Standards for Grade 6

Transcription

Joint School District No. 2
English Language Arts Curriculum
English 9/English 9 Honors
Revised 2012-13
Curriculum Revision Committee:
Stacy Lacy, Centennial High School
David Knife, Central Academy
Micki Virden, Eagle High School
Jessica Miles, Rocky Mountain High School
Summer Cook, Mountain View High School--Honors
James LeDoux, Renaissance High School—Honors
Tim Smith, Renaissance High School—Honors
Camille Hammond, Meridian High School—Honors
Lynn Fouts, Rocky Mountain High School--Honors
Debrianne Johnson, Eagle High School—Honors
Jennifer Vian, Centennial High School--Honors
Suzanne Mackelprang, Academic Coach
Laura Gilchrist, English Language Arts Curriculum Coordinator
Quarter 1
Coming of Age:
Beliefs and Values
Quarter 2
Coming of Age:
Self-Identity
Quarter 3
Coming of Age:
Heroism and
Responsibility
Table of Contents
Scope and Sequence
Unit 1
Unit 2
Unit 3
Unit 4
1|Revised March 2013, Updated May 2014
Quarter 4
Coming of Age:
Relationships
Page
2-4
5-17
18-29
30-41
42-51
ELA Scope and Sequence Grade 9
F indicates that the standard is a focus standard and will be explicitly
taught during the unit. X indicates that this standard will be met
through throughout the year, but will not be explicitly taught; rather,
teachers will need to ensure that students are meeting these
standards as a result of explicit instruction through other standards.
Standard
Unit 1
Reading Literature
1
F
2
F
3
F
4
F
5
F
6
F
7
8
n/a
9
10
x
Standard
Unit 1
Reading Informational Text
1
F
2
F
3
F
4
F
5
F
6
F
7
8
x
9
10
x
Unit 2
Unit 3
Unit 4
F
F
F
x
x
x
x
x
F
x
x
F
x
F
F
F
n/a
F
x
x
n/a
x
x
Unit 2
Unit 3
Unit 4
F
F
F
F
F
x
x
x
x
x
x
F
F
x
F
x
x
n/a
F
x
x
x
x
x
Standard
Unit 1
Unit 2
Unit 3
Unit 4
Writing
1
1a
1b
1c
1d
1e
2
2a
2b
2c
2
2e
2f
3
3a
3b
3c
3d
3e
4
5
6
7
8
9
9a
9b
10
x
x
x
x
x
x
x
F
F
F
F
F
F
F
x
F
F
F
F
F
F
F
x
x
x
x
x
x
F
F
x
x
x
F
x
x
x
x
x
x
F
F
F
F
F
F
x
x
x
F
F
F
F
F
F
F
F
F
F
F
x
x
x
x
x
x
x
x
x
x
x
x
x
F
F
X
X
X
X
X
F
X
Standard
Unit 1
Unit 2
Unit 3
Unit 4
x
x
x
x
x
x
x
x
x
x
F
F
F
F
F
F
x
x
x
x
F
F
F
F
F
x
X
X
X
X
X
x
x
x
X
X
X
Unit 1
Unit 2
Unit 3
Unit 4
x
F
x
x
F
x
x
x
x
x
x
x
x
x
F
F
X
x
x
X
X
X
X
X
X
F
F
Speaking and Listening
1
1a
1b
1c
1d
2
3
4
5
6
Standard
Language
1
1a
1b
1c
2
2a
2b
2c
3
3a
4
4a
4b
4c
4d
5
5a
5b
6
x
x
x
x
x
x
x
F
x
x
x
x
x
X
F
F
X
X
Grade 9  Unit 1
Coming of Age: Beliefs and
Values
“We are born believing. A man bears beliefs as a tree bears
apples.” –Ralph Waldo Emerson
OVERVIEW
Students will be exposed to a variety of literary texts that share the theme of beliefs and
values. Students will read, write and participate in activities to examine where beliefs
and values originate, as well as the multitude of factors that influence and shape those
beliefs and values over time. This unit will be taught during 1st Quarter, as it will provide
students with the skills necessary to actively engage with text and make meaning
throughout the year. Narrative reading and writing are the focus of this unit.
Those areas of this unit particularly recommended for honors enrichment and expansion
are noted with an H.
ENDURING UNDERSTANDINGS


The narratives we construct reflect our beliefs and values.
Beliefs and values are influenced by multiple factors, including family,
community, society, and personal experience.
ESSENTIAL QUESTIONS

How do I decide and express what I believe and value?
GUIDING QUESTIONS






How do the stories we tell reflect our beliefs and values?
How do the stories we tell reflect our beliefs and values regarding justice and
social injustice? H
Can literature function as social protest/to affect change? H
What makes a text commercial fiction vs. literary fiction? H
How do effective techniques, well-chosen details and well-structured event
sequences make narrative meaningful?
How do the choices an author makes concerning how to structure a text inform
our understanding of theme, character, plot development, figurative and
connotative meaning, and tone?
STUDENTS WILL UNDERSTAND AND USE THE FOLLOWING TERMS
*indicates concept previously introduced in earlier grades.
Reading and Writing
Literary Vocabulary
Language Vocabulary
Vocabulary
 Atmosphere
 Active voice*
 Belief
 Character*
 Clauses*
 Inference*
 Climax*
 Connotation*
o Level 1 Question
 Conflict*/Resolution
 Denotation*
o Level 2 Question
 Crisis
 Interpretation
o Level 3 Question
 Denouement
 Parallel structure
 Prediction
 Dialogue*
 Passive voice*
 Questioning the Text
 Epiphany
 Phrases
 Reading
 Metaphor*
 Rhetoric
 Rules of Notice
 Motif





Schema
Text
Text Connections
o Text to Self
o Text to Text
o Text to World
Value
Visualization











Mystery
Narrative*
Narrator
Plot*
Point-of-View* (as in
1st, 2nd, 3rd person)
Setting*
Simile*
Story
Suspense
Theme*
Tone*

Simple, complex,
and compound
sentences*
STUDENTS WILL BE ABLE TO DO THE FOLLOWING
Reading: Literature
Key Ideas and Details
RL.9-10.1

RL.9-10.2

RL.9-10.3
Cite strong and thorough textual evidence to support analysis of what the
text says explicitly as well as inferences drawn from the text.
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.
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.
Craft and Structure
RL.9-10.4
RL.9-10.5

RL.9-10.6
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).
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.
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
Reading: Informational Text

RI.9-10.1

RI.9-10.2

RI.9-10.3
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.
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.
Craft and Structure

RI.9-10.4

RI.9-10.5

RI.9-10.6
Determine the meaning of words and phrases as they are used in a text,
including figurative, connotative, and technical meanings; analyze the
cumulative impact of specific word choices on meaning and tone (e.g.,
how the language of a court opinion differs from that of a newspaper).
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).
Determine an author’s point of view or purpose in a text and analyze how
an author uses rhetoric to advance that point of view or purpose.
Writing
Text Types and Purposes

W.9-10.3

W.9-10.3.a

W.9-10.3.b

W.9-10.3.c

W.9-10.3.d

W.9-10.3.e
Write narratives to develop real or imagined experiences or events using
effective technique, well-chosen details, and well-structured event
sequences.
Engage and orient the reader by setting out a problem, situation, or
observation, establishing one or multiple point(s) of view, and introducing
a narrator and/or characters; create a smooth progression of experiences
or events.
Use narrative techniques, such as dialogue, pacing, description, reflection,
and multiple plot lines, to develop experiences, events, and/or characters.
Use a variety of techniques to sequence events so that they build on one
another to create a coherent whole.
Use precise words and phrases, telling details, and sensory language to
convey a vivid picture of the experiences, events, setting, and/or
characters.
Provide a conclusion that follows from and reflects on what is experienced,
observed, or resolved over the course of the narrative.
Research to Build and Present Knowledge

W.9-10.9.b
Apply grades 9–10 Reading standards to literary nonfiction (e.g.,
“Delineate and evaluate the argument and specific claims in a text,
assessing whether the reasoning is valid and the evidence is relevant and
sufficient; identify false statements and fallacious reasoning”).
Language
Conventions of Standard English

L.9-10.1.a 
Use parallel structure.
SUGGESTED WORKS
ADOPTED RESOURCES
 Timeless Voices, Timeless Themes: Gold (2000-2002), Prentice Hall (9th Grade)
 Write Source (2007), Great Source
ANCHOR TEXTS Anchor texts are dedicated specifically to this unit. Teachers do not
need to use all of them in this unit. These texts, however, should not be used in any
other unit. Therefore, students who transfer to other schools within the district will not
read the same anchor texts more than once, giving them a richer literary experience.
 “Blues Ain’t No Mockingbird,” PH, p.498 (short story)
 “New Directions,” PH, p. 168 (non-fiction)
 “Rules of the Game,” PH, p. 224 (short story)







