Romeo and Juliet Essential Question Standards Activating Strategy

Transcription

Romeo and Juliet
Essential Question
Standards
Activating Strategy
Teaching Strategies
Summarizer/Assessment
(Objective of lesson)
(Common Core standards
addressed in the session)
(Specifically what and how content/skills will be taught)
(formal and/or informal; formative
and/or summative)
1. What do I need to
understand about
Elizabethan
literature to
understand
Shakespeare?
RI.9-10.2. Determine a central idea
of a text and analyze its
development over the course of the
text, including how it emerges and
is shaped and refined by specific
details; provide an objective
summary of the text.
(Specific info about a graphic
organizer, vocabulary intro, story,
video clip, music etc. to be used)
Brainstorm: what do you know about
Shakespeare?
Monday
•
RI.9-10.3. Analyze how the author
unfolds an analysis or series of
ideas or events, including the
order in which the points are
made, how they are introduced
and developed, and the
connections that are drawn
between them.
•
RI.9-10.5. Analyze in detail how an
author’s ideas or claims are
developed and refined by particular
sentences, paragraphs, or larger
portions of a text (e.g., a section or
chapter).
2. What are the major
themes of Romeo
and Juliet?
Prologue
Tuesday
RL.9-10.1. Cite strong and thorough
textual evidence to support analysis
of what the text says explicitly as
well as inferences drawn from the
text.
RL.9-10.2. Determine a theme or
central idea of a text and analyze in
detail its development over the
course of the text, including how it
emerges and is shaped and refined
by specific details; provide an
objective summary of the text.
RL.9-10.4. Determine the
meaning of words and phrases
as they are used in the text,
including figurative and
connotative meanings; analyze
the cumulative impact of specific
word choices on meaning and
tone (e.g., how the language
evokes a sense of time and
place; how it sets a formal or
informal tone).
SL.9-10.1. Initiate and participate
effectively in a range of
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Free-write: What do you think of when
you hear R&J? What are your
expectations for this unit?
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Informational text marking: “All the World's a
Stage, Ruled by Guess Who: Why
Shakespeare Resonates With the Modern
Age”
(infotext_why_shakespeare_resonates.odt)
Mark text as class, modeling development of
argument
Vocab:
◦ myriad: many, varied
◦ nihilism: belief that all is meaningless
◦ indelibly: permanently
◦ Zeitgeist: spirit of the time
◦ circumscribe: draw line around; restrain
◦ latent: existing but not yet developed or
manifest; hidden; concealed
Paragraph-by-paragraph summary to trace
argument development
Give one/Get one:
◦ Group work: use article as primary
source for short presentation about
Shakespeare and his time;
◦ Prepare Give/get sheets
◦ Have students mix with other groups to
add at least one additional point
Go over study guide
The students sit in a large circle. Each
student has a copy of the prologue from 1.1.
it is specially prepared: each line has a midway stopping point. Students will read the
prologue approximately eight to ten times.
Readings
◦ Reading 1
▪
Choral reading
▪
Discuss and define unknown words
◦ Reading 2
▪
Going round circle, each student
reads one individual word.
▪
This will help students focus on the
individual words and the
importance they can play in writing.
◦ Reading 3
▪
Repeat Reading 2
▪
Have students try to read the
prologue as if they're one voice
◦ Reading 4
▪
Have each student read each half
line
▪
Have students try to read the
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Informal teacher
observation
Marked text
Give one/Get one
Informal teacher
observation
Marked texts (prologue)
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
collaborative discussions (one-onone, in groups, and teacher-led)
with diverse partners on grades 9–
10 topics, texts, and issues, building
on others’ ideas and expressing
their own clearly and persuasively.
L.9-10.4. Determine or clarify the
meaning of unknown and multiplemeaning words and phrases based
on grades 9–10 reading and
content, choosing flexibly from a
range of strategies.
L.9-10.4a. Use context (e.g., the
overall meaning of a sentence,
paragraph, or text; a word’s position
or function in a sentence) as a clue
to the meaning of a word or phrase.
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3. How and why does
Shakespeare use
questionable humor
in his plays?
Acting (1.1)
Three days
Wednesday
through Friday
text.
What is a pun? Can you think of a joke
that depends on a pun?
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RL.9-10.5. Analyze how an
author’s choices concerning how
to structure a text, order events
within it (e.g., parallel plots), and
manipulate time (e.g., pacing,
flashbacks) create such effects
as mystery, tension, or surprise.
