. (5 minutes)

4. Tell the students you’re going to read them a story from Greek mythology. Ask them to see if they recognize the story. Read "Pyramus and Thisbe" aloud. (15 minutes)

5. Students will quickly realize that the myth is very similar to Romeo and Juliet. Explain that Shakespeare and many other authors before and since often took ideas from earlier stories and used them to create something new. Shakespeare took from the Greeks, and later his play was used as the basis for West Side Story. (5 minutes)

6. Distribute the handout. Explain that students will choose a story and its transformation as their outside reading for the marking period. They may choose a pair from the attached list or come up with a pair of their own (subject to teacher approval). One of the two must be a novel-length work of literature; the other can be a movie, poem, work of art, or another story. The students will then write an essay that explores the relationship between the two. Go over examples of transformations, as well as ideas they might want to explore in their essays. (10 minutes)

Romeo and Juliet and West Side Story

King Lear and A Thousand Acres (Smiley)

Beowulf and Grendel (Gardner)

Mrs. Dalloway and The Hours (Cunningham)

The Wizard of Oz (film or book) and Wicked

"Sleeping Beauty" (fairy tale version) and Briar Rose (Yolen) OR Enchantment (Card)

Robinson Crusoe and Foe (Coetzee)

Pygmalion and My Fair Lady

Brave New World and Gattica

Assessment: In the essay, students must clearly demonstrate that they understand the connections between the two works. Additionally, they will be assessed on originality of ideas, logical organization, freshness of language, and appropriate syntax and mechanics.

Literacy Aspects: Students learn to recognize connections between related works of literature. The essay asks students to explain these connections using good writing principles.

Reflection/Concerns: I like this assignment because it goes beyond the standard essay that’s usually assigned to demonstrate that students have done their required outside reading. Students may begin to debate the value of "classic" literature, arguing that contemporary works are just as valuable. This isn’t a problem; just lead them back to what makes any of these stories last.

Appropriate for any 9^th-12^th grade class
30 students

Topic: Song lyrics as poetry
Time: 1 60-minute class period

Objective: To teach students to interpret poetry by using material that is personally meaningful to them. To connect popular culture with classic literature.

--30 copies of a handout with song lyrics submitted by students and related questions (see "previous assignment" under Steps section)

--Multiple copies each of three different poem handouts. Each handout lists four to five poems related to one of the categories listed under "previous assignment." Poems are by "classic" writers.

Set-up:

On an earlier day, students are asked to bring in a song they like with lyrics related to one of three broad categories:

--identity/self-definition/search for self

--love

--politics/social commentary/social satire

The lyrics are collected by the teacher, who selects some of them (both whole songs and sections) for a handout. On the handout, each section of lyrics is followed by several questions that encourage the students to think about the lyrics as poetry. For example, students might be asked to list examples of figurative language in the song, or to describe how the rhythm or rhyme scheme contributes to the mood or message.

1. Pass out the first handout with the song lyrics and questions. As you do so, thank the students again for bringing in song lyrics. Explain that you’ve used them to create an exercise that will ask them to think about song lyrics as poetry. (5 minutes)

2. Go over the handout. Ask the students to read over all of the song lyrics, then choose three and answer all of the questions pertaining to them. Emphasize that they do not need to answer the questions for all of the lyrics, just three of them. All answers must be in complete sentences. (30 minutes)

3. Collect the handouts. Ask students if they can think of people and situations the blur the line between song lyrics and poetry. Jewel publishing books of her poetry/lyrics? What about poetry slams, where performance includes emphatically calling out the lines of the poem and gesturing to the audience? Sometimes the only difference between that and rap is the absence of music. But what about "classic" poets? What similarities and differences do the students see between their work and modern music? Write student answers on the board. (10 minutes)

4. On another part of the board, write the four themes that students were to use when choosing their songs. Note that these themes are common to both poetry and music. Ask students to name other themes common to both, with poems and songs as examples when possible. (Can use poetry previously studied in the class as a starting point). (5 minutes)