“The Man to Send Rain Clouds,” PH, p. 522 (short story)
“The Interlopers,” PH, p. 262 (short story)
“The Necklace,” PH, p. 536 (short story)
“The Gift of the Magi,” PH, p. 459 (short story)
“The Most Dangerous Game,” PH, p. 16 (short story)
Pizzigati, Sam. "EQUALITY NOW!" Nation 293.20 (2011): 18. MAS Ultra - School
Edition. Web. 18 Mar. 2013. (informational text retrieved through EBSCO)
Teachers are encouraged to choose additional informational text that is current,
relevant and appropriate to unit
SUPPORTING TEXTS: Supporting texts can be used with this unit or with other units as
desired.
Novel
 The Little Prince by Antoine de St. Exupery (Lexile Level 710) H
Short Stories
 “Carpathia” by Megan Arkenberg: http://www.everydayfiction.com/carpathiaby-megan-arkenberg/
 “Little Things” by Raymond Carver:
http://www.wsfcs.k12.nc.us/cms/lib/NC01001395/Centricity/Domain/796/little_thi
ngs.pdf
 “On the Bridge” by Todd Strasser:
http://roaring4reading.weebly.com/uploads/1/7/5/6/17563265/on_the_bridge_b
y_todd_strasser_text.pdf
 “The Fan Club” by Rona Maynard:
http://www.ronamaynard.com/index.php?the-fan-club
 “The Chaser” by John Collier:
http://www.utdallas.edu/~aargyros/the_chaser.htm
 “The Lottery” by Shirley Jackson:
Commentary: http://www.americanliterature.com/author/shirley-jackson/shortstory/the-lottery
Full text: http://fullreads.com/literature/the-lottery/
 “The Sniper” by Liam O’Flaherty:
http://www.classicshorts.com/stories/sniper.html
 “Scarlet Ibis” PH, p. 484 H
 “Walking Out” by David Quammen:
http://honors3.edublogs.org/files/2011/03/Walking-Out-1gf4wf3.pdf H
Poems
 “Dreams Deferred” and “Dreams,” PH, pp. 798 & 799
 “Hope is the thing with feathers,” PH, p. 797
 “To be of use,” PH, p. 171
 “The Road Not Taken” PH, p. 166 H
Plays
 The Inspector General, PH, p. 310
DIGITAL CONTENT
Art/Photos
 American Gothic: http://www.google.com/culturalinstitute/assetviewer/5QEPm0jCc183Aw?utm_source=google&utm_medium=kp&hl=en&projec
tId=art-project#!asset8|Revised March 2013, Updated May 2014
viewer:l.id=5QEPm0jCc183Aw&utm_source=google&utm_medium=kp&hl=en&pr
ojectId=art-project&urlStub=American%20Gothic
Media/Films: Any film clips must be building approved; films with an R rating are not
permitted based on District Policy 602.10. Film clips accessed through Discovery
Education are approved.
 Commercials (see SKUM activity in sample activities and assessments):
http://www.youtube.com/watch?v=GHX2mvFVQMs&list=PL787CC047A7BF3CFF
&index=2&feature=plpp_video
 Steve Jobs Stanford Commencement Speech 2005: http://youtu.be/D1RjKKp3NA H
Music
 List of contemporary music correlated to major literary works:
http://www.corndancer.com/tunes/tunes_db.html
Websites
 “25 Common Characteristics of Successful Entrepreneurs” (article)
http://www.entrepreneur.com/article/200730#
 “Being Content with Myself” by Kamaal Majeed:
http://thisibelieve.org/essay/10490/
 “Beauty is Nothing Without Brains (commercial):
http://www.youtube.com/watch?v=GHX2mvFVQMs&feature=share&list=PL787C
C047A7BF3CFF
 “The Lessons of Steve Jobs: the Road Not Taken” by Maximilian Majewski:
http://www.lockergnome.com/news/2012/08/13/the-lessons-of-steve-jobs-theroad-not-taken/ H
 “Toy Company Entrepreneur” (Log on to Discovery Ed and search for this title.)
 Teaching Choosing Details: Shared at
http://writingfix.com/6_traits/idea_development.htm#details
 Teenink.com- student written fiction and nonfiction searchable by topic
 This I Believe Essay Writing Guidelines: http://thisibelieve.org/guidelines/
 This I Believe Essays:
a. “Everyone is Included” by Catherine McDowell:
b. “It’s Cool to be a Mammal” by Laurie Uttich:
c. “Returning to What’s Natural” by Amelia Baxter:
d. “Thirty Things I Believe” by Tarak McClain (Kindergarten Student):
e. “Tomorrow Will Be a Better Day” by Josh Rittenberg:
 Usain Bolt vs. London: http://youtu.be/JZcKY9dux6Q
SAMPLE ACTIVITIES AND ASSESSMENTS
(Focus standards for this unit are in bold.)
INTRODUCTORY ACTIVITIES
1. WORD ASSOCIATION WEBS (SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d, SL.910.4, L.9-10.4): Introduce students to the notions and preconceptions of reading
and text. Have students participate in word association webs to activate their
individual schema surrounding each word. Allow students to work in groups to
define both reading and text, utilizing the word associations on the board as
support. Discuss definitions (text: symbols with meaning attached, reading: the
process of extracting meaning from text). Inform students that reading, as
defined, is a process and a skill that must be actively pursued.
2. TEACHING CHOOSING DETAILS (SL.9-10.6, W.9-10.3.c): Shared at
http://writingfix.com/6_traits/idea_development.htm#details
This activity is designed to help students understand how important details are in
helping a reader build deep understanding of a text.
Supplies needed: Legos, plastic bags, file folders (for dividers), camera (and
photos), paper, and pen
Preparation: First create two separate structures using Legos. Next, take a picture
of each structure. Make enough colored copies of the pictures so that there are
one of each for every two students in the class. Then, place the Legos needed
for each structure into different baggies (again enough of each for every two
students), and arrange the desks so that every two desks are facing each other.
Use the file folders, taped to the desk to prevent falling, as dividers between the
desks so that when the students sit down they can't see each other.
The Activity: Explain to the students beforehand that they are not to talk or share
anything given to them. When the students are seated with their paper and
pens out on their desks, give each student on the left side of the divider one of
the pictures and one of the baggies of Legos that goes with that picture. Next,
give the students on the right side of the divider the picture of the other Lego
structure and a baggie with the needed supplies. Do this in such a way so that
the students don't see the picture the other person across the divider has. Explain
to the students that they will have 25 to 30 minutes to write directions explaining
how to put the structure together. They can only use words in their directions, no
pictures. At the end of the time frame, discreetly collect the pictures and have
the students switch places leaving the Lego baggies and their directions on the
desk. Next, tell the students that they have 20 minutes to use the supplies and
directions in front of them to build the structure in the picture they did not see. At
the end of the time frame, we look at who completed the structures closest to
the original picture in the shortest amount of time.
Reflection –During the next class, discuss what was hard about the activity and
why. Read some of the directions that worked for the students who did well and
pick out what words or phrases were most helpful. Then relate the directions to
the pictures as details to the main idea/theme of our writing and how when we
don't use enough detail or the right detail, the reader will miss the “big picture" of
our writing. As texts are read for class, explicitly model for students how readers
find details in the text that support the main idea/theme.
10 | R e v i s e d M a r c h 2 0 1 3 , U p d a t e d M a y 2 0 1 4
3. FOUR CORNER VOCABULARY DIAGRAM (L.9-10.4.a, L.9-10.4.c, L.9-10.4.d, L.910.5.b, L.9-10.6): (particularly useful for teaching students the vocabulary
pertaining to the reading strategies)
On note cards, create a flip book of 4-corner diagrams for vocabulary essential
to the unit (4-corner diagrams include: Word, Definition, Sentence-Connection
[use the word in a sentence; provide enough context that the meaning and
usage of the word is correct and discernible], and Picture [picture can be
anything related to the use of the word in the sentence].)
Word list: Narrator, Theme, Motif, Epiphany, Inference, Interpretation, Plot, Story,
Crisis, Climax, Dialogue, Denouement, Resolution, Conflict, Mystery, Suspense,
Denotation, Connotation, Metaphor, Simile, Rhetoric, Point-of-View (as in 1st, 2nd,
3rd person) , Character, Setting, Atmosphere, Tone.
Sample 4-corner Vocabulary Diagram:
Word:
Sentence-Connection (use the word in a
sentence; provide enough context that I
know you understand the meaning of the
word and its usage):
Definition (from the dictionary):
Picture (draw a picture related to your use
of the word in the sentence you created):
READING
Literature and Informational
1. READING STRATEGIES: “READING MOVES” (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.910.4, RL.9-10.5, RL.9-10.6, RL.9-10.10, RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.4, RI.910.5, RI.9-10.6, RI.9-10.10): Reading Moves are strategies taught to students
throughout the duration of the unit utilizing short stories, either from the text book
anchor texts, or from supporting texts. Any short story can be chosen for any
given reading move, but some short stories make the reading strategy more
accessible than others. The following are “Reading Moves,” strategies good
readers employ to ensure solid comprehension and analysis:
a. Rules of Notice: Elements authors incorporate into a text in order to further
meaning. Readers utilize rules of notice to work towards the author’s
intended meaning. (Titles, Setting, Character Names, Sentence Structure,
Character Development, etc. Rules of Notice handout is included at the
end of this unit.)
b. Visualization: The mental movie or image created in the reader’s mind as
a result of their schema and descriptive text.
c. Text Connections: Connections readers make between themselves and
the text (text to self), the text and the world (text to world), and other texts
(text to text) based on their schema in order to further or alter meaning.
d. Questioning the Text: Questions readers ask of the text in order to
determine meaning.
i. Level 1: Surface level questions; can be found and answered
directly within the text.
ii. Level 2: Inference based questions; questions originate within the
text but ask the reader’s opinion.
iii. Level 3: World based questions; using the text as a starting point
and asking a question about a larger world issue.
e. Prediction: Utilizing clues or rules of notice within the text in order to
predict what will occur next.
f. Inference: Connecting the dots authors create in order to make an
assumption about what is occurring (never directly stated in the text).
2. CRITICAL THINKING STRATEGY (VIEWING INFORMATION/SHORT STORY) (SUBJECT,
KEY DETAILS, UNDERSTANDING THE CONNECTIONS, MEANING) (RL.9-10.1, RL.910.2, RL.9-10.3, RL.9-10.4, RL.9-10.5, RL.9-10.6, RL.9-10.10, RI.9-10.1, RI.9-10.2, RI.910.3, RI.9-10.4, RI.9-10.5, RI.9-10.6, RI.9-10.8, RI.9-10.10, SL.9-10.1.a, SL.9-10.1.b, SL.910.1.c, SL.9-10.1.d, SL.9-10.3):
a. Introduce students to the critical thinking strategy of SKUM utilizing a
commercial that is accessible, but not overly explicit. Example
commercials include “Darth Vader Super Bowl Commercial, 2011”,
“Beauty is Nothing Without Brains Mercedes Benz”, “Usain Bolt v. London
Visa”
b. For the first viewing allow students to just “watch” the commercial.
Following the commercial, inform students that at this point, all they have
done is simply viewed the text; they have not critically viewed it.
c. Students will read the text by completing a Subject level analysis; students
will identify the following: who, what, when and where of the commercial
at the most simplistic level. Go over the subject as a class before moving
on. Example (using “Beauty is Nothing” commercial) Who: Two women;
what: ordering food; when: current; where: library
d. Have students view the commercial a second time, recording all the Key
Details that are important to the communication of the subject: Blonde
woman, young, pretty, ignorant, book shelves, people studying, quiet,
glasses, woman behind desk, stamping books, etc.
e. Go over the Key Details as a class and ask students to identify and
articulate what they Understand the Connections between those key
details to mean.
i. Blonde woman, young, pretty, ignorant = Stereotype of a dumb
blonde
ii. Book shelves, people studying, quiet = Library
iii. Glasses, woman behind desk, stamping books = Librarian
f. Now students are able to address Meaning. Meaning pushes students to
look at their critical reading of a text in order to make a supported claim,
rather than simply offering their opinion of the text. (This is the difference
between watching and reading—awareness—moving the students from
surface level reading into a critical reading of tex)
i. Watching = “What does this have to do with a car?”
ii. Reading = The blonde woman and the car are parallel images, just
like the blonde woman is attractive, so is the car, but what sets the
Mercedes apart is its engine, e.g. brain.
g. Repeat the steps above using one of the following texts to guide students
through understanding and repeat with additional stories read for the unit.
3. WHAT’S IN A WORD? (RL.9-10.4, W.9-10.2, W.9-10.2.a, W.9-10.2.b, L.9-10.1, L.9-10.2,
L.9-10.2.c, L.9-10.5.b ): Create a table comparing, contrasting, and elaborating
on how each of these words is used in “The Most Dangerous Game” and “Rules
of the Game: game, rules, move, opponent, win, strategy, chess, player. Be
sure to include the denotation and connation for each of the following words
(the word may be implied rather than directly stated). Compare and contrast
how these same words create different meanings and tones in each of these
stories. Try replacing the words with similar words. How does that change the
meaning of the story? Students write a paper analyzing the cumulative impact
of these specific word choices (and any other pertinent words) on the meaning
and tone of each of these stories.
4. READING STRATEGIES ASSESSMENT (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.4, RL.910.5, RL.9-10.6, RL.9-10.10, RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.4, RI.9-10.5, RI.910.6, RI.9-10.10): Choose a more challenging text at the culmination of the unit
and have students apply all of the reading strategies (See Reading Activity 1) to
the text, annotating their application of the strategies while reading.
5. HONORS FIGURATIVE AND CONNOTATIVE MEANING (RL.9-10.4): Read the
following and analyze how specific words and phrases impact each selection in
the areas indicated:
 Cask of Amontillado (irony)
 The Bells (tone, mood, diction)
 The Raven (allusion)
6. HONORS “THE CASK OF AMONTILLADO” AND MOB MENTALITY (RL.9-10.1, RL.910.2, RL.9-10.3, RL.9-10.4, RL.9-10.5) While reading “The Cask of Amontillado” find
evidence and make inferences about justice and mob mentality. After
analyzing how the characters develop over time and how the author’s choices
create such effects as mystery, tension, or surprise, determine a possible theme for
this story.
7. HONORS SOCRATIC SEMINAR PREPARATION “WALKING OUT” (RL.9.10.1, RL.9.10.2,
RL.9.10.3, RL.9.10.4, RL.9.10.5): Students will independently read and annotate
the text and write 3 Level One questions, 2 Level Two questions, 1 Level Three
question, and 1 Level Four question. Partners will review and discuss their Level 3
and 4 questions to prepare for Socratic discussion. Suggested Resource: “Four
Levels of Questions”: http://maclife.mcmaster.ca/academicskills/pdf/levels.pdf
8. HONORS THEMES OF SOCIAL INJUSTICE (RI.9-10.2, W.9-10.7, SL.9-10.4): Students
will do research to explore these questions: Why do authors write what they
write? How can literature be used as a form of social protest? After doing the
research, students will create works of art protesting social injustice. Students will
present their artwork and their findings to parents and guests during an evening
activity.
WRITING
1. LITERARY RESPONSE WRITING (RL.9-10.4, RL.9-10.5, RL.9-10.6, W.9-10.1, W.9-10.1.d,
W.9-10.1.e, W.9-10.10, L.9-10.1, L.9-10.2, L.9-10.2.c): Students will apply reading
strategies to analyze the use of narrative technique in a variety of texts. (Literary
analysis is an argumentative type of writing.) Suggested Texts: “New Directions,”
“Little Things,” “The Chaser,” “The Sniper.”
2. NARRATIVE WRITING: MISSING SCENES (W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.910.3.d, W.9-10.3.e, L.9-10.1, L.9-10.2, L.9-10.2.b, L.9-10.2.c,): At the end of “The
Most Dangerous Game” and “Rules of the Game”, a scene is suggested but not
written. Choose a story, and write the missing scene for that story. Imitate the
narrative structure of the original story, basing the scene on the previous details
in the story, while including some of these details from the original story in the
missing scene.
3. NARRATIVE WRITING: THIS I BELIEVE ESSAY (RI.9-10.1, RI.9-10.2, W.9-10.3, W.910.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.910.9.b, SL.9-10.2, SL.9-10.4, L.9-10.1, L.9-10.2, L.9-10.2.c):
a. Listen to or read written transcripts of several essays from ThisIBelieve.org
from the “Values and Spirituality” category (or any other appropriate
category) Suggested essays are listed in the “Websites” section of this
document.
b. Use the “Rules of Notice” strategy to make text observations and draw
inferences to determine what the author values (if not directly stated.)
c. Choose evidence from the text to support their inference/assertion.
d. Respond to that text by evaluating the degree to which they hold that
value on a sliding scale of agree to disagree (could be posters on the
wall.) Students must have a valid reason for why they placed themselves
at that particular point on the scale. This could be a statement of belief,
anecdote, etc. Call on students at random to share.
e. After evaluating several values, students write their own This I Believe essay
following the guidelines available at http://thisibelieve.org/guidelines/.
f. Give students the option to record as a podcast to meet standards SL910.5 and W.9-10.6.
4. HONORS ARGUMENTATIVE WRITING (W.9-10.1, W.9-10.1.a, W.9-10.1.b, W.9-10.1.c,
W.9-10.1.d, W.9-10.1.e): Students will select one of the reading selections from
this quarter and use it as a basis for writing an argument. Students will use textual
evidence to support their arguments.
5. HONORS SCHOOLOGY (W.9-10.4, W.9-10.6): Schoology is a free academic social
media site that students and teachers can use to have online discussions.
Teachers need to set this up for their classes. Resource:
https://www.schoology.com/home.php
SPEAKING AND LISTENING
1. CHARACTER VALUES NARRATIVE (SL.9-10.3, SL.9-10.4, SL.9-10.6, L.9-10.1, L.9-10.3):
Students will conduct an interview with an adult in their life posing the question,
“How are your beliefs and values influenced by multiple influences like family,
community, society, and/or personal experience?” Students gather relevant
information during firsthand research, and then take on the persona of the person
interviewed to present to the class using language, expressions, idioms, etc. that
reflect the actual person. Information presented should clearly identify or allude to
the value or belief expressed.
a. This can also be completed by interviewing a character from a text read in
class. Follow the above guidelines and gather evidence from the text to
analyze a value the character holds.
2. HONORS STUDENT CONGRESS (SL.9-10.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.910.1.d): Students will hold a congress and come to a consensus about what
procedural techniques will be used to help them understand the following: inquiry,
discussion, democratic consensus building activity, background information,
processing authentic questions from different texts, generating questions, drawing
conclusions and recognizing issues.
3. HONORS “THE MOST DANGEROUS GAME” DISCUSSION (SL.9-10.1, SL.9-10.1.a, SL.910.1.b, SL.9-10.1.c, SL.9-10.1.d): Suggested Resource: What Makes Literary Fiction
Literary?: http://blog.nathanbransford.com/2007/02/what-makes-literary-fictionliterary.html
Discussion Questions:
 What makes ”The Most Dangerous Game” commercial fiction?
 How can a stressful situation effect one’s ethical standards? Compare it to
the Hemingway piece—The Short Happy Life of Frances Macomber:
http://www15.uta.fi/FAST/US1/REF/macomber.html
 Explore the nature of justice in relationship to Rainsford’s changing ethics.
Would the following be examples of heroes, vigilantes, whistle-blowers or
traitors: Snowden, Wiki Leaks. Why or why not? What are some current
examples of changing ethics?
4. HONORS THE LITTLE PRINCE (SL.9-10.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d):
How does Maslow’s Hierarchy of Needs contribute to your understanding of the
book: Suggested Resource: http://www.simplypsychology.org/maslow.html
LANGUAGE ACTIVITIES
1. PARALLEL STRUCTURE ACTIVITIES (L.9-10.1.a): Using mentor texts as examples,
point out sentences that utilize parallel structure (see p. 161 in PH for
definition/example of parallel structure or visit OWL at Purdue for other
explanations of parallel structure
http://owl.english.purdue.edu/owl/resource/623/1/.) Ask students to practice
writing sentences using parallel structure and then apply that structure to essays
written in class.
2. CONTEXT CLUES (L.9-10.4.d): Remind students about the use of context clues
and how context can help readers understand unfamiliar words. Have students
write sentences using vocabulary from text that use explicit context clues.
SBAC PERFORMANCE ASSESSMENT PREP
1. BELIEFS AND VALUES ACROSS GENRES (RL.9-10.1, RI.9-10.1, SL.9-10.3, W.9-10.2.a,
W.9-10.2.b, W.9-10.2.c, W.9-10.2.d, W.9-10.2.e, W.9-10.2.f, W.9-10.4, W.9-10.5, W.910.6, W.9-10.9): After reading and viewing the following, write an informational
essay comparing and contrasting how each text and video addresses personal
beliefs/values. How are the ideas the same? How are they different? Be sure to
use well-chosen evidence from the text to support your ideas. The following texts
can be used, or you can choose other multiple texts to use:
a. “25 Common Characteristics of Successful Entrepreneurs” (article)
b. “Toy Company Entrepreneur” (Discovery Education video segment)
c. “To be of use” by Marge Piercy (poem, PH, p. 171)
d. “The Lessons of Steve Jobs: the Road Not Taken” by Maximilian Majewski H
Rules of Notice for Reading Fiction
Or, “The Unspoken Rules of Reading Fiction”
Adapted from Before Reading by Peter J. Rabinowitz