RL.9-10.6. Analyze a particular
point of view or cultural experience
reflected in a work of literature from
outside the United States, drawing
on a wide reading of world
literature.
prologue as if they're one voice
Reading 5
▪
Students take turns reading to
punctuation—semicolons and
periods
▪
This will finally produce a more
natural reading.
◦ Reading 6
▪
Students repeat reading 6
▪
Students emphasize the last word
of their line before stopping.
▪
This is to help show how meter and
rhythm affect language.
◦ Reading 7
▪
Students read chorally one last
time, this time while walking in a
circle.
▪
At each punctuation mark (as in
reading 6), students stomp their
feet and change directions of the
moving circle.
Debriefing
◦ Discuss approaches and the differences
among them
◦ Discuss the content of the prologue (an
overview of the whole play.
Focus on “two”
◦ Students circle any words dealing with
“two.”
◦ Discuss the many ways in which the
notion of “two” is reinforced throughout
the
Homework
◦ Read 1.1
◦ Answer study guide questions
Review homework
Introduce the idea of puns
◦ Examples
▪
“Did you hear about the guy who
bought a carnival? He got a fair
price.”
▪
“What happens if you tell too many
jokes with puns? You get sent to
the punitentiary.
◦ Definition
◦ Examine “carnival” joke
Puns in 1.1
◦ Have students read 1.1 chorally (sides
of room as characters)
◦ On board
▪
carry coals
◦
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Re-read 1.1
Make an outline of the
events in the first scene
Read 1.2
Complete study guide
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
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4. How do different
directors envision
the comedic
element of 1.1?
RL.9-10.7. Analyze the
representation of a subject or a key
scene in two different artistic
mediums, including what is
emphasized or absent in each
treatment (e.g., Auden’s “Musée
des Beaux Arts” and Breughel’s
Landscape with the Fall of Icarus).
Write a brief synopsis of the first 100
lines of R&J.
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5. How do the various
characters in R&J
view love and
marriage?
Love and
Marriage (1.2,
1.3)
text.
What is the ideal love? Discuss it with
a friend and come up with two to four
characteristics.
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▪
colliers
▪
in choler
▪
collar
Acting 1.1
◦ Assign parts
◦ Act out 1.1 (though Escalus's speech)
◦ Have students direct action. Sample
questions to have them consider:
▪
How and where should Abram and
Servingman enter?
▪
How should Gregory and Sampson
react when they see Abram and
Servingman?
▪
How do the men react?
◦ Point out that this is developing blocking
skills for later.
Continue class direction for the second half of
1.1, with teacher gradually playing less and
less of a role
Homework
◦ Begin reading 1.2 and 1.3
◦ Complete study guide
Review the supposed comedic elements of
1.1.1-100
Informational text: What is humor?
Have students make chart for recording
observations
◦ What is funny | What was supposed to
be funny
◦ Version 1| Version 2 | Version 3
View version 1; with partner fill out chart
View version 2; fill out chart alone
Debrief as class
Four corners, Voting: which was funnier?
◦ Both were funny
◦ Version 1
◦ Version 2
◦ Neither was funny
Homework
◦ Finish reading 1.2 and 1.3
Assign parts and read 1.2 and 1.3 in class
Group work: Complete “Love and Marriage”
graphic organizer as class
Homework
◦ Read 1.4
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Graphic organizer
Informal teacher
observation
Oral questioning
Four corners
Informal teacher
observation
“Love and Marriage”
graphic organizer
Oral questioning
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
RL.9-10.3. Analyze how complex
characters (e.g., those with
multiple or conflicting
motivations) develop over the
course of a text, interact with
other characters, and advance
the plot or develop the theme.
6. How does
Shakespeare use
imagery in
soliloquies?
Queen Mab (1.4)
text.
KWL about Queen Mab (from reading)
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characters (e.g., those with
multiple or conflicting
motivations) develop over the
course of a text, interact with
other characters, and advance
Read/act out whole scene
Examine Queen Mab as class
Group work:
◦ Draw what Mab looks like on butcher
paper
◦ For each aspect, add quote to back it up
•
Introducing the idea of implied staging
instructions
◦ Review first discussion between Romeo
and Benvolio
◦ Point out the necessity of staging it so
that “What fray was here?” makes
sense.