5. Explain that students will further explore the connection between songs and classic poems in their homework assignment. Ask the students who brought in a song about identity to raise their hands; give each of these students a copy of the "classic" poems related to identity. Do the same for the students who chose songs with love or political/social commentary as a theme. Each student will choose one of the poems and write a 1-2 page paper exploring the ways in which the poet and the lyricist explore the same theme. Suggest some points of comparison to the students. For example, what kind of language do they use to describe their subject? Are the tones similar or very different? How do they use words to move their audiences? What’s effective about each? (10 minutes)

Assessment: On the handout, I’m looking for thoughtful answers in complete sentences. The essay will be assessed for ability to draw connections between the two subjects (or a convincing argument stating that they’re completely different), as well as clarity, organization, and good syntax and mechanics.

Literacy Aspects: Completion of the handout requires close reading of the lyrics and application of knowledge gained in previous lessons about poetry. The essay stresses the ability to draw connection between two texts, as well the ability to clearly express one’s ideas in writing..

Reflection/Concerns: The questions on the handout refer to poetic devices, so this lesson needs to follow other lessons where these devices are explained and explored. Many students say they study better while listening to music. If the students in this class agree, I’d probably let them bring in some of the music they’re writing about and listen to it during the exercise. My only concern about this lesson is the subject matter of the song lyrics. Musical preference is a personal matter. But since the lyrics are used in class, my instinct is to ask the students to respect their classmates by not choosing songs that advocate violence or are obviously degrading to anyone.

11^th Grade American Literature
30 students

Lesson: American Viewpoint Speeches
Time: 2 60-minute class periods

Objective: To explore the expression of American viewpoints through famous speeches. Students will also learn more about the importance of delivery by performing "readers theater" versions of the speeches.

--4 copies each of 8 famous American speeches

--4 copies of an additional speech, broken out into individual and choral parts

1. Divide the class into groups of 3 or 4. Pass out the speeches making sure that members of the same group all have the same speech. (5 minutes)

2. Explain that each group will develop a "readers theater" version of its speech to present to the class. This means that they will find a creative way to read the speech together, with some lines or words read by individual students and others read by more than one or all students in the group. Select three students from the class to join you in an example. Give them copies of the marked up speech and show them how to read it. Perform as section of the speech for the class. (10 minutes)

3. Assign a one-page individual essay explaining how the speech exemplifies one of the American ideals that we’ve been exploring through literature (liberty, equality, self-determination, etc.) (5 minutes)

4. Let the students spend the rest of the class preparing and practicing their readings. Circulate to answer questions and help with the readings. If students finish early, they may begin work on their essays. (40 minutes)

Students perform their readings. After each, the teacher asks the class what American ideals they think were addressed in the speech.

Assessment: Students will receive participation points for working diligently and cooperatively in groups and participating in the readings. The essay will be assessed on clarity of ideas and good organization and mechanics.

Literacy Aspects: Students will analyze the speech for American themes and convey their thoughts in writing. The reading focuses on the students’ ability to pick out important words and ideas and emphasize them through their reading.

Reflection/Concerns: I’m giving the students quite a bit of class time to work on this, so I’ll need to keep an eye on them to make sure they stay on task.

11^th Grade American Literature
30 students

Topic: Uncle Tom’s Cabin
Time: 6 60-minute class periods

Objective: Students will consider the social context of the novel and understand how they affect Harriet Beecher Stowe’s use of character, literary techniques, and themes. Students will also gain a better understanding of how the arts can be used as a vehicle for social change by designing their own artistic projects.