Titles and subtitles tell us where to focus our attention and provide a core around which to
organize our interpretation. Ask questions about the meaning of titles.

First and last sentences/beginnings and endings. A valid interpretation of a text will be able to
incorporate the message or meaning of the first and last sentences (of a chapter or of the work
as a whole). Authors often place important information in these positions. Ask questions about
the meaning or message of the first or last sentence of a chapter.

Repetition. Repeated actions/ideas are meant to attract the attention of the reader and
suggest importance. Ask questions about images, ideas, or details that are repeated.

Metaphors and similes. The author may use these types of figurative language to draw
attention to a certain aspect or idea in the text. Pay close attention to metaphors and similes.
Ask questions about what associations the author might intend the reader to make based on
figurative language.

Typography. Words or phrases that are italicized or otherwise set apart from the rest of the
text are meant to call the attention of the reader. Ask questions about the purpose of certain
elements of typography.

Spacing and line breaks. Pay attention to how the author chooses to break up the text – it may
be a signal for a change in the time structure (like a flashback), a change in narration, etc. Ask
questions about the shifts created by the author and the purpose of those shifts.

Epigraphs. An epigraph is a quote that comes before the beginning of a text and can serve to
raise the expectations of the reader about events to come. Ask questions about the meaning or
message of an epigraph.

Threats, warnings, and promises. These should be noticed because they may predict the shape
of the text. Ask questions about the reader’s interpretation or prediction based on a threat,
warning, or promise made by a character.

Details given at a climactic moment receive special stress. (For example, when an event
changes a major character’s relationship to other characters, then the event is read as
important; when an event or detail answers a question around which the narrative has been
based, it is emphasized.) Ask questions about moments of high suspense in the novel, focusing
on possible shifts in character relationships, details, foreshadowing, etc.

Apparent irrelevance/inappropriate behavior. If a detail or comment by a character seems to
have no relevance to the story, it is probably worth noting. In the same way, if a character
behaves in an unexpected or inappropriate way, it should be noted. Ask questions about
characters that behave unexpectedly, or details that seem to be random. What might these
changes or details mean to the story or message?
Grade 9  Unit 2
Coming of Age: Self Identify
“Real courage is when you know you're licked before you
begin, but you begin anyway and see it through no matter
what.” ― Harper Lee, To Kill a Mockingbird
OVERVIEW
Students will read To Kill a Mockingbird as well as informational texts that relate to the
novel. Research skills are introduced and practiced. Students will focus on making
annotations and connections between texts, stating claims and supporting them with
textual evidence. This unit will focus on applying the reading strategies from Quarter
One to a more complex text; Writing will transition from narrative to informative, by using
narrative writing as a jumping off point for literary analysis and other forms of
informational writing. Those areas of this unit particularly recommended for honors
enrichment and expansion are noted with an H.


The process of growing up challenges our childhood beliefs and values.
Studying the craft and structure of a text allows for literary insight.
ESSENTIAL QUESTIONS

How do my beliefs and values tell me who I am?
GUIDING QUESTIONS



How do my changing beliefs and values shape my relationship to society?
How do the choices an author makes concerning informational text—including
organizational structure and the use of key details from the text such as claims,
evidence to support those claims in the form of reasons, details and facts, word
choice and tone—inform our understanding of main idea?
How do the choices an author makes concerning narrative text—including
organizational structure and the use of key details from the text such as
character, setting, conflicts in the plot development, figurative language, word
choice and tone—inform our understanding of theme?
Reading and Writing
Literary Vocabulary
Language Vocabulary
Vocabulary
 Antagonist
 Active voice*
 Claim*
 Flat vs. round
 Clauses*
 Commentary
character*
 Connotation*
(analysis*)
 Protagonist
 Denotation*
 Concrete Detail*
 Stock, static, or
 Fallacious Reasoning
(reason, detail, fact)
dynamic character
 Evidence*
 Passive voice*
o Level 1 Question
 Phrases*
o Level 2 Question
o Level 3 Question






Questioning the Text
Rules of Notice
Schema
Text Connections:
o Text to Self
o Text to Text
o Text to World
Thesis Statement*
Visualization

Simple, complex,
and compound
sentences*
STUDENTS WILL BE ABLE TO DO THE FOLLOWING (standards listed are
specific to this unit and should be explicitly taught)
Reading: Literature
RL.9-10.1

RL.9-10.2

RL.9-10.3
the text.

RI.9-10.1

RI.9-10.2
Determine the central idea of a text and analyze its development over the
Integration of Knowledge and Ideas

RI.9-10.8
Delineate and evaluate the argument and specific claims in a text,
sufficient; identify false statements and fallacious reasoning.
Writing

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.9-10.2.a

W.9-10.2.b
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.
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.
W.9-10.2.c
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.9-10.2.d Use precise language and domain-specific vocabulary to manage the
complexity of the topic.
W.9-10.2.e 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.9-10.2.f
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).
Production and Distribution of Writing
W.9-10.4
Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
(Grade-specific expectations for writing types are defined in standards 1–3
above.)
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.
W.9-10.5
W.9-10.9
Draw evidence from literary or informational texts to support analysis,
reflection, and research.
Comprehension and Collaboration
SL.9-10.1 
SL.9-10.1.a
SL.9-10.1.b
SL.9-10.1.c
SL.9-10.1.d
SL.9-10.2 
Initiate and participate effectively in a range of collaborative discussions
(one-on-one, 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.
Some to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence
from texts and other research on the topic or issue to stimulate a
thoughtful, well-reasoned exchange of ideas.
Work with peers to set rules for collegial discussions and decision-making
(e.g., informal consensus, taking votes on key issues, presentation of
alternate views), clear goals and deadlines, and individual roles as
needed.
Propel conversations by posing and responding to questions that relate the
current discussion to broader themes or larger ideas; actively incorporate
others into the discussion; and clarify, verify, or challenge ideas and
conclusions.
Respond thoughtfully to diverse perspectives, summarize points of
agreement and disagreement, and, when warranted, qualify or justify their
own views and understanding and make new connections in light of the
evidence and reasoning presented.
Integrate multiple sources of information presented in diverse media or
formats (e.g., visually, quantitatively, orally) evaluating the credibility and
accuracy of each source