◦ Repeat for Lady Capulet's instructions
for Nurse to leave and come back
Examine lines
◦ Lines
▪
Capulet's lines in 1.5.87-93:
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Go to, go to;
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You are a saucy boy: is't so,
indeed?
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This trick may chance to
scathe you, I know what:
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You must contrary me! marry,
'tis time.
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Well said, my hearts! You are
a princox; go:
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Write a telegram to friend
explaining Mercutio's
personality. (Remember:
a telegram is short and to
the point—usually one or
two short sentences.)
Read 1.5
7. How does
Shakespeare
include stage
directions within the
dialogue?
text.
The Meeting (1.5)
Complete: One thing I already know
about how Shakespeare directs actors
is ______________
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Re-read Prologue from
act 2.
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
Be quiet, or--More light, more
light! For shame!
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I'll make you quiet. What,
cheerly, my hearts!
▪
Lady Capulet's lines 1.3.9-12
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This is the matter:--Nurse,
give leave awhile,
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We must talk in secret:--nurse,
come back again;
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I have remember'd me, thou's
hear our counsel.
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Thou know'st my daughter's of
a pretty age.
◦ Discussion
▪
Capulet is talking to two different
groups
▪
The nurse is to start to leave and
then come back when called
◦ “How are we to tell?” Shakespeare only
implies stage directions
Assign characters and act out; class
members act as directors
View BBC version for comparison
Scaffolding: Class
◦ Close-reading: Romeo's lines upon
seeing Juliet
◦ Delineate argument
Scaffolding: Groups
◦ Close-reading: Romeo and Juliet's first
lines
◦ Delineate argument
Give-one Get-one assessment
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8. How does Romeo
use argumentative
reasoning in 1.5?
The Meeting (1.5)
text.
Make a list of positive qualities of light
(i.e., the opposite of darkness)
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central idea of a text and analyze
in detail its development over the
course of the text, including how
it emerges and is shaped and
refined by specific details;
provide an objective summary of
the text.
•
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Informal teacher
observation
Marked text
Give-one Get-one
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Read 2.2
•
9. What is a prompt
book and how does
it help in
understanding
Shakespeare?
Prompt books
(2.1)
Monday and half
of Tuesday
text.
Review study guide with partner
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Quiz on act 1
Review implied stage directions
Introducing prompt books
◦ Show examples of prompt books
◦ Discuss and write on board what
information is included
Reading 2.1
Create prompt book together in small groups
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
Free-write: Is there such a thing as
love at first sight? Discuss with partner
upon completion.
Day 1
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10. Is there such a thing
as love at first sight?
/ What is a prompt
book and how does
it help in
understanding
Shakespeare?
(Continued)
The Balcony
Scene (2.2)
Two days
Half of Tuesday
through Thursday
•
RL.9-10.5. Analyze how an
author’s choices concerning how
to structure a text, order events
within it (e.g., parallel plots), and
manipulate time (e.g., pacing,
flashbacks) create such effects
as mystery, tension, or surprise.
Day 2
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Informal teacher
observation
Complete study guide for
these scenes
Read 2.2 and 2.3
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Review blocking
Pass out divided 1.5 (eight-page hand out).
Each student, based on the page number,
gets into a group. (Eight groups of three to
four students each.)
Provide students with a day to prepare
blocking and rehearse it.
•
Rehearse in groups
Each group presents
Compare to filmed version
RL.9-10.7. Analyze the
representation of a subject or a
key scene in two different artistic
mediums, including what is
emphasized or absent in each
treatment (e.g., Auden’s “Musée
des Beaux Arts” and Breughel’s
Landscape with the Fall of
Icarus).
11. How does
Shakespeare use
figurative language
in his soliloquies?
Language Tricks
(2.3)
Monday
characters (e.g., those with multiple
or conflicting motivations) develop
over the course of a text, interact
with other characters, and advance
Re-read the Friar's soliloquy with a
friend. Find three tricky passages that
confuse you.
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Have student volunteer read the Friar's
soliloquy.
Go over language tricks (as class, without
handout; activate prior knowledge by referring
to earlier units as appropriate)
In pairs/groups, create own.
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
12. What are some
tricks for
understanding a
performance of
Shakespeare
without having the
text in front of you?
Marriage (2.4-2.6)
Tuesday
text.
What advice would you give Juliet on
her wedding day?