--30 copies of Uncle Tom’s Cabin (http://www.amazon.com/exec/obidos/ASIN/0553212184/qid=1038713542/sr=2-1/ref=sr_2_1/103-0026879-3575059)

--TV and VCR

--Video copies of Ethnic Notions and The King and I

--30 copies of assignment handout for artistic project (see end of lesson)

--30 copies of small-group worksheets on stereotypes

--30 copies of Paul Laurence Dunbar poem

--Copy of "colonization" review of Uncle Tom’s Cabin

1. Hand out and explain assignment for artistic project (see assignment sheet at the end of the lesson). Ask students to think about ideas for the project at home and bring any additional questions to the next class. (10 minutes)

2. Watch part of Ethnic Notions describing the way images shape perception; the section explains origins of stereotypes such as Sambo, Jim Crow/minstrels, and the Mammy. (15 minutes)

3. Hand out worksheet on stereotypes that includes the following questions (2 minutes):

--What stereotypes does Stowe use to describe black slaves in Uncle Tom’s Cabin? Are there examples of common characters like the Sambo and the Mammy? Discuss the ways in which she both uses common stereotypes and subverts them.

--Do you think these are Stowe’s own opinions? Can you think of other reasons why she may have presented African Americans the way she did?

--How do her descriptions appear to us today? Do you make any allowances for her views? Why or why not?

4. Break students into small groups. Ask them to discuss the questions and make note of their answers on the worksheet. Collect worksheets after the discussion. (20 minutes)

5. Wrap-up: Bring the whole class back together and discuss the groups’ ideas. Ask each group to share either a conclusion they reached or something they disagreed about. (13 minutes)

1. Discuss the difference between art created for its own sake and art designed to influence others by making a political or social statement. Can the students think of current examples of art that makes a statement? Do you find this kind of art more or less appealing because it has a message? If there are no volunteers, offer a possible example, such as rap music or patriotic songs, to get the conversation started. (10 minutes)

2. Ask the students how advocating a particular belief might affect the artistic process. (5 minutes)

3. Relate the discussion to Stowe’s creation of Uncle Tom’s Cabin. Use the following questions to encourage discussion. (30 minutes)

--Who do you think would have been the main audience for this novel?

--Stowe makes extensive use of sentimentality and melodrama in Uncle Tom’s Cabin. Why do you think she chooses this approach? How might this structure have added to the persuasiveness of her argument?

--What is the role of Christianity in Uncle Tom’s Cabin?

--What other factors might Stowe have considered when deciding how best to appeal to her intended audience?

--Do you think the book is still meaningful today?

4. Explain that the issue of audience is one of the things students will address in their artistic projects. Review the project assignment given on day 1 and give the students a chance to ask additional questions now that they’ve had time to think about it. (15 minutes)

1. Ask students to take notes while I lecture on the impact of Uncle Tom’s Cabin and some of the reactions people have had to it when it was published. (20 minutes)

--Bestseller in US and Britain.

--Relationship to the Civil War; Quote often attributed to Lincoln: "So this is the little lady who made this big war."

--Attacks from slavery advocates caused Stowe to document her facts in Key to Uncle Tom’s Cabin.

--Negative African American reactions of the time: read "colonization" review, which attacks the idea that former slaves should be sent to Liberia; mention that many later stories by other authors (including Frederick Douglass) portrayed more heroic slaves.

2. Show clip from The King and I where Tuptim puts on a play of Uncle Tom’s Cabin for the king. Read excerpts from Margaret Landon’s book on Anna Leonowens that refer to Uncle Tom’s Cabin and the freeing of Siamese slaves. (25 minutes)

3. Hand out Paul Laurence Dunbar Poem. Give biographical information on Dunbar, then ask a student to read the poem aloud. (5 minutes)

HARRIET BEECHER STOWE

by  Paul Laurence Dunbar

She told the story, and the whole world wept

At wrongs and cruelties it had not known

But for this fearless woman's voice alone.

She spoke to consciences that long had slept:

Her message, Freedom's clear reveille, swept

From heedless hovel to complacent throne.

Command and prophecy were in the tone,

And from its sheath the sword of justice leapt.