Language
L.9-10.1.b
Use various types of phrases (noun, verb, adjectival, adverbial, participial,
prepositional, absolute) and clauses (independent, dependent; noun,
relative, adverbial) to convey specific meanings and add variety and
interest to writing or presentations.
SUGGESTED WORKS
ADOPTED RESOURCES
 To Kill a Mockingbird(Lexile Level 870)
desired.
Short Stories
 “Sonny’s Blues” by James Baldwin:
http://swcta.net/moore/files/2012/02/sonnysblues.pdf
 “Indian Education” from The Lone Ranger and Tonto Fistfight in Heaven by
Sherman Alexie: http://comosr.spps.org/alexie
Legends/Myth/Traditional Literature
 Mr. Rabbit Nibbles Up All the Butter (An African-American folktale)
http://www.pitt.edu/~dash/type0015.html#harris
Novels
 Excerpts from The Help by Kathryn Stockett
 Excerpts from I Know Why A Caged Bird Sings by Maya Angelou
 The Good Earth (Lexile Level 1530)--H
Poems
 “Caged Bird” (PH, p. 247)
 “Unemployment (3)” by Mark Levine:
http://www.poetryfoundation.org/poetrymagazine/poem/244218
 “We wear the mask” by Paul Lawrence Dunbar: http://youtu.be/plECI8mov2E H
Nonfiction
 From Rosa Parks: My Story (PH, p. 143)
 “Letter from a Birmingham Jail” by Martin Luther King, Jr.:
http://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html
Speeches
 “I Have a Dream” (PH, p. 140)
DIGITAL CONTENT
 Excerpts from Freedom Writers—H (PG-13)
 Excerpts from the film The Help (2011, PG-13)
 Excerpts from the film Places in the Heart (1984, PG)
Websites: The following websites address fallacious reasoning surrounding racism, sexism,
poverty, and issues addressed in TKAM:
 A Letter from Eleanor Roosevelt
http://www.loc.gov/teachers/classroommaterials/presentationsandactivities/pre
sentations/timeline/depwwii/race/letter.html
 Amateur Night in Harlem
sentations/timeline/depwwii/race/amateur.html
 Ballad of Booker T.
sentations/timeline/depwwii/race/ballad.html
 Discrimination at Home and Work (accounts provided through The Federal
Writer’s Project)
sentations/timeline/depwwii/race/homework.html
 Folklore of the South
sentations/timeline/depwwii/race/lore.html
 Three Generations-White and Black (another account provided through The
Federal Writer’s Project)
sentations/timeline/depwwii/race/threegen.html
 “To Kill A Mockingbird and the Scottsboro Boys Trial: Profiles in Courage”:
http://edsitement.neh.gov/lesson-plan/kill-mockingbird-and-scottsboro-boystrial-profiles-courage#sect-assessment
Additional Websites for Instructional Support:
 “Logical Fallacies”: http://www.webenglishteacher.com/fallacies.html
 “Identifying and Understanding the Fallacies Used in Advertising”:
http://www.readwritethink.org/classroom-resources/lesson-plans/identifyingunderstanding-fallacies-used-785.html?tab=2#tabs
 “Socratic Seminar”: https://www.nwabr.org/sites/default/files/SocSem.pdf
INTRODUCTORY ACTIVITY
1. BRAINSTORM (SL.9-10.1): Begin with brainstorm of central issues/themes students
think will occur in the text, based on time period of setting as well as composition.
Show images of the various cover illustrations available. Encourage students to
develop questions that will help guide their reading as a class after considering their
previous knowledge and knowledge gathered from cover illustrations. Record this
somewhere visibly in the classroom. Review regularly and as students are able to
answer questions, record the answers next to the corresponding question.
Suggested Text: To Kill A Mockingbird
READING
Literature
1. READING MOVES (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.4, RL.9-10.5): Using the
reading moves introduced in Unit 1, read TKAM. Students make annotations using
Rules of Notice (titles, beginnings, endings, surprises/ruptures, etc.) Students make
text connections to these annotations as well (text-to-self, text-to-text and textto-world). Use these as the foundation for class discussion or Socratic seminar.
2. MAP OF MAYCOMB (RL.9-10.1, RI.9-10.1, SL.9-10.1, SL.9-10.4): After reading
Chapter One of To Kill a Mockingbird, students individually search for descriptions
of setting in the novel. Students record these, making sure to record page
numbers as well in order to practice citing evidence. Working in collaborative
groups, students then use these descriptions to visualize Maycomb and draw a
map of the setting. With teacher direction, discuss the influence of setting on
communities. Students should provide evidence from the text to discuss and
predict how setting might influence the community of Maycomb.
3. HONORS “WE WEAR THE MASK” (RL.9-10.1, RL.9-10.4): Suggested Resources: “We
wear the mask” by Paul Lawrence Dunbar: http://youtu.be/plECI8mov2E and
“Caged Bird” by Maya Angelou)
o Guiding Question: What is the purpose or function of a mask? Why/Where
are they used?
o Identify and discuss differences in tone for each author and relate to text
of To Kill a Mockingbird.
4. HONORS TKAM AND JUSTICE FOR ALL (RL.9-10.1, RL.9-10.2, RI.9-10.1, RI.9-10.2):
While reading To Kill A Mockingbird, students will find non-fiction articles that deal
with an injustice or bias towards various races. Students will answer the following
questions:
 What is worth fighting for?
 What is justice, injustice?
 If justice is worth fighting for, what does it take to uphold it?
Students will create a campaign to fight against racial bias or an injustice.
5. HONORS THE GOOD EARTH PHILOSOPHY (RL.9-10.1, RL.9-10.2, RI.9-10.1, RI.9-10.2,
W.9-10.2): While reading The Good Earth students will find non-fiction articles
that deal with the move away from materialism towards agrarianism or vice
versa. Students will write a philosophical essay explaining which move they think
is best and why. Students will use textual evidence to support their essay.
Informational
1. TEACHING FALLACIES (RI.9-10.1, RI.9-10.2, RI.9-10.5, RI.9-10.8): Students read
companion texts/primary source documents relating to racism in the south (see
options listed under “Websites” above). Students respond personally to the
readings by making text-to-self connections and text-to-world connections.
Next, teach students about the different kinds of fallacies (see
http://www.webenglishteacher.com/fallacies.html as a possible resource). Have
students identify the different kinds of fallacies present in the primary sources.
What kinds of fallacious reasoning is employed in the texts? Finally, make text-to23 | R e v i s e d M a r c h 2 0 1 3 , U p d a t e d M a y 2 0 1 4
text connections: How does the thinking in the companion texts/primary source
documents parallel the thinking in TKAM?
2. GALLERY WALK (RI.9-10.1, RI.9-10.5, W.9-10.4, W.9-10.6, W.9-10.7, W.9-10.8, W.910.9, SL.9-10.2, SL.9-10.4, SL.9-10.5, SL.9-10.6): While reading Part 1 of TKAM,
students brainstorm questions they have about the time period and setting of the
novel. Examples: What were the laws regarding segregation? Is Maycomb a real
place? What was school like? When did the author write this and does that
influence the novel in any way? How did people dress during this time period?
Prior to beginning Part 2, students research the brainstormed questions. Assign
each student (or groups or pairs) a question to research using newspaper
articles, scholarly journals, and other credible sources–OR—use link suggested in
supporting texts. Read and annotate these texts using the same reading moves
from Unit 1. Students then make text-to-text connections from the informational
texts to the novel, citing evidence from both sources that support the
connection. Students create a visual (poster, graphic organizer) sharing
annotations and connections. Students participate in a gallery walk taking notes
on each article presented. Use a quick formative assessment (exit ticket,
Muddy/Marvy, etc.) to close.
a. Alternative: Students select excerpts from the novel that connect to a
non-fiction informational text. See suggested nonfiction texts above.
Students support assertions with cited evidence from both texts. Record
these on cut-outs of leaves and post in the classroom on a tree modeled
after the Radley’s tree.
3. DID THIS REALLY HAPPEN? (RL.9-10.1, RL.9-10. 2, RI.9-10.8, RI.9-10.9, W.9-10.8, W.910.9, SL.9-10.6, L.9-10.1): While reading Part 2 of TKAM, students research and
analyze actual trials that occurred during that time. Guide students to find trials
that centered on segregation laws, hate crimes, or other issues surrounding
racism. Students present the trial they researched, making connections to the
Robinson trial in the novel. Connections should focus on what these trials reveal
about the community (real or fictional) or about the theme of the novel.
4. HONORS RHETORICAL ANALYSIS OF ATTICUS’S CLOSING ARGUMENT IN TKAM
(RL.9-10.1, RL.9-10.2, RL.9-10.4, RL.9-10.5, RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.6,
RI.9-10.8, W.9-10.1, SL.9-10.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d):
Students are to read “I Have a Dream” and identify the rhetorical appeals of
logos, ethos, and pathos by annotating Martin Luther King Jr.’s argument. As a
class, then discuss how his rhetorical choices affect his audience, message, and
his credibility. Is one appeal used more than another? What is the reasoning
behind this choice? Which appeal has the most impact? Why? etc.
a. Based on their previous reading, students will then complete the same
activity (individually) with Atticus’ closing argument in TKAM. Students will
make a written argument on what effect his rhetorical choices have on
the jury in their decision to find Tim Robinson guilty.
WRITING
1. CHARACTER ANALYSIS (W.9-10.2, W.9-10.2.a, W.9-10.2.b, W.9-10.2.c, W.9-10.2.d,
W.9-10.2.e, W.9-10.2.f, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.9, W.9-10.10, L.9-10.1,
L.9-10.2, L.9-10.3): Introduce students to vocabulary pertinent to character
analysis (protagonist, antagonist, flat vs. round character, stock, static, or
dynamic character.) Using a graphic organizer, students keep track of character
thoughts, dialogue, actions, what others say about the character by recording
quotations (citing evidence) from the text. Students will add to the graphic
organizer with each reading and analyze what new information reveals about
the character. Students then write an informative essay outlining the traits and
values of their chosen character, providing evidence from the text and analysis
explaining what the evidence reveals.
2. COMMUNITY ETHNOGRAPHY (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.910.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.9, W.9-10.10, L.9-10.1,
L.9-10.2, L.9-10.3): Students will study a community they belong to (religious,
educational, extracurricular, social, geographical) side by side with the
community of Maycomb. Students first identify at least two beliefs or values
learned from the community they belong to. They then thoughtfully articulate
the origin of those beliefs and values and how those beliefs and values change
over time and through various experiences. Students then complete the same
analysis of the community of Maycomb, identifying two beliefs or values of the
community, where they originate and how they develop or change throughout
the novel. This can be introduced with a character case study (or the character
analysis) where students analyze one character's belief and value system in To Kill
a Mockingbird. Students then compare and contrast the belief and value system
of someone from their own community. As part of the requirement for this essay,
require that students include and identify examples of parallel structure and the
use of various types of phrases.
3. LISTEN TO THE MUSIC (RL.9-10.2, W.9-10.2, W.9-10.2.a, W.9-10.2.b, W.9-10.2.c, W.910.2.d, W.9-10.2.e, W.9-10.2.f, SL.9-10.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.910.1.d, L.9-10.1, L.9-10.1.b, L.9-10.2, L.9-10.2.c): Analyze in detail the development
of the theme of listening over the course of the texts, including how it emerges
and is shaped and refined by specific details in “Sonny’s Blues” and
“Unemployment (3)” by Mark Levine. Provide an objective summary of the texts
first in a group discussion, then in a written essay.
4. INDIAN EDUCATION (RL.9-10.2, RL.9-10.5, W.9-10.2, W.9-10.3, W.9-10.3.a, W.910.3.b, W.9-10.3.c, W.9-10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.9,
W.9-10.10, L.9-10.1, L.9-10.2, L.9-10.3): Read “Indian Education” by Sherman
Alexie. Teachers guide a discussion of how this experience, and the community
from which the author came, helped shape his identity. Students then write a
Personal Education narrative, modeled after “Indian Education,” telling the story
of their education from 1st-9th grades. Narratives can be focused on classroom
experiences, extracurricular activities, or relationships among other topics, but
should trace the development of that particular piece of knowledge over their
educational lifetime, providing concrete examples of how they learned (this
bridges the gap between narrative and informational writing.). Where did it
start? How has it changed? Who influenced the development of that
knowledge?
5. INFORMATIONAL WRITING: TO KILL A MOCKINGBIRD (W.9-10.2, W.9-10.4, W.910.5, W.9-10.6, L.9-10.1, L.9-10.2, L.9-10.2.c): After reading about Tom Robinson’s
trial in To Kill a Mockingbird and several historical documents from the Scottsboro
case, write a paper comparing and contrasting the two trials.
6. INFORMATIONAL WRITING: FALLACIOUS THINKING TIMED WRITE (W.9-10.2, W-910.2.a, W-9-10.2.b, W-9-10.2.c, W-9-10.2.d, W-9-10.2.e, W-9-10.2.f, W.9-10.4, W.910.5, W.9-10.10): Using the fallacy analysis/notes developed from the Teaching
Fallacies activity, have students complete a timed write to this prompt: How do
characters from the novel, To Kill a Mockingbird, reflect the kind of fallacious
thinking that was often used to support racism in the 1930’s? Cite evidence from
the texts read for class.
SPEAKING AND LISTENING
1. SCOTTSBORO TRIALS DISCUSSION (RI.9-10.1, RI.9-10.10, SL.9-10.1.a, SL.9-10.1.b,
SL.9-10.1.c, SL.9-10.1.d, SL.9-10.3, SL.9-10.4): Based on your readings of an actual
court case (The Scottsboro Trials), does Atticus Finch’s courageous defense of
Tom Robinson seem realistic or overly idealistic? Explain using evidence from the
novel and readings about the Scottsboro Trials to support your explanation.
2. HONORS DR. SEUSS THE SNEETCHES—DISCRIMINATION DISCUSSION (SL.9-10.1.a,
SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d): The teacher randomly selects some students
to treat better than others. Students are given an opinionaire with statements
related to their lives on discrimination and prejudice. They watch The Sneetches
and relate it to their lives, the school environment, their community, and real
world events. A discussion follows with suggestions on overcoming themes of
discrimination and prejudice in the world.
3. LITERATURE CIRCLES (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.5, RL.9-10.6, RL.9-10.7,
RL.9-10.9, RL.9-10.10, SL.9-10.1, SL.9-10.2, SL.9-10.5, SL.9-10.6): Students will apply
the reading strategies learned in unit 1 by participating in literature circles to
read and discuss To Kill a Mockingbird. Literature circles require accountability
and consistent classroom management to be successful. Throughout the unit
students will read in class and at home. Students will meet with their group
weekly to discuss the assigned chapters, present their discussion role and to work
on a group poster/anchor chart that monitors and analyze RL.9-10.3 (character
development), RL.9-10.2 (theme development, RL.9-10.4 (meaning of words and
phrases, including figurative and connotative meanings, including the
cumulative impact of specific word choice on meaning and tone), and RL.9-10.5
(author’s craft).
By assigning each student an individual weekly discussion role, specific guiding
questions based on standards listed above, as well as having students meet
together weekly, individual and group contributions are both accounted for.
The discussion roles correspond to the reading strategies taught in Unit 1 and
applied in Unit 2.
Socratic seminars are an extremely effective way to conduct literature
discussions while teaching students the expectations of those discussions. Find
information on Socratic seminars and utilize them in a way that works best for
your classroom.
Relater—
Before discussion: find connections between the assigned reading and your own
life or experiences you’ve been through.
During discussion: share your connections with your classmates and ask them if
they could relate to the assigned reading.
Connector—
Before discussion: Find connections between the assigned reading and other
texts or things occurring in the world.
During discussion: Inform your group member of connections between the
reading and other texts, or occurrences in the world. Share any informational
articles or texts that you came across.
Visualizer—
Before discussion: Find or create a picture that represents a meaningful elements
of the assigned reading
During discussion: Hold up the image and allow your group members to discuss
its importance; then tell them why you chose it.
Predictor—
Before discussion: While reading the assigned pages write down any rules of
notice you come across. Then make an informed prediction about upcoming
events in the text based on those rules of notice.
During discussion: Share your predictions and the supporting rules of notice with
your classmates. Discuss potential upcoming events.
Meaning Maker—
Before discussion: While reading the assigned pages find two to three quotes
that stand out to you.
During discussion: Share the quotes you thought were important and discuss with
your classmates the deeper meaning those quotes entail.
Questioner—
Before discussion: While reading the assigned pages write down any questions
you have. You should have questions from all three levels of questioning.
During discussion: Share your questions with your classmates and attempt to
answer them together.
4. SOCRATIC SEMINAR (SL.9-10.1, SL.9-10.3, SL.9-10.4, SL.9-10.6, L.9-10.1): Students
will present observations, connections and questions in response to To Kill a
Mockingbird. Guiding their thinking by providing a prompt can be helpful. The
best prompts are open-ended and leave room for many perspectives. Sample
prompts for a seminar on this text include: What is the theme of this novel? Why is
this novel still relevant to students today? Students should be encouraged to tie
their thinking to the texts read in class as well as current events. (HONORS—
conduct the Socratic seminar using the Fishbowl configuration.)
5. HONORS HOT SEAT CHARACTER PANEL (to be used in conjunction with TKAM or
The Good Earth) (SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d): As a
culminating activity students are assigned either a character or the author of the
text and a guide that asks them to prepare responses from the perspective of
their assigned character/author. Students then use these responses, supported
with textual evidence to participate in a series of character panels; the
audience asks questions as both readers and their assigned character/author.
LANGUAGE
1. WRITING AS A PROCESS: REVISION (RL.9-10.1, RL.9-10.4, SL.9-10.4, SL.9-10.5, W.910.5, L.9-10.1, L.9-10.2, L.9-10.2.a, L.9-10.2.b, L.9-10.2.c, L.9-10.3):
b. Students will reread “Indian Education” by Sherman Alexie (this piece
works particularly well because of its structure), or another text of your
choosing, but now they will read as writers, turning their attention to craft.
c. Inform students that they will be identifying and labeling parallel structure
and phrases (noun, verb, adjectival, adverbial, participial, prepositional,
absolute) and clauses (independent, dependent; noun, relative,
adverbial) when they observe them.
d. Model the process for students by performing a think aloud of an excerpt
of the text, labeling the text as needed.
e. Assign students, in groups or pairs, a specific section of the text to label
parallel structure and clauses.
f. Students present their annotated passage to the class. For each passage
presented the audience will answer the following question: Is this
structure/phrase being used to convey specific meaning or to add variety
and interest to the writing? Students will need to support their claim with
reasoning based on the presenting group’s presentation.
g. Finally students will choose one of their own writing assignments from the
unit and independently identify and label all use of parallel structure and
types of phrases. Students will then write a brief rationale for their
incorporation of parallel structure and phrases in order to convey specific
meaning, or as a means to add variety and interest to their writing, or
perhaps a blend of the two, citing annotated excerpts as support for their
claim.
h. Optional Extension Activity (W9-10.6): To incorporate technology and
introduce students to software that allows for live collaboration- students
could perform the pair/group portion of this activity using GoogleDocs. If
students save/upload their writing for the unit onto GoogleDocs the
individual portion of this activity could also function as a means to show
students how to use technology to assist and document the revision
process (track changes).
1. LOSS OF FREEDOM: INFORMATIONAL TEXT (RL.9-10.1, RL.9-10.10, RI.9-10.1, RI.910.9, RI.9-10.10, W.9-10.2, W.9-10.2.a, W.9-10.4, W.9-10.5, W.9-10.6, L.9-10.1, L.910.1.a, L.9-10.1.b, L.9-10.2, L.9-10.2.a, L.9-10.2.b, L.9-10.2.c): Read the following:
“Letter from a Birmingham Jail”, “Sonny’s Blues”, “Indian Education”,
“Unemployment (3)”, and “Caged Bird”. In each of these selections, freedom of
one type or another has been lost. Write an informational essay in which you
explain how each individual deals with this lost freedom. Rank order within your
writing using transitions how effectively each individual deals with his/her losses?
What factors help or hinder them in dealing with the loss of some of their
freedom? Thoroughly explain why you ranked each of them as you did. Be sure
to use ample textual evidence to support your claims.
2. HONORS “A ROSE FOR EMILY”: THOROUGH READING, TEXT COMPLEXITY & THEME
(W.9-10.2, W.9-10.2.a, W.9-10.2.b, W.9-10.2.c, W.9-10.2.d, W.9-10.2.e, W.9-10.2.f,
W.9-10.4, W.9-10.7): Following a class reading of “The Chaser” and an
independent reading of “A Rose for Emily,” students will compose two welldeveloped paragraphs to the following prompt: Write two informational
paragraphs comparing and contrasting how each text/author addresses the
belief/value of love in “The Chaser” and “A Rose for Emily”. How are the ideas
the same? How are they different? Be sure to use well-chosen evidence from
each text to support your ideas. Have students create an outline for each of
their paragraphs before composing their response.
Grade 9  Unit 3
Coming of Age: Heroism &
Responsibility
“Ah how shameless – the way these mortals blame the gods.
From us alone they say come all their miseries, yes, but they
themselves with their own reckless ways compound their
pains beyond their proper share.” ― Homer, The Odyssey
OVERVIEW
Students will be exposed to a variety of literature focusing on the theme of
responsibility. Students will read, write and participate in activities to focus on the
elements of motivation, choice, consequences and responsibilities to others and to self.
This unit will be taught during 3rd Quarter as it becomes a valuable assessment of
reading strategies learned and applied during 1st and 2nd Quarter and begins
transitioning students towards argumentative thinking and writing in preparation for 4th
Quarter. Those areas of this unit particularly recommended for honors enrichment and
expansion are noted with an H.