•
13. How can I
determine what are
the most important
lines of a given
passage?
text.
Turning Point
(3.1)
Wednesday
RL.9-10.5. Analyze how an author’s
choices concerning how to structure
a text, order events within it (e.g.,
parallel plots), and manipulate time
(e.g., pacing, flashbacks) create
such effects as mystery, tension, or
surprise.
•
Review study guide with partner
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Go over the “tricks”
◦ Relax—it shouldn't be a stressful
experience.
◦ Don't worry if you don't understand
every word or even if you feel you don't
understand several words/too many
words.
◦ Don't fret over the words that you don't
catch: you'll miss more while you're
fretting.
◦ Let your eyes guide you: except in long
soliloquies, the action can provide a
critical reference for understanding
View scenes, stopping occasionally for
debriefing; as students view, they work on
study guide
Review study guide
Introduce tableaux vivant
Divide class into five groups, giving each
section of the scene
◦ Group 1
◦ Group 2
◦ Group 3
◦ Group 4
◦ Group 5
Provide students with planning handout
Present
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Read 3.1
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Read 3.2, 3.3
Look for parallels in
Juliet’s soliloquies with
what Romeo was saying
in:
◦ 1.1
◦ 1.5
◦ 2.2
Verbal class informal progress assessment
regarding song selection
Present ways to compare/contrast two texts.
In addition to students' ideas, add:
◦ Mood and tone
◦ Theme
◦ Language (use of figurative language,
imagery, etc.)
◦ Setting
◦ Events described
•
Informal teacher
observation
Scaffolded writing
HW: Complete writing
14. How can I compare
and contrast two
texts in formal
literary analysis?
Project work
text.
Journal: What is your greatest concern
regarding this unit's project?
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Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
•
W.9-10.2. Write
informative/explanatory texts to
examine and convey complex
ideas, concepts, and information
clearly and accurately through the
effective selection, organization,
and analysis of content.
W.9-10.2a. Introduce a topic;
organize complex ideas, concepts,
and information to make important
connections and distinctions;
include formatting (e.g., headings),
graphics (e.g., figures, tables), and
multimedia when useful to aiding
comprehension.
W.9-10.2b. Develop the topic with
well-chosen, relevant, and sufficient
facts, extended definitions, concrete
details, quotations, or other
information and examples
appropriate to the audience’s
knowledge of the topic.
◦ Dialogue
Present songs
◦ Songs
▪
Allison Krauss “Ghost in This
House” for 1.1 (remind students)
▪
Drive-by Truckers “Decoration Day”
for 3.1
◦ Presentation of songs: For each
▪
Have students identify which
section of the play the song could
be compared
▪
Students work as class or in pairs
(scaffold with each song) to make a
few notes of how to connect the
song and play
◦ Review online resources:
▪
http://ourenglishclass.net/classnotes/literature/selections/romeoand-juliet/soundtrack-sample/
▪
http://ourenglishclass.net/classnotes/literature/selections/romeoand-juliet/soundtrack-sample-2/
W.9-10.2c. Use appropriate and
varied transitions to link the major
sections of the text, create
cohesion, and clarify the
relationships among complex ideas
and concepts.
W.9-10.2d. Use precise language
and domain-specific vocabulary to
manage the complexity of the topic.
W.9-10.2e. Establish and maintain a
formal style and objective tone
while attending to the norms and
conventions of the discipline in
which they are writing.
W.9-10.2f. Provide a concluding
statement or section that follows
from and supports the information
or explanation presented (e.g.,
articulating implications or the
significance of the topic).
15. How can we
determine which
portions of an
extended text are
critical to
understanding the
work's large
themes?
Cutting the Script
text.
RL.9-10.5. Analyze how an author’s
choices concerning how to structure
a text, order events within it (e.g.,
parallel plots), and manipulate time
(e.g., pacing, flashbacks) create
such effects as mystery, tension, or
Review parallels homework with
partner
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Go over homework
Initial decisions
◦ Have students read the 3.4 and 3.5 in
small groups
◦ Once done, ask students what can be
safely removed? (Most will say 3.4.)
Ask students to go through 3.3-3.5 and
decide what can be safely removed. Students
will mark portions that can be safely excised.
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Informal teacher
observation
Cut scripts (from group
work)
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
(3.2-3.5) (Two
Days)
surprise.