Around two peoples swelled a fiery wave,

But both came forth transfigured from the flame.

Blest be the hand that dared be strong to save,

And blest be she who in our weakness came--

Prophet and priestess! At one stroke she gave

A race to freedom, and herself to fame.

Students present their artistic projects to the class.

Assessment: Students will receive class participation points for the small-group and whole-class discussions. A credit/no credit score will be given for completing the stereotype worksheets. The art project will be worth a number of points equivalent to a major essay or exam. The grade will be broken down as follows: 40% written description, 40% sample, and 20% oral presentation. Since this is a creative project, major consideration will be given to effort and originality.

Literacy Aspects: Students participate in both small-group and whole-class discussions, promoting oral communication skills as well as analysis of the novel. Small group discussion may encourage shy students to participate. The stereotype worksheet requires students to summarize ideas contributed during the discussion. The art project requires students to understand their audience and formulate a project to appeal specifically to them. It encourages creativity and allows students who may not excel at traditional English assignments to show off their talents and demonstrate understanding of the material. Finally, the students develop oral presentation skills by explaining and promoting their projects to the rest of the class.

Reflection/Concerns: The art project is complex, so I think it’s important to give students an opportunity to ask questions on the second day, when they’ve had a little time to think about it. I’ve also noticed that students who excel at traditional lessons are sometimes daunted by creative projects. They may need additional guidance. Overall, this lesson deals with sensitive issues, including slavery and stereotypes, so it shouldn’t be used too early in the semester. Students need a chance to develop trust and comfort with me and their peers before being asked to tackle this subject matter. If any students are particularly sensitive to these issues, I might not show Ethnic Notions.

In writing an anti-slavery novel, Harriet Beecher Stowe used her artistic talents to influence the society in which she lived. While slavery has since been eradicated, racism and other forms of prejudice still exist in the United States. Your assignment is to develop an artistic project designed to speak out against some form of prejudice or bolster the image of a group that has been persecuted. You won’t actually have to complete the project, just design it and create a sample of your idea. Use any art form you like.

Your grade will be based on the following elements:

1. Design your project:

• Describe the audience you’re trying to reach–for example, California teens, New Yorkers, parents, etc.
• What is the specific message or goal of your project?
• What art form will you use?
• Describe your project in detail. Depending on your art form, you should include elements such as plot, musical themes and form, visual elements, set or costume design, characters, art materials, etc.

2. Turn in a sample of your project. Suggestions for the sample include:

• a scene from a film, TV show, play, or story
• a costume sketch from a play or dance production
• song lyrics or music
• a painting, drawing, or sculpture
• a set design
• a storyboard
• advertising copy or images

3. Present your idea to the class. Imagine that you’re pitching your project to an anti-prejudice organization that’s interested in funding art. Each student will have five minutes to present his/her project and explain how it works against prejudice. Be sure to include your sample in your pitch. You will be timed, so be sure to practice your presentation! You only have five minutes!

http://www.amazon.com/exec/obidos/ASIN/1570717206/103-0026879-3575059

Summary: Poetry Speaks is a book and CD collection that features English-language poets reading their own work. Some of the recordings were previously unavailable. The book contains additional poems, short essays by living poets, biographical information, pictures, and other interesting tidbits. Many well-known poets are included–Langston Hughes, Walt Whitman, Sylvia Plath, Robert Frost, W.B. Yeats–as well as some poets students may not be familiar with.

Positive Aspects: Hearing poetry is often a very different experience from reading poetry. Many of the included poets have wonderful reading voices, and hearing them helps bring their work to life.

Problems/Development Areas: The CDs contain a mix of early and recent recordings, so the sound quality varies widely. And while the original poet is the best source of information on how he or she intended the poem to be read, not all of the poets are enjoyable to listen to. Certainly, not all of the material would be interesting or useful in the classroom. But perhaps even the poorly read poems could spark discussion about what the students would do differently in order to make the readings more engaging or meaningful.