Both action and inaction result in consequences.
Social structures may crumble when individuals refuse to accept responsibility.
Motivation to take responsibility may come from understanding consequences.
Refusal to take responsibility for self burdens society.
Assertions and opinions must be supported by evidence to be credible.
ESSENTIAL QUESTIONS

How does personal responsibility impact (affect) society?
GUIDING QUESTIONS





How might action and inaction result in both positive and negative
consequences?
What is the relationship between individual responsibility and social structures?
How might recognition of consequences lead one to accept or reject
responsibility?
How might it be possible for one to reject responsibility and still be part of the
larger society?
How do you ensure your writing is credible?
*indicates concept previously introduced
Reading and Writing
Literary Vocabulary
Vocabulary
 Epic poem
 Assertion/opinion
 Hero
 Credibility*
 Hero’s Journey:
 Evidence*
o Unusual birth
 Inference*
o Call to
o Level 1 Question
adventure
o Level 2 Question
Language Vocabulary
 Active voice*
 Clauses*:
independent,
dependent; noun,
relative, adverbial
 Conjunctive Adverb







o Level 3 Question
Prediction*
Questioning the
Text*
Rules of Notice*
Schema*
Text*
Text Connections*
o Text to Self
o Text to Text
o Text to World
Visualization*
Supernatural
helper
o Talisman
o Trials
o Achievement
of goals
o Reconciliation
with father—
figure
o Return home
o Crossing the
threshold
In Medias res
o





Passive voice*
Phrases*: noun, verb,
adjectival,
adverbial,
participial,
prepositional,
absolute
Semicolon
Simple, complex,
and compound
sentences*
Reading: Literature
Craft and Structure
RL.9-10.5

RL.9-10.6
literature

RL.9-10.7

RL.9-10.9
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).
Analyze how an author draws on and transforms source material in a
specific work (e.g., how Shakespeare treats a theme or topic from Ovid or
the Bible or how a later author draws on a play by Shakespeare).

RI.9-10.1

RI.9-10.2

RI.9-10.3
Craft and Structure

RI.9-10.6

RI.9-10.7

RI.9-10.9
Analyze various accounts of a subject told in different mediums (e.g., a
person’s life story in both print and multimedia), determining which details
are emphasized in each account.
Analyze seminal U.S. documents of historical and literary significance (e.g.,
Washington’s Farewell Address, the Gettysburg Address, Roosevelt’s Four
Freedoms speech, King’s “Letter from Birmingham Jail”), including how
they address related themes and concepts.
Writing

W.9-10.2
W.9-10.4
W.9-10.5
above.)
W.9-10.7
W.9-10.8
W.9-10.9
Conduct short as well as more sustained research projects to answer a
question (including a self-generated question) or solve a problem; narrow
or broaden the inquiry when appropriate; synthesize multiple sources on
the subject, demonstrating understanding of the subject under
investigation.
Gather relevant information from multiple authoritative print and digital
sources, using advanced searches effectively; assess the usefulness of
each source in answering the research question; integrate information into
the text selectively to maintain the flow of ideas, avoiding plagiarism and
following a standard format for citation.
SL.9-10.1 
SL.9-10.1.a
Come to discussions prepared, having read and researched material
SL.9-10.1.b
SL.9-10.1.c
SL.9-10.1.d
needed.
conclusions.
Language
L.9-10.1

L.9-10.1.a
L.9-10.1.b
L.9-10.2
L.9-10.2.a
L.9-10.2.c
Demonstrate command of the conventions of standard English grammar
and usage when writing or speaking.
Use parallel structure.*
Demonstrate command of the conventions of standard English
capitalization, punctuation, and spelling when writing.
Use a semicolon (and perhaps a conjunctive adverb) to link two or more
closely related independent clauses.
Spell correctly.
Knowledge of Language
L.9-10.4b 
Identify and correctly use patterns of word changes that indicate different
meanings or parts of speech (e.g., analyze, analysis, analytical, advocate,
advocacy)
SUGGESTED WORKS
ADOPTED RESOURCES
 Write Source (2007)
 Ender’s Game (Lexile Level 710)
 Great Expectations (Lexile Level 1200) H
 The Hunger Games (Lexile Level 810)
 The Odyssey (Lexile Level 1050)
 The Hobbit (Lexile Level 1000) H
desired.
Short Stories
 “The Golden Kite, The Silver Wind,” PH, p. 152
 “Old Man of the Temple,” PH, p. 176
 “The Fan Club” by Rona Maynard:
http://www.ronamaynard.com/index.php?the-fan-club
 “The Necklace,” PH, p. 536
 “In Dreams begin Responsibilities” by Delmore Schwartz
http://myteacherpages.com/webpages/klopez/files/In%20Dreams%20Begin%20
Responsibilities.pdf
 Kung Fu Panda (2008, PG)
 Despicable Me (2013, PG)
 Harry Potter and the Sorcerer’s Stone (2002, PG)
 Oh, Brother, Where Art Thou? (2000, PG-13)
 Star Wars (1977, PG)
 Wizard of Oz (1939, PG)
 Ulysses (1966, NR, starring Kirk Douglas as Odysseus)
Legends/Myth/Traditional Literature
 “Perseus” (PH, 186)
 “Part 1: The Adventures of Odysseus” (PH, p. 860)
 “Part 2: The Return of Odysseus” (PH, p. 895)
 Excerpt from Omeros: http://www.poetryfoundation.org/poem/177933
Novels
 Excerpts from Thirteen Reasons Why by Jay Asher
 Excerpts from Speak and Twisted by Laurie Halse Anderson
 Excerpts from Fallout by Ellen Hopkins
Poems
 “I Hear America Singing,” PH, p. 146
 “The Road Not Taken,” PH, p. 166
 “There is a Longing,” PH, p. 145
 “To be of use,” PH, p. 171
 “Slam, Dunk, & Hook,” PH, p. 198
 “The Spearthrower,” PH, p. 200
 “Shoulders,” PH, p. 201
Nonfiction:
 “From A Lincoln Preface,” PH, p. 129
 “I Have a Dream,” PH, p.140
 “From Rosa Parks: My Story,” PH, p. 143
 “New Directions,” PH, p. 168
 “Fates” (Encyclopedia Article) (Log on to Discovery Ed and search for an
encyclopedia article with this title.)
Picture Books
 Where the Wild Things Are by Maurice Sendak
 Beowulf: A Hero’s Tale Retold by James Rumford
 Shrek by William Steig
 Jason and the Golden Fleece by James Riordan
DIGITAL CONTENT
Art/Photos
 “Ulysses and the Sirens”:
http://traumwerk.stanford.edu/philolog/2009/10/homers_odyssey_in_art_sirens_f.
html
 “The Trojan Horse”: http://www.nationalgallery.org.uk/paintings/giovannidomenico-tiepolo-the-procession-of-the-trojan-horse-into-troy
 “Penelope with the Suitors”:
http://www.nationalgallery.org.uk/paintings/pintoricchio-penelope-with-thesuitors
 “The Mykonos Vase—Detail of the Trojan Horse”:
http://www.crestonhall.com/mythology/twar2.php
 “The Escape from Polyphemus”:
 https://pantherfile.uwm.edu/prec/www/course/mythology/1200/2014.jpg
Music
 List of contemporary music correlated to major literary works:
 “Carry On My Wayward Son,” by Kansas: http://youtu.be/2X_2IdybTV0
 “Drops of Jupiter” by Train: (can be downloaded from multiple sites.)
 “Fortunate Son” by Creedence Clearwater Revival:
http://www.youtube.com/watch?v=ec0XKhAHR5I
 “He Ain’t Heavy; He’s My Brother” by The Hollies:
http://www.oldielyrics.com/lyrics/the_hollies/he_aint_heavy_hes_my_brother.html
 “Homeward Bound” by Simon and Garfunkle:
http://www.youtube.com/watch?v=U6K8wfyzAJQ
 “Lotus Eaters” by Moloko: http://www.youtube.com/watch?v=SZbiGtEZ5wE
 “Tales of Brave Ulysees” by Cream:
http://www.youtube.com/watch?v=BwJkY1KC9eM
 “The Cave” by Mumford and Sons:
http://www.youtube.com/watch?v=4lbiGnS8FOY&feature=related
Websites
 “Back from War, But Not Really Home,” by Caroline Alexander (non-fiction):
http://www.nytimes.com/2009/11/08/opinion/08alexander.html?pagewanted=a
ll&_r=0
 “Hero’s Journey”: http://www.thewritersjourney.com/hero’s_journey.htm
 “Hero’s Journey”: http://www.readwritethink.org/classroom-resources/studentinteractives/hero-journey-30069.html
 Great Books: Homer’s Odyssey (Teacher’s Guide is also available.): (Log on to
Discovery Ed and search for this title.)
 Ovid, Metamorphoses, 4: Perseus and Atlas; Perseus and Andromeda:
http://www.theoi.com/Text/OvidMetamorphoses4.html#8
 Ovid, Metamorphoses, 5: Battle of the Wedding Feast of Perseus and
Andromeda: http://www.theoi.com/Text/OvidMetamorphoses5.html
 “Race to the South Pole” by Caroline Alexander (non-fiction):
http://ngm.nationalgeographic.com/2011/09/amundsen/alexander-text
 Teenink.com- student written fiction and nonfiction searchable by topic
 “The Treasure of Troy” (non-fiction): http://www.unmuseum.org/troy.htm
 Types of Genre: Epic: (Log on to Discovery Ed and search for this title.)
 Types of Heroes: (Log on to Discovery Ed and search for this title.)