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Students report to class about decisions
made and perform the cut script
•
Introduce students to the notion of subtext
◦ Begin with the sentence, “She kissed
me after school.” Point out a couple of
different meanings
◦ Reading: “Conversation Piece” by Ned
Guymon
◦ Discuss subtext/inference
Go over “You're Late” text
◦ Divide students into pairs
◦ Give each student the “You're Late”
dialogue handout. Each sheet contains
one of the following scenarios:
▪
Two friends, one has just arrived at
what will become a surprise party
for him/her
▪
Pizza delivery that is late
▪
Bride/groom – one arrived late to
the wedding
▪
Spies meeting secretly to exchange
information
▪
Lovers meeting at a romantic
restaurant
▪
Teacher/student
▪
Two friends are meeting at the
airport to go on a trip together
▪
Boss and worker: the worker has
arrived late for the fourth time in a
row
▪
Judge and bailiff: the bailiff has
arrived late to a court case
▪
Attorney and client: the attorney
has arrived late for the client's
murder case
▪
Plumber and client: the plumber
has arrived late and the client's
whole house is flooding in sewage
▪
Computer programmer and
“intelligent” computer: the computer
has scheduled a video conference
16. What is subtext and
why is it critical to
understand for
Romeo and Juliet?
Text and Subtext
text.
RL.9-10.4. Determine the meaning
of words and phrases as they are
used in the text, including figurative
and connotative meanings; analyze
the cumulative impact of specific
word choices on meaning and tone
(e.g., how the language evokes a
sense of time and place; how it sets
a formal or informal tone).
“She kissed me after school.” How
many different ways can you
understand this?
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Students read 4.1 and
4.2, writing a twoparagraph journal entry
for each:
For 4.1: Select Paris, the
Friar, or Juliet, and write a
paragraph describing
what the character's
subtext is for this
meeting.
For 4.2: Select Juliet or
her father and write a
paragraph describing
what you think the
character's subtext is for
this meeting.
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
17. What does
awareness of
subtext add to a
scene?
“And All Things
Shall Be Well”—
Making the Plan
(4.1, 4.2)
text.
Talk with partner: how might subtext
be important to understanding
Shakespeare?
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and is “upset” that his user has
arrived late
▪
Director and actor: the actor is late
for the final shoot
▪
Musician and sound technician: the
musician has had to put off his
show until the sound tech arrives
▪
Doctor and nurse: the doctor is late
for a heart surgery
◦ Have students create a skit that uses
the dialogue but presents a totally
different scenario from all others
◦ How to differentiate? (Elements of
subtext)
▪
stress
▪
inflection
▪
pause
▪
non-verbal communication
◦ Have students present; non-presenting
students will guess on the relationships
of the two characters presented
Imagining subtext
◦ Divide into groups
▪
Group 1: 4.1 Juliet
▪
Group 2: 4.1 Friar Laurence
▪
Group 3: 4.1 Paris
▪
Group 4: 4.2 Juliet
▪
Group 5: 4.2 Capulet
◦ Each student reads his/her paragraph to
the rest of the group.
◦ Together, students compile a list of the
thoughts that might be the character's
subtext
◦ Share and discuss character by
character
Connecting subtext to deliver
◦ Have student read a passage (of
student's choice) focusing on delivery
that reflects the subtext, the discuss
◦ Independent work
▪
Each student gets one of three
passages
•
4.1.1-8
•
4.1.22-31
•
4.2.17-32
▪
Have students make notations
about reading that takes into
consideration subtext
Coached reading
◦ Volunteers read their passages
◦ For each student reading, as the
•
Read 4.3, 4.4
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
•
18. How does strong
imagery improve a
literary work?
“Cold Death”–
Imagery in 4.3
Re-read to yourself Juliet's short
soliloquy
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19. Who is responsible
for Juliet's death?
Death of Juliet
(4.5-5.2)
Review homework with partner
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following:
▪
The character is trying to hide his
subtext.
▪
How much will we let slip?
▪
How will we let it slip?
Concluding discussion
◦ How do you feel about Paris and
Capulet in these scenes? What do they
want?
◦ How do you feel about Juliet and Friar
Laurence in these scenes? What do
they want?
◦ What does awareness of subtext add to
a scene?
Read the text in class
In groups, have students determine Juliet's
four main fears:
◦ It truly is poison.
◦ She'll awaken early and suffocate in the
crypt.