Adapting to the Classroom: The ability to hear the poems as well as read them gives students another way to approach the works. Some of the recordings would probably help the students to understand the meaning of the poems. I would also use some of the best recordings this collection to help teach students about poetic devices such as rhythm, rhyme, the effect of punctuation, and tone. Students can examine these features in the poem’s text and then hear they way they all come together when the poem is read aloud.

URL: http://www.nytimes.com/learning/teachers/index.html

Summary: The New York Times offers a wonderful database of lesson plans related to articles appearing in the newspaper. A new lesson plan is posted daily, and each day of the week is devoted to a particular content area. Language arts lessons appear on Fridays. Lessons are thorough and include discussion questions, homework, vocabulary words, assessment suggestions, additional activities to modify or extend each lesson, and connections to other disciplines. They also feature links to related resources on the Web, as well as to instructional standards for many states.

Positive Aspects: The lessons are innovative, extremely detailed, and cover an incredible variety of subjects. The news articles themselves are just a starting point; the lessons then branch off into related ideas, texts, and activities. Because there’s such a wide range of activities in each lesson, teachers can easily adapt them based on time constraints, curriculum focus, skills, or personal interest.

Problems/Development Areas: Lessons are often listed as appropriate for both middle and high school students, with no clear explanations of which parts should be included to make it more or less advanced. This could pose a problem for new teachers who don’t yet have much experience in matching a lesson’s difficulty to the appropriate grade level or individual class.

Adapting to the Classroom: Lessons are so detailed they could almost be used as-is, with little extra work required on the teacher’s part. While there are many wonderful lessons related to literature (authors, periods, historical context, etc.), this is a particularly good resource for teachers looking for other kinds of material. I like a lot of the writing assignments and discussion questions related to news topics. It also offers a lot of opportunities to connect literature with other subjects, such as history, geography, science, and technology.

Summary: Pantheon Books has published a series of fairy tale and folklore collections from around the world. The series includes separate volumes from numerous countries and ethnic groups, as well as a volume that combines tales from around the world. Stories are grouped into themes common to the tradition of the place or people. For example, Lotus Tales, Demons, and Dreams are a few of the categories employed in the Japanese volume, while the Arab groupings include Bedouin Tales, Animal Tales, and Tales of Wit and Wisdom. Each volume has an introduction that explains themes, cultural and social conventions, historical details, and other useful background information. Many volumes also contain a glossary of words, people, and places. Available volumes include:

Favorite Folktales from Around the World

African Folktales

African American Folktales

American Indian Myths and Legends

Legends and Tales of the American West

Northern Tales (Arctic and Sub-Arctic regions)

The Victorian Fairy Tale Book (Britain)

Chinese Fairy Tales and Fantasies

French Folktales

Gods and Heroes of Ancient Greece

Folktales from India

Irish Folk Tales

Japanese Tales

Latin American Folktales

The Norse Myths

Norwegian Folk Tales

Russian Fairy Tales

Swedish Folktales and Legends

Yiddish Folktales

The Complete Grimm’s Fairy Tales

Positive Aspects: The number and variety of stories in this collection is extraordinary. Because the tales are short, teachers can use them to cover far more countries and cultures than they’d ever be able to with longer works. The introductions and glossaries are very useful for helping students put the tales into cultural and historical context.

Problems/Development Areas: While there are many volumes of non-Western folktales included in the series, many countries and cultures are either absent or lumped together in a single volume. For a teacher in the Bay Area, the absence of volumes from places like the Philippines and Korea is particularly problematic. The international volume, Favorite Folktales from Around the World, does fill in some of the gaps. Most tales are labeled by specific country or culture rather than general region. In addition, many of the countries and groups that don’t have their own volumes are represented, including Vietnam, Turkey, Cuba, Egypt, Mexico, and Australian Aboriginal.