“What makes a hero?”—Matthew Winkler:
https://www.youtube.com/watch?v=Hhk4N9A0oCA&list=PLJicmE8fK0Ehrg3meyt
Y7DT8LJiwuU3Th H
1. HERO’S JOURNEY ACTIVITY ON READWRITETHINK.ORG (RL.9-10.2, RL.9-10.5, RL.910.7, RL.9-10.9): Introduce students to the epic genre with the short Discovery Ed
video: “Types of Genre: Epic.” Using one of the picture books listed above in
suggested works, introduce students to the hero’s journey literary archetype.
Begin by reading the story aloud to students and have them record key details
from the text that support the idea of heroism or a journey. Following the
reading, pass out the Hero’s Journey organizer from Readwritethink.org; inform
students that they just read a heroic text. Read the story again and have
students complete the organizer as elements of the hero’s journey are addressed
in the text. Finally, as a class (or independently) allow students to create their
own hero and heroic journey using the interactive program on
readwritethink.org.
2. THE HERO’S JOURNEY IN POP CULTURE (RL.9-10.1, RL.9-10.2. RL.9-10.3, RL.9-10.5,
RL.9-10.7, RL.9-10.9, SL.9-10.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d,
SL.9-10.2): In order to provide students with a common text and more practice
at identifying the hero’s journey archetype in a non-traditional text, have them
watch excerpts from contemporary films such as Kung Fu Panda, Toy Story, Star
Wars, etc.(film must be building-approved) and identify elements of the hero’s
journey using the same organizer from readwritethink.org. Have students add
detailed support for each of the elements they identified. After watching the
film allow students to discuss their findings with their peers; go over the organizer
as well as the various key details students identified to support their assertions.
3. HONORS “PENELOPE, NOBODY DOESN’T LIKE PARFAITS!” (RL.9-10.9): After reading
one of the hero’s journey novels, students will then watch a hero’s journey movie,
such as Shrek or How to Train Your Dragon. Students will compare how the two
are alike in several areas, including, but not limited to the following: theme,
goals, hero’s journey, trials on the road, steps of the hero’s journey,
transformation, plot development and character development.
READING
Literature
1. Literature Circles: (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.5, RL.9-10.6, RL.9-10.7,
RL.9-10.9, RL.9-10.10, SL.9-10.1, SL.9-10.2, SL.9-10.5, SL.9-10.6): Students will
participate in literature circles, grouped by the young adult novel chosen from
the list described in Anchor Text(s). Teachers may also assign different texts to
students based on ability level as a means to scaffold and differentiate
instruction. Literature circles require accountability and consistent classroom
management to be successful. Throughout the unit students will read in class
and at home. Students should be monitoring the hero’s journey archetype as it is
demonstrated in their novel. Students will meet with their group weekly to discuss
the assigned chapters, present their discussion role and to work on a group
poster/anchor chart that monitors the progression of the hero’s journey
archetype in their text.
By assigning each student an individual weekly discussion role, as well as having
students meet together weekly, individual and group contributions are both
accounted for. The discussion roles correspond to the reading strategies taught
in Unit 1 and applied in Unit 2.
Socratic Seminars are an extremely effective way to conduct literature
discussions while teaching students the expectations of those discussions. Find
information on Socratic Seminars and utilize them in a way that works best for
your classroom. Visit www.teachingchannel.org for more information.
Relater—
Before discussion: find connections between the assigned reading and your own
life or experiences you’ve been through.
During discussion: share your connections with your classmates and ask them if
they could relate to the assigned reading.
Connector—
Before discussion: Find connections between the assigned reading and other
texts or things occurring in the world.
During discussion: Inform your group member of connections between the
reading and other texts, or occurrences in the world. Share any articles or texts
that you came across.
Visualizer—
Before discussion: Find or create a picture that represents a meaningful elements
of the assigned reading
During discussion: Hold up the image and allow your group members to discuss
its importance; then tell them why you chose it.
Predictor—
Before discussion: While reading the assigned pages write down any rules of
notice you come across. Then make an informed prediction about upcoming
events in the text based on those rules of notice.
During discussion: Share your predictions and the supporting rules of notice with
your classmates. Discuss potential upcoming events.
Meaning Maker—
Before discussion: While reading the assigned pages find two to three quotes
that stand out to you.
During discussion: Share the quotes you thought were important and discuss with
your classmates the deeper meaning those quotes entail.
Questioner—
Before discussion: While reading the assigned pages write down any questions
you have. You should have questions from all three levels of questioning.
During discussion: Share your questions with your classmates and attempt to
answer them together.
2. THE ODYSSEY (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.5, RL.9-10.6, RL.9-10.7, RL.910.9, RL.9-10.10, SL.9-10.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d, SL.910.2, SL.9-10.4, SL.9-10.6): After completing literature circles, assign each group of
students one section of The Odyssey. Students should use a think aloud while
reading and annotating the text together using all of the reading moves learned
in Unit 1. Further, students will articulate the manner in which the hero’s journey
archetype is portrayed throughout their section of assigned text. Students will
present their think aloud to the class and focus on the strategies they found the
most helpful in determining the meaning of the passage. Students will also share
their thoughts on the development of the hero’s journey archetype throughout
their assigned section.
3. “FOLLOW THE YELLOW BRICK ROAD!” FOR SUPPORTING CLOSE READING (RL.910.1, RL.9-10.4): The word “road” can be used literally or metaphorically. Look up
the definition of road in a dictionary. Study these texts: “New Directions,”
“Shoulders,” “The Road Not Taken,” and “He Ain’t Heavy; He’s My Brother.” Also
think about the role these roads play: the yellow brick road in the Wizard of Oz
and the roads in Oh Brother, Where Art Thou? Choose a minimum of three of
these texts, and create a three-circle Venn Diagram comparing and contrasting
the “roads” in these three works. Thoughts to ponder: What is the purpose of a
road? What makes a road safe/frightening? What is the relationship between a
road and a traveler? With a partner, discuss how these authors take a simple
word like “road” and use it to convey a sense of time and place and feeling.
Either with your partner or on your own, write a poem, rap or song using the word
“road” in such a way that it conveys a specific message and feeling beyond its
literal meaning. Share your work with the class.
4. ODYSSEY ASSESSMENT (RL.9-10.1, RL.9-10.2. RL.9-10.3, RL.9-10.5, RL.9-10.6, RL.910.7, RL.9-10.9, RL.9-10.10): After completing the literature circles and the jigsaw
presentation activity on The Odyssey, choose one passage of The Odyssey (with
appropriate text complexity) and have students annotate the passage using all
of the reading strategies independently. Using the same passage develop a
series of questions that address the hero’s journey archetype as portrayed in the
text and that require textual support for their assertions.
5. HONORS HERO’S JOURNEY NOVEL PROJECT (RL.9-10.9, SL.9-10.4): Divide the class
into groups. Each group will read a different hero’s journey novel. The students
will deconstruct the hero’s journey in that novel and make connections to The
Odyssey and personal connections. Students will present their findings to the
class.
Informational
1. PERSONAL RESPONSIBILITY (RI.9-10.1, RI.9-10.2, RI.9-10.3, RI.9-10.5, RI.9-10.7, RI.910.8): Provide, or have students research and find, informative non-fiction
articles and analyze the theme of personal responsibility, by both comparing
and contrasting it to the hero’s journey archetype. Some article possibilities
include the following and can be found via the LILI databases:
(2012, May 25). EDITORIAL: Abysmal behavior and a lack of personal
responsibility. Chattanooga Times/Free Press (TN).
JACKI, L. (n.d). THE POOR LACK PERSONAL RESPONSIBILITY? THAT’S RICH.
Weekend Edition Saturday (NPR).
Lisa, P. (2008, March 22). A cautionary tale about personal responsibility and the
black hole of meaning. Sydney Morning Herald, The. P. 29.
PERSONAL RESPONSIBILITY: TEEN NEWS. (2011). Scholastic Choices, 27(1), 2.
Students will use these readings to support their ideas presented in the
informational research paper (see Writing Strategy Focus).
2. JOURNEY TO THE SOUTH POLE DISCUSSION (RI.9-10.1, RI.9-10.6, SL.9-10.1, SL.910.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d): Study the steps of the hero’s journey
at the website: “Hero’s Journey”
(http://www.thewritersjourney.com/hero’s_journey.htm). Read “Race to the
South Pole.” Based on the diagram at the “Hero’s Journey” website create a
diagram showing what steps Amundsen took on his journey to the South Pole.
Review or set rules for collegial discussion and decision making. Discuss with your
group how attention to these steps helped him to be successful on his journey.
Come to a consensus as to which step was most important to his success, and
which was the least important. If we took out one step, how would the journey
have changed? Explain and support your answer.
WRITING
1. RESEARCH ESSAY (W.9-10.2.a, W.9-10.2.b, W.9-10.2.c, W.9-10.2.d, W.9-10.2.e,
W.9-10.2.f, W.9-10.4, W.9-10.5, W.9-10.7, W.9-10.8, W.9-10.9, W.9-10.10, L.9-10.1,
L.9-10.2, L.9-10.3): Students will write an informational research essay based on
their ideals about personal responsibility, or lack thereof, and its impacts on
society. Students will develop and support their assertions using real life, current
data—newspaper articles, autobiographies, blog posts, discussion threads, etc.
Throughout the research process students will create an annotated bibliography
of at least 5 sources that addresses what they gleaned from the text and the
manner in which they will, or will not, use the text in support of their paper. Once
the annotated bibliography and research have been completed students can
complete an informational essay in class; page length and number of sources
addressed in the paper can be modified to differentiate instruction.
2. A PICTURE’S WORTH A THOUSAND WORDS (AT LEAST A COUPLE HUNDRED) (RL.910.7, W.9-10.2, W.9-10.2.a, W.9-10.2.b, W.9-10.2.c, W.9-10.2.d, W.9-10.2.e, W.910.2.f, L.9-10.1, L.9-10.1.a, L.9-10.1.b, L.9-10.2, L.9-10.2.c): Choose one of the
suggested art works. Pair it with the matching section from The Odyssey. Write a
detailed essay comparing and contrasting both of them. Write about what is
emphasized and what is absent in the treatment of each. Emphasize the use of
parallel structure when writing this comparison.
3. FATE & FREE WILL (RL.9-10.1, RL.9-10.7, RL.9-10.9, RI.9-10.1, W.9-10.2, W.9-10.2.a,
W.9-10.2.b, W.9-10.2.c, W.9-10.2.d, W.9-10.2.e, W.9-10.2.f, L.9-10.1, L.9-10.1.a, L.910.1.b, L.9-10.2, L.9-10.2.c): Read the encyclopedia article about the Fates.
Read “Perseus”. Read Ovid, Metamorphoses, 4: Perseus and Atlas; Perseus and
Andromeda. Read Ovid, Metamorphoses, 5: Battle of the Wedding Feast of
Perseus and Andromeda. Write an essay which analyzes how Edith Hamilton
transforms the source material from Metamorphoses in her version of “Perseus.”
Also explain what part fate and free will play in both works.
4. HONORS MULTI-GENRE HERO ESSAY (W.9-10.2, W.9-10.4, W.9-10.5): Throughout
the third quarter students will complete various forms and structures of writing all
pertaining to heroes, heroism, and their ideas and notions surrounding heroes
and heroism. This Multi-Genre Essay allows students to utilize a variety of writing
forms and structures to uniquely portray their understanding of personal
responsibility and the hero, as well as the various texts taught throughout the
third quarter. Prior to submitting the essay, students will learn and apply revision
techniques and strategies on selected pieces within the essay.
1. Descriptive Vignette/Fiction—Origins of a Hero
2. Literary Response—Are all heroes good?
3. Poetry—Nonhuman heroes
4. Argument/Research—Why the hero’s journey?
5. Co-Authored Persuasive—Is everyone Superman?
7. HONORS ENDER’S GAME WRITING UNIT (RL.9-10.5, RL.9-10.6, W.9-10.2, W.9-10.9):
Write a literary analysis of Ender’s Game.
8. HONORS ODYSSEUS TODAY AND YESTERDAY (RL.9-10.1, W.9-10.1): Students will
write a dialogic debate about how young people today should or should not be
more like Odysseus. Suggested Resources:
http://www.cnn.com/SPECIALS/cnn.heroes/
http://online.wsj.com/news/articles/SB119146236753248551
http://www.hoover.org/publications/defining-ideas/article/114326
SPEAKING AND LISTENING ACTIVITIES
1. POSTERS (SL.9-10.1, SL.9-10.2, SL.9-10.3, SL.9-10.4, SL.9-10.6): Throughout the unit
students will present the posters created within their literature circles to the class.
They will discuss what elements of the hero’s journey identified, supporting their
assertions with evidence from the text.
2. HONORS SUPERHEROES OR SUPER ZEROES? (SL.9-10.4, W.9-10.1): After reading
about people who legitimately take on the identity of superheroes (costumes
and all) and go out and fight crime, students will co-author an essay leading up
to a debate. After sharing essays with the class, students will debate the issue.
Possible debate questions:
a. Do heroes truly exist, or do ordinary people rise to extraordinary
circumstances?
b. Do these superheroes cause more harm than good?
c. Should this activity be legal?
Suggested Resources: Vigilante Justice: Real Life Superheroes Fight Crime:
http://abcnews.go.com/US/real-life-superhero-phoenix-jones-tackles-streetsseattle/story?id=12562715 and 10 Real-life Costumed Crime Fighters:
http://people.howstuffworks.com/10-real--costumed-crime-fighters.htm and The
Legal Troubles of Real Life Super Heroes:
http://www.crimelibrary.com/blog/article/the-legal-troubles-of-real-life-superheroes/index.html
3. HONORS MOCK TRIAL (SL.9-10.1, SL.9-10.4): Students will hold a mock trial and
put characters from various novels on trial (Wiggin, Graph, Katniss). Are these
characters heroes or vigilantes?
LANGUAGE
1. SEMICOLONS (L.9-10.2.a): Teach students about semicolon use, showing how to
connect two related independent clauses together with a semicolon as well as
a semicolon and conjunctive adverb. Have them practice writing their own
sentences that use semicolons and expect them to apply the use of a semicolon
correctly in writing done for class.
2. WORD CHANGES (L.9-10.4.b): Analyze sections of text read for class to highlight
words that share the same bases and roots. Then explicitly discuss how a word’s
part of speech is changed when affixes are added. Select additional words
from class readings or other content areas for further examination.
1. EVERYDAY ODYSSEYS (RL.9-10.10, RL.9-10.1, RI.9-10.1, RI.9-10.7, RI.9-10.9, SL.9-10.4,
SL.9-10.5, SL.9-10.6): Zig Ziglar said: “Success is not a destination; it’s a journey.”
A journey can be literal or metaphorical. All of humankind is on a journey
through life. Read the Sports Illustrated article “Wheels of Life” by Gary Smith
(http://sportsillustrated.cnn.com/vault/article/magazine/MAG1184410/1/index.ht
m). Compare and contrast the journey Dick and Rick Hoyt make with two other
heroes studied in class using the diagram at the “Hero’s Journey” website
(http://www.thewritersjourney.com/hero's_journey.htm). Consider the following:
What tests are the heroes/heroines given? Do they pass or fail these tests? Are
each of their journeys successful? Why or Why not? Use ample credible
evidence from the text to support your claims. Share your comparison in a visual
presentation (Power-Point, School Tube, Movie Maker, etc.). Include at least one
song from the suggested works in your presentation and discuss how the song
relates to the specific hero’s journey you are presenting.
Grade 9  Unit 4
Coming of Age: Relationships
"Did my heart love till now? Forswear it, sight!
For I ne'er saw true beauty till this night."
— William Shakespeare
OVERVIEW
Students will use Romeo and Juliet and supporting texts to explore both positive and
negative influences on relationships in order to develop an argument that uses textual
evidence in support of their claim defining what makes a relationship successful. This
unit will be taught in Quarter 4. Those areas of this unit particularly recommended for
honors enrichment and expansion are noted with an H.