◦ She'll awaken early and go insane in the
crypt.
◦ Once insane, she'll beat herself to death
with an ancestor's leg bone.
Instruct students to imagine themselves as
set designers for a film adaptation of R&J.
◦ They are to
▪
design the set for this scene;
▪
make a short list of props
necessary; and
▪
be prepared to justify decisions.
◦ Share selected with class
Conscience (as time permits)
Homework
◦ Read 4.4 and 4.5.
◦ Write a plot outline for these two scenes.
Review homework: as class, come up with
model plot outline
Comic relief
◦ Where are the comic touches used in
these scenes?
◦ Where is the tragedy located?
◦ Why do you suspect there is this
balance of comedy and tragedy?
◦ What would be the effect if a director
omitted these two scenes?
Responsibility: Socratic Seminar
◦ Ask students who is responsible for J's
“death” without discussing
◦ Pass out graphic organizer
◦ For each character listed, add him/her to
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Student drawings
Informal teacher
observation
•
Informal teacher
observation
Student Socratic Seminar
self-observation
•
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
20. How does the
concept of fate
influence characters'
actions in Romeo
and Juliet?
Conclusion (5.3)
Two days
Monday and
Tuesday
SL.9-10.3. Evaluate a speaker’s
point of view, reasoning, and use of
evidence and rhetoric, identifying
any fallacious reasoning or
exaggerated or distorted evidence.
Have students do a quick write on one
of the following quotes:
•
“The best of men cannot
defend their fate: The good
die early and the bad die
late.” —Daniel Defoe
•
“Our hour is marked and no
one can claim a moment of
life beyond what fate has
predestined.” —Napoleon
•
“What fates impose, that
men must needs abide;
It boots not to resists both
wind and tied.”
—Shakespeare, Henry VI,
Part 3
•
•
•
•
•
21. What are the
W.9-10.2a. Introduce a topic;
What do you think an introduction
•
•
one spoke on the wheel. Leave one
blank.
◦ Have each student research the
character he/she believes is most
responsible
▪
Students should search throughout
play for words and actions of
characters that might have helped
J feel she had to take such drastic
measures (allow 15-20 minutes)
▪
Discuss as class
▪
Ask if anyone changed his/her
mind and why
Homework: Read act 5 in its entirety.
Contemplating fate
◦ Discuss quick writes
◦ Have students/class come up with a
definition of “fate”
◦ Ask students
◦ Suggest to students that “Fate” might be
a character to add to previous lesson's
character wheel (see above)
Fate in acts one through four
◦ In groups, students research the role of
fate in R&J
◦ Possible answers
▪
“Star-crossed lovers”
▪
“Some consequence yet hanging in
the stars”
▪
“prodigious birth of love it is to me /
That I must love a loathed enemy.”
◦ Have students add examples to web
◦ Discuss as class
Fate in 5.1, 2
◦ Students skim two scenes for examples
of fate
◦ Add to web
◦ Questions to assist students' search
▪
What is Romeo's mood after he
hears of Juliet's “death” from
Balthsar?
▪
How does fate affect Romeo when
he believes Juliet is dead?
◦ Socratic Seminar: To what degree is fate
responsible for the tragic turn of events?
Video: Fate in 5.3
◦ Have students view 5.3
◦ Students look for/note references to fate
◦ Debrief as class
Homework: Re-read 5.3
Overview of introduction
•
•
•
•
Student quick writes
Informal teacher
observation
Fate graphic organizer
Essential Question
Standards
Activating Strategy
Teaching Strategies
should do? List three things if
possible.
and/or summative)
elements of an
effective
introduction?
(Mini-lesson)
Spread through
days with lesson
20 above
organize complex ideas, concepts,
and information to make important
connections and distinctions;
include formatting (e.g., headings),
graphics (e.g., figures, tables), and
multimedia when useful to aiding
comprehension.
•
•
22. What are the
linguistic and
thematic patterns of
Romeo's final
speech?
Romeo's Final
Speech, Part 1
Tuesday and
Wednesday
23. How do I make
sense of a multi-part
essay question
about a specific
question in
literature?
Romeo's Final
Speech, Part 2
Enrichment—
Optional at
teacher's
discretion
Wednesday and
Thursday
Re-read Romeo's final speech to
yourself
SL.9-10.3. Evaluate a speaker’s
point of view, reasoning, and use of
evidence and rhetoric, identifying
any fallacious reasoning or
exaggerated or distorted evidence.
text.