For a teacher who prefers to purchase resources rather than checking them out at the library, the sheer number of volumes also makes price a factor. Each book is a little under $20, bringing the cost of the whole collection to nearly $400. Fortunately, each volume can be purchased separately, allowing a teacher to start with the volumes most important to the student population or curriculum. The international volume, Favorite Folktales from Around the World, is also a good starting point.

Adapting to the Classroom: With such a variety of cultures and themes, these stories could easily be used in any English classroom. Myths and folktales are often used for their own sake in world literature classes. I might also use them to introduce the kind of storytelling and themes that help form a group’s literary tradition before reading more recent literature. They’d be wonderful for small-group projects as well. For example, each group could work with folktales from a different culture and create a presentation for the rest of the class that explains some of the themes and storytelling conventions common to that place or group.

http://www.amazon.com/exec/obidos/tg/detail/-/0930589041/qid=1038764490/sr=1-1/ref=sr_1_1/103-0026879-3575059?v=glance&s=books

Summary: This is a collection of 68 recorded speeches covering important people and moments of the Twentieth Century. It includes presidential debates, inaugural addresses, policy speeches, and resignations; speeches of persuasion and inspiration; moments of conflict and triumph; eulogies and farewell addresses. A variety of public figures are included, such as JFK, Martin Luther King Jr., Richard Nixon, Adolf Hitler, Amelia Earhart, Neil Armstrong, Malcolm X, Douglas MacArthur, and Hank Aaron.

Positive Aspects: Speeches are meant to be heard, and much of their impact may be lost if we only encounter them on the printed page. Some of the speakers are truly gifted orators; others simply help us understand historical periods or events, providing important context for works of literature.

Problems/Development Areas: The recording quality of the older speeches is poor, but this should be overlooked given the historical and literary value of the material. Also, if you’re looking for a collection that features men and women from a variety of cultures, this isn’t the one for you. Upper class white men were the predominant players on the public stage through most of the 20^th Century and this collection reflects it. There are a handful of recordings by women and African Americans, but nothing more.

Adapting to the Classroom: Evaluating a delivering speeches is part of the California standards for language arts classes, so these recordings are very useful. Many of them can be used to illustrate types of speeches (informational, persuasive, inspirational, etc.), as well as speechwriting principles (message, repetition, alliteration, rhythm, etc.). Some of the speeches would also work well when paired with particular texts, or as background for a period. For example, The Crucible might be enhanced by hearing a speech by Joseph McCarthy.

URL: http://www.pbs.org/teachersource/

Summary: The PBS TeacherSource Web site features lesson plans, resources and tips for teachers, and suggestions for using technology in the classroom. Most of the lessons include the use of PBS video clips, but many of the activities can be used without the video component. In addition to teacher procedures, each lesson includes student "organizers"–handouts for students that detail all aspects of individual and group assignments.

Positive Aspects: There’s a strong emphasis on multicultural subjects and materials. Lesson and teacher resources include extensive lists of books, articles, films, organizations, and Web sites where teachers can further explore the material and issues raised in the lessons. The site also offers suggestions and factors to consider when teaching sensitive material, such as Huckleberry Finn.

Problems/Development Areas: Extension activities for the lesson plans are sometimes vague or obvious. For example, one of the extensions for teaching Invisible Man is to make it part of a larger study of African American literature. It certainly didn’t take someone with a Ph.D. in English to come up with that suggestion. And while you can search the lesson plan database for lessons that meet particular state or national standards, the feature is confusing, requires a number of steps on separate Web pages, and doesn’t list the standards a lesson meets by grade level.

Adapting to the Classroom: The level of detail in the lessons varies, so some would require more effort to implement than others. Many of the lessons include interesting activities that I would use as-is. I would also use the search features to help locate PBS videos or other material that would complement my own original lessons. The site is a great resource for multimedia ideas, and because it’s PBS, I know the multimedia resources are of high quality.