Adversarial relationships can spur personal growth.
Relationships are based on social, emotional and/or physical needs.
The text structure of dramas (plays) helps develop relationships between
characters and develop the plot.
Argumentative claims must be supported with valid reasoning as well as relevant
and sufficient textual evidence.
ESSENTIAL QUESTIONS


What makes a successful relationship?
What causes relationships to fail?
GUIDING QUESTIONS





What can adversarial relationships teach us?
How do relationships fulfill social, emotional, and/or physical needs?
How are relationships essential to dramatic texts?
Is Shakespeare sexist, a satirist, or are his plays a reflection of the times? H
How do I form a well-supported argumentative claim?
STUDENTS WILL KNOW AND USE THE FOLLOWING TERMS
Reading and Writing
 hyperbole
Language Vocabulary
Vocabulary
 iambic pentameter
 active voice*
 compare/contrast*
 imagery*
 clauses*
 claim*/data/warrant
 irony/dramatic
 connotation*
 ethos/ logos/pathos
irony*
 parallel structure
Literary Vocabulary
 malapropism
 passive voice*
 alliteration*
 metaphor*
 phrases*
 allusion*
 monologue
 simple, complex,
 aside
 oxymoron
and compound
 assonance*
 paradox
sentences*
 blank verse
 prose*
 characterization*
 pun
(direct and indirect)
 simile*
 comic relief
 soliloquy*
 consonance*
 tragedy

euphemism
Reading: Literature
RL.9-10.1
Craft and Structure
RL.9-10.4
Writing
W.9-10.1
Write arguments to support claims in an analysis of substantive topics or
texts, using valid reasoning and relevant and sufficient evidence.
W.9-10.1.a Introduce precise claim(s), distinguish the claim(s) from alternate or
opposing claims, and create an organization that establishes clear
relationships among claim(s), counterclaims, reasons, and evidence.
W.9-10.1.b Develop claim(s) and counterclaims fairly, supplying evidence for each
while pointing out the strengths and limitations of both in a manner that
anticipates the audience’s knowledge level and concerns.
W.9-10.1.c Use words, phrases, and clauses to link the major sections of the text,
create cohesion, and clarify the relationships between claim(s) and
reasons, between reasons and evidence, and between claim(s) and
counterclaims.
W.9-10.1.d Establish and maintain a formal style and objective tone while attending to
W.9-10.1.e Provide a concluding statement or section that follows from and supports
the argument presented.
W.9-10.4
above.)
W.9-10.5
Language
L.9-10.1
L.9-10.1.a

Vocabulary Acquisition and Use
L.9-10.4

L.9-10.4.a
L.9-10.5
L.9-10.5.a

Determine or clarify the meaning of unknown and multiple-meaning words
and phrases based on grades 9–10 reading and content, choosing flexibly
from a range of strategies.
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.
Demonstrate understanding of figurative language, word relationships,
and nuances in word meanings.
Interpret figures of speech (e.g., euphemism, oxymoron) in context and
analyze their role in the text
SUGGESTED WORKS
ADOPTED RESOURCES
 Timeless Voices, Timeless Themes: Platinum (2000-2002), Prentice Hall (10th Grade)
ANCHOR TEXTS: Anchor texts are dedicated specifically to this unit. Teachers do not
 Romeo and Juliet (PH, pp. 669-775)
desired.
Poems
 Pablo Neruda sonnets:
o Sonnet LXXXI: http://www.poemhunter.com/poem/sonnet-lxxxi/
o Sonnet XVII: http://www.poemhunter.com/poem/sonnet-xvii/
o Five additional sonnets: http://www.love-poetry-of-the-world.com/pabloneruda-love-poetry-love-sonnets3.html
 Shakespeare’s Sonnets: http://shakespeare-online.com/sonnets/
o Some Suggested Sonnets from above website:
 18, 30, 33, 73, 104, 116,130
Plays
 Taming of the Shrew: http://nfs.sparknotes.com/shrew/page_2.html or
http://www.william-shakespeare.info/script-text-taming-of-the-shrew.htm H
 Much Ado About Nothing:
http://www.opensourceshakespeare.org/views/plays/playmenu.php?WorkID=m
uchado
Nonfiction
 “How to Analyze a Shakespearean Sonnet”: http://shakespeareonline.com/sonnets/sonnetanalyze.html
 “17th Century Rules of Marriage”:
http://www.folger.edu/eduLesPlanDtl.cfm?lpid=615
 “What’s Your Sign?”: http://www.folger.edu/eduLesPlanDtl.cfm?lpid=742
 Romeo and Juliet Packet H (Available in SchoolNet unless it violates copyright
issues)
Is Shakespeare Dead? (Chapter 3) by Mark Twain:
http://www.gutenberg.org/files/2431/2431-h/2431-h.htm H
Professional Development
 The Elizabethan World Picture by E.M.W. Tillyard (use interlibrary loan to check
out book from other school libraries)

DIGITAL CONTENT
Art/Photos
 Illustration of Juliet on Her Balcony: (Log on to Discovery Ed and search for this
title.)
 Romeo and Juliet (Paintings in a slide show): http://www.shmoop.com/romeoand-juliet/photo-romeo-juliet-2.html
 Romeo and Juliet Paintings:
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Brown.Ro
meo.jpg
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Bunbury.R
omeo.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Calderon.
Juliet.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Hatherell.
Romeo.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Leighton.
Montague.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Leighton.R
omeo.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Millais.De
ath.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Pettie.Friar
.jpg
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Stanhope.
Juliet.html
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Stephanof
f.Romeo.jpg
o http://www.english.emory.edu/classes/Shakespeare_Illustrated/Ward.Julie
t.html
 Romeo and Juliet (1968, PG-13; 1996, PG-13)
 Gnomeo and Juliet (2011, PG)
 Ten Things I Hate about You (1999, PG-13)
 West Side Story (1961, PG-13)
Music
 “Ain’t No Mountain High Enough” by Marvin Gaye: http://youtu.be/EGBXIK5TZjs
 “Like A Rock” by Bob Seeger (lyrics and music): http://youtu.be/OeCXsHX_J7I
 “My Girl,” by the Temptaions (lyrics and music): http://youtu.be/qa5nUD0k9XQ
 “One Tin Soldier” by Dennis Lambert and Brian Potter (lyrics only) (irony):
http://www.scoutsongs.com/lyrics/onetinsoldier.html
 “One Tin Soldier”: http://youtu.be/F-wuly-XRXQ



“Suggestions for Pairing Contemporary Music and Canonical Literature”:
“The Lighthouse” by Nickel Creek (ASL version):
http://www.youtube.com/watch?v=WUnPo2mTI9c
“The Lighthouse” by Nickel Creek (lyrics only):
http://www.azlyrics.com/lyrics/nickelcreek/thelighthousestale.html
Websites
 “8 Simple Steps to Good Decision-Making for Teens”:
http://www.noomii.com/articles/809-8-simple-steps-to-good-decisionmaking-forteens
 “Advice from 400 Years Ago”:
http://www.pbs.org/shakespeare/educators/primary/lessonplan.html
 “Advice from 400 Years Ago: The Office of Christian Parents”:
http://www.pbs.org/shakespeare/educators/handouts/primelp_advicefrom400years.pdf
 “Language Arts: Shakespeare’s Sonnets”:
http://www.pbs.org/shakespeare/educators/language/lessonplan.html
 “Ordering of Sonnes from Fourteene Yeare Old and Upward”:
http://www.folger.edu/documents/parenting2new1.pdf
 “Romeo and Juliet Themes”:
http://www.litcharts.com/lit/romeoandjuliet/themes
 “Romeo and Juliet: A Study in Chance”: http://journal.plasticmind.com/thepen/romeo-and-julie/
 “Romeo and Juliet: Critical Essays, Major Themes”:
http://www.cliffsnotes.com/literature/r/romeo-and-juliet/romeo-and-juliet-at-aglance
 “Shakespeare in the Classroom”: http://www.pbs.org/shakespeare/educators/
 “Studying the Major Themes of Romeo and Juliet”:
http://www.brighthubeducation.com/homework-help-literature/35228-the-fivemajor-themes-in-romeo-and-juliet/
 “Teens and Decision Making: What Brain Science Reveals”:
http://www.scholastic.com/headsup/pdfs/nida6_ins4_student_mag.pdf
 “The Adolescent Brain and Decision Making Skills”:
http://suite101.com/article/the-adolescent-brain-and-decision-making-skillsa163750
 “The Chain of Being: Tillyard in a Nutshell”:
http://web.cn.edu/kwheeler/Tillyard01.html
 “The World of Decision Making Explained”: http://www.decision-makingconfidence.com/
 “Themes and Motifs in Romeo and Juliet”: http://www.shakespeareonline.com/playanalysis/romeocommentary.html
 “Themes in Romeo and Juliet: Love at First Site and Family Feuds”:
http://pages.towson.edu/quick/romeoandjuliet/famnlove.htm
 “What’s Wrong with the Teenage Mind?”:
http://online.wsj.com/article/SB10001424052970203806504577181351486558984.ht
ml
1. AGREE/DISAGREE (SL.9-10.1, SL.9-10.4, L.9-10.1): Choose 5-10 characteristics that
contribute to a successful relationship, such as honesty, humor, similar interests,
kindness, etc. Then pose this question to the class: On a scale of 4, 3, 2, or 1, to
what degree does honesty contribute to a successful relationship? Continue the
activity, replacing honesty with other ideas. Students must place themselves along
the spectrum of agree/disagree (ie. a scale along the wall, 4 corners, masking tape
line on the floor, etc.) Students must defend and explain their position along the
spectrum citing evidence from personal experience, the real world, or general
knowledge.
READING STRATEGY FOCUS
Literature
1. CHARACTER ANALYSIS (RL.9-10.1, RL.9-10.3): Use a graphic organizer (plot map,
family tree, note cards—one per character). Analyze characters and their
relationships with each other. Cite evidence from the text and interpret and
draw inferences about characters through direct characterization and indirect
characterization. Describe the relationship in terms of feelings, attitudes, desires,
ambitions, loyalties, the role of each character in the feud, etc. Post the note
cards in the classroom and shift as necessary to reflect changes in relationships.
Suggested Work: Romeo and Juliet
2. CONTEMPORARY INTERPRETATION (RL.9-10.3, RL.9-10.4, RL.9-10.10, W.9-10.3, W.910.3.a, W.9-10.3.b. W.9-10.3.c, W.9-10.3.d, W.9-10.3.e, SL.9-10.4, SL.9-10.6): Choose
a scene that depicts a relationship from the text. Rewrite it as if the exchange
between characters took place in an alternative setting over text message,
email, Facebook, Twitter, etc., matching language to the setting chosen.
a. This should explore the relationship in detail and examine how the
relationship changes, develops, and/or unfolds.
b. Relationships examined could be foil pairs.
c. Optional: Perform written exchange in front of the class or as part of a
multimedia presentation. Suggested Work: Romeo and Juliet
3. SONNETS AND SONG LYRICS FOLDABLE BOOK (RL.9-10.4, RL.9-10.10, L.9-10.3, L.910.4, L.9-10.4.a, L.9-10.4.d, L.9-10.5): Students define literary devices using a
foldable book. Devices include: metaphor, imagery, irony/dramatic irony, comic
relief, simile, hyperbole, assonance, consonance, alliteration, allusion, paradox,
euphemism, etc. Students read and analyze Shakespearean sonnets and
modern song lyrics for examples of literary devices. Students then record these
examples as part of their Literary Devices Foldable Book. Additional examples
from Romeo and Juliet are added while reading the play. Many possible
foldable book options are on the Internet (search “Secret Door Foldable” on
YouTube for one example). Suggested Works: Shakespearean Sonnets, Songs
4. DRAW MERCUTIO’S QUEEN MAB (RL.9-10.1, L.9-10.5, L.9-10.5.a, L.9-10.5.b):
Students draw Queen Mab using at least ten details from the text. Cite each
detail of the sketch with a line number. Teacher leads discussion of the
significance of the speech including the use of connotation, denotation,
figurative language, imagery, metaphor, etc. Suggested Work: Romeo and
Juliet
5. HONORS END OF YEAR REVIEW (RL.9-10.2): Students will review all of the texts
used during the entire year and come up with their own themes based on all of
the texts. Students will create a visual representation of these themes on butcher
paper.
6. HONORS QUESTION THE AUTHOR (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.5): Why
did (the author) ______________? Example: Why did Shelley create an entire
courtroom scene? Why did the author introduce certain characters? Explore
possible answers. Why did Shakespeare _________________?
7. HONORS TOPIC SENTENCES IN ROMEO AND JULIET (RL.9-10.1): Although Romeo
and Juliet is not structured in paragraphs, it still contains topic sentences. Find
the topic sentences in the text and find textual evidence supporting your claims
that these are topic sentences.
Informational
1. RESEARCH FOR ARGUMENT (RL.9-10.1, RI.9-10.2, RI.9-10.4, RI.9-10.6, RI.9-10.8, SL.910.1, SL.9-10.1.a, SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d, SL.9-10.3, SL.9-10.4, L.9-10.1):
Read excerpts from the sources listed below. Students annotate using the Rules
of Notice, looking for evidence of positive or negative influences of ideas on
relationships. Students then engage in an informal debate based on the
question, “What external factors have the greatest impact (positive or negative)
on a relationship?” Students must support claims with evidence from the text and
personal experience.
1. “17th Century Rules of Marriage”
http://www.folger.edu/eduLesPlanDtl.cfm?lpid=615
2. “What’s Your Sign?” http://www.folger.edu/eduLesPlanDtl.cfm?lpid=742
2. HONORS THE GOODE AND THE BADDE (RL.9-10.1, RL.9-10.2, RL.9-10.6, RI.9-10.1,
RI.9-10.2): Utilizing the lesson plan and resources from the Folger’s Shakespeare
Library conduct a jigsaw with students in which they read and paraphrase each
of the stereotypes for women in the 1600s. Following the jigsaw have students
participate in a gallery walk portraying contemporary images, memes, artwork
and multimedia of those same stereotypes. Ask students to reflect on whether
or not these stereotypes still exist and/or ring true to our society. Students will
then find textual evidence supporting or negating these stereotypes within
Romeo and Juliet or Taming of the Shrew.
http://www.folger.edu/eduLesPlanDtl.cfm?lpid=535 H
3. HONORS IS SHAKESPEARE DEAD? (RI.9-10.1, RI.9-10.6, W.9-10.7): Students will read
the chapter and provide textual evidence to reach a conclusion on whether
Shakespeare wrote his own work or not. Students also need to find an article
that provides evidence of Shakespeare writing his own work. They are given a
Discussion Web from readwritethink.com. They will write a conclusion clearly
stating their stance. Suggested Resource: Is Shakespeare Dead? (Chapter 3) by
Mark Twain
WRITING STRATEGY FOCUS
1. THE LETTER (RL.9-10.1, W.9-10.3, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, L.9-10.1,
L.9-10.2, L.9-10.2.c, L.9-10.3, L.9-10.5): Students choose any character to write a
letter to. Students may maintain their perspective as a student, or take on the
persona of a character. Letters must show awareness of audience, have clear
purpose, and employ rhetorical devices (ethos, pathos, logos.) The letter should
motivate the recipient to action, (either an action taken in the play or a new
course of action.) To further practice argument, students must support their claim
with evidence from the play. Make it look like an aged document preserved
from Shakespeare’s era. Suggested Work: Romeo and Juliet
2.
DECISIONS, DECISIONS, DECISIONS (RL.9-10.1, RL.9-10.2, RL.9-10.4, RL.9-10.10, RI.910.1, RI.9-10.2, RI.9-10.4, RI.9-10.10, W.9-10.1, W.9-10.1.a, W.9-10.1.b, W.9-10.1.c,
W.9-10.1.d, W.9-10.1.e, W.9-10.2, W.9-10.2.a, W.9-10.2.b, W.9-10.2.c, W.9-10.2.d,
W.9-10.2.e, W.9-10.2.f, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.7, W.9-10.8, W.9-10.9,
W.9-10.10, L.9-10.1, L.9-10.1.a, L.9-10.1.b, L.9-10.3.a): A series of bad decisions in
Romeo and Juliet lead to the demise of the two young lovers. Review several of
these decisions. Then from Scenes I, II, III or IV, choose one decision made by
Romeo or Juliet or both that was the worst decision made in the play up to that
point. Also read these articles: “Teens and Decision Making: What Brain Science
Reveals,” “8 Simple Steps to Good Decision-Making for Teens,” “The World of
Decision Making Explained,” “The Adolescent Brain and Decision Making Skills,”
and “What’s Wrong with the Teenage Mind?” Write a paper applying
information from at least 3 of these articles to the bad decisions made in the play
and arguing why the decision you choose was the worst decision made. Be
sure to cite internal sources correctly, and include a Works Cited page.
3. YOU ARE THE AUTHOR (W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-10.3.e,
W.9-10.4, W.9-10.5, W.9-10.10, L.9-10.1.a): Based on the analysis completed in
Activity 2, write a new scene that would represent what would have happened if
one event in the play were changed. (For differentiation: Students write the scene
using modern language without a focus on iambic pentameter, students write a
scene using modern language with iambic pentameter, students write a scene
using Shakespearian language and iambic pentameter). Include at least one
instance of parallel structure in your writing.
4. HONORS ARRANGED MARRIAGES (W.9-10.4): Should marriages be arranged? Why
or why not? Students will do a Think/Pair/Share about this topic. Then they will do a
series of Journal Writes to explore this topic.
W.9-10.1.d, W.9-10.1.e): Students will select one of the reading selections from this
quarter and use it as a basis for writing an argument. Students will use textual
SPEAKING AND LISTENING ACTIVITIES
1. WHO PORTRAYED IT BETTER? (RL.9-10.7, SL.9-10.4, SL.9-10.5, SL.9-10.6, L.9-10.1, L.910.6): Choose one of the paintings listed under Art/Photos that depict Romeo
and Juliet. Compare the painting with the lines from the play that describe this
scene. In a speech to the class, discuss the differences in how the two subjects
are represented. Point out what is and is not captured in the picture, but is
captured in Shakespeare’s lines and vice versa.
2. “RIGHT GLAD I AM HE WAS NOT AT THIS FRAY.” (RL.9-10.9, SL.9-10.1, SL.9-10.1.a,
SL.9-10.1.b, SL.9-10.1.c, SL.9-10.1.d, SL.9-10.4 ): Students will compare the advice
in “Ordering of Sonnes from Fourteene Yeare Old and Upward” to the actions of
Mercutio, Tybalt and Romeo in Act III, Scene I of Romeo and Juliet. Use both the
original document found at this website
http://www.folger.edu/documents/parenting2new1.pdf and the translation
found at this website:
http://www.pbs.org/shakespeare/educators/handouts/primelp_advicefrom400years.pdf. After studying the documents together as a class,
divide students into groups of 4-6. Each group will focus on one character in the
play. Each group will identify the lines which offer the most beneficial advice for
their selected character. How appropriate is the advice? Does the character
heed the advice? Why or why not? What happens as a result of this? Does any
of the advice seem out-dated? Translate that advice to what it might look like
for today’s society. Have the groups jigsaw and share information about their
characters and the advice from 400 years ago. For a detailed lesson plan similar
to this one, go to: Advice from 400 Years Ago:
http://www.pbs.org/shakespeare/educators/primary/lessonplan.html
3. HONORS GENDER ROLE DEBATE (SL.9-10.1, SL.9-10.1.a, SL.9-10.l.b, SL.9-10.1.c, SL.9-
10.1.d, W.9-10.7): Students will debate about the gender roles presented in
Shakespeare’s plays. Are they sexist or satirical or a reflection of the values of the
time? Students and/or teacher can research materials to help prepare for this
debate.
LANGUAGE
1. Using Colons to Introduce a List and Quotes (L.9-10.2.b): Model for students the
ways you can introduce a list and quote using a colon. Have students practice
the skills and integrate into their writing.
2. HONORS PROLOGUE SONNET (W.9-10.4, L.9-10.1, L.9-10.3, L.9-10.5): In order to
better understand Shakespeare’s craft and structure, students will compose a
sonnet in the form of a prologue. Introduce students to the structure of a sonnet
and the purpose of a prologue. Then allow students to select any text read
throughout the year and compose a prologue for that text in the form of a
sonnet. Areas of language to discuss: passive voice, slant rhyme, rhyme scheme,
syllables—stressed and unstressed, connotation/denotation, and figurative
language.
3. HONORS DECONSTRUCTING AND RECONSTRUCTING SHAKESPEARE (L.9-10.1.b):
This activity will help students come to understand of why Shakespeare is so
frustrating to read. Students will learn to deconstruct by constructing. This
activity is best played outside. Students will write out 7-8 nouns, verbs, direct
objects, phrases, etc. They will run, randomly grab one of each, run back to the
team, and the team will need to combine these into a complete and cohesive
sentence. This will give them opportunities to mess with sentence structure the
way Shakespeare does.
4. HONORS RAP BATTLE (L.9-10.3): Students analyze Shakespeare’s most famous
sonnets and the format in which they are written. Students then apply this
knowledge when creating their own Shakespearean sonnets. They are required
to write the sonnet about a concept or idea they dislike, and they must also
incorporate Shakespearean insults. Students perform these sonnets in front of the
class in the form of a battle until there is one winner.
1. Family, Fate and Folly: (RL.9-10.1, RL.9-10.2, RL.9-10.10, RI.9-10.8, W.9-10.1, W.910.1.a, W.9-10.1.b, W.9-10.1.c, W.9-10.1.d, W.9-10.1.e, W.9-10.4, W.9-10.5, W.910.6, W.9-10.9, W.9-10.9.a, W.9-10.9.b, L.9-10.1, L.9-10.2, L.9-10.2.a, L.9-10.2.b, L.910.2.c): Many themes are presented in Romeo and Juliet: love at first sight,
teenage love, the role of destiny, family commitment, or the breaking of rules
related to family and relationships. Select one theme from this list or another of
your own choosing and write an argument explaining why you think this is the
most important theme in Romeo and Juliet. Why is the theme important to the
play? What is Shakespeare trying to tell the reader? Use evidence from the play
to support your claim (thesis). Before writing the paper, read at least two articles
based on your chosen theme. Evaluate these articles and incorporate valid and
relevant evidence from these articles into your argument, being sure to credit
the sources appropriately. You can find several articles on Shakespeare’s
themes in Romeo and Juliet at the following web sites:
o Romeo and Juliet: Critical Essays, Major Themes:
http://www.cliffsnotes.com/study_guide/literature/romeo-andjuliet/critical-essays/major-themes.html
o Romeo and Juliet Themes:
http://www.litcharts.com/lit/romeoandjuliet/themes
o Studying the Major Themes of Romeo and Juliet:
http://www.brighthubeducation.com/homework-help-literature/35228the-five-major-themes-in-romeo-and-juliet/
o Romeo and Juliet: A Study in Chance:
http://journal.plasticmind.com/the-pen/romeo-and-julie/
o Themes in Romeo and Juliet: Love at First Site and Family Feuds:
http://pages.towson.edu/quick/romeoandjuliet/famnlove.htm
o Themes and Motifs in Romeo and Juliet: http://www.shakespeareonline.com/playanalysis/romeocommentary.html
COMMON CORE STATE STANDARDS GRADES 9 and 10
Click on the links to return to the Sample Activities and Assessments for that unit.
I—Introductory Activity, RL—Reading Literature, RI—Reading Informational, W—Writing,
SL—Speaking and Listening, L—Language, SBAC—SBAC Assessment Prep.
Unit 1: 1-I, 1-RL, 1-RI, 1-W, 1-SL, 1-L, 1-SBAC
Reading: Literature
RL.9-10.1.

RL.9-10.2.

RL.9-10.3.
the text.
Craft and Structure
RL.9-10.4.
RL.9-10.5.

RL.9-10.6.
literature

RL.9-10.7.


RL.9-10.8.
RL.9-10.9.


Range of Reading and Level of Text Complexity
RL.9-10.10.
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).
(Not applicable to literature)
Analyze how an author draws on and transforms source material in a
specific work (e.g., how Shakespeare treats a theme or topic from Ovid or
the Bible or how a later author draws on a play by Shakespeare).
By the end of grade 9, read and comprehend literature, including stories,
dramas, and poems, in the grades 9–10 text complexity band proficiently, with
scaffolding as needed at the high end of the range.
By the end of grade 10, read and comprehend literature, including stories,