•
•
Students look at the essay question on
board: journal – what would your
reaction be if I gave you this question
as a single-question exam? What
would you do?
•
•
W.9-10.2. Write
informative/explanatory texts to
examine and convey complex
ideas, concepts, and information
clearly and accurately through the
effective selection, organization,
and analysis of content.
W.9-10.4. Produce clear and
coherent writing in which the
development, organization, and
style are appropriate to task,
purpose, and audience. (Gradespecific expectations for writing
types are defined in standards 1–3
•
Roles of introduction
◦ Introduce the topic with some indication
of its inherent interest or importance,
and a clear definition of the boundaries
of the subject area
◦ Indicate the structure and/or
methodology of the essay, often with the
major sections of the essay or its
structural principle clearly stated
◦ State the thesis of the essay, preferably
in a single, arguable statement with a
clear main clause
Types
◦ Funnel intro
◦ Baited intro
Close reading: Students sit in circle for final
readings (Romeo's final passage):
◦ Reading 1: Aloud, in unison (after
reading, define unknown words)
◦ Reading 2: Change reading at
punctuation mark (questions about
content)
◦ Reading 3: Read to end stops (students
comment about passage afterward)
◦ Reading 4: Unison
Students work in pairs to complete “Final
Speech” handout
Debrief as class
Present the question:
Romeo's final speech is filled with themes
and language devices Shakespeare has used
throughout the play.
◦ Comparisons
◦ Personifications
◦ Word categories
◦ Repetitions
◦ Sentence types
◦ Personal References
Trace Shakespeare's use of these themes
and literary devices listened below to answer
one of the following questions:
◦ How does your component reflect
Romeo's mental state?
◦ How does it relate to the larger themes
of the play?
◦ How does it contribute to the effect of
Romeo's final words?
Unpacking the question
◦ Have students reflect on the language of
the questions. Lead them to see the
difficulty lies in two parts:
•
•
Have students choose
one element and one
question and re-write
simplified version.
Essential Question
Standards
Activating Strategy
Teaching Strategies
and/or summative)
above.)
W.9-10.5. Develop and strengthen
writing as needed by planning,
revising, editing, rewriting, or trying
a new approach, focusing on
addressing what is most significant
for a specific purpose and
audience.
•
24. What kind of
prewriting do I need
to do for a formal
literary analysis
essay?
RL1
Review homework with partner
•
W1
SL1
Romeo's Final
Speech, Part 3
Enrichment—
Optional at
teacher's
discretion
SL2
25. How would I justify
my song selections?
RL1
the verbs (reflect, relate, contribute)
and the target elements (mental
state, larger themes, effect of
Romeo's final words)
◦ Guide students through simplification
process:
▪
Replace the verbs with synonyms
•
Reflect: show, illustrate, make
specific
•
Relate: show, develop, help
show
•
Contribute: add to, develop,
increase
▪
Identify and specify the target
elements:
•
What is Romeo's mental
state? (answers on board)
•
What are the major themes of
the play? (answers on board)
•
What are the effects of
Romeo's words? This leads to
two points:
◦ Effects on Romeo
◦ Effects on audience
Have students re-construct question using
the new simplifications. Examples:
◦ How do comparisons show Romeo's
mental state of anguish?
◦ How does Romeo's use of
personification show the larger theme of
fate in the play?
Review basic outline format of such an essay
◦ Introduction (Thesis): With his use of x
and y, Romeo's final speech illustrates
the theme of z.
◦ Example one
▪
Quote from text—summarizing
after quoting
▪
How it relates to theme z
◦ Example two
▪
after quoting
▪
◦ Example three
▪
after quoting
▪
◦ Conclusion
Have students create outline in pairs
Students work with partners for brainstorming
and planning
▪
▪
SL3
L4
Most students consider this to be the
most challenging project of the year.
•
•
•
Final essay question
answer
•
Final essay
Essential Question
Standards
Activating Strategy
Teaching Strategies
Make a plan for how you can deal with
the coming frustrations.
and/or summative)
Project
4-6 Days
RL2
RL7
W1
W4
W5
W9
SL1
SL2
SL3
L1
L2
L4
•
Students create Schaffer outlines and begin
final project actual essay

Romeo and Juliet Essential Question Standards Activating Strategy

Transcription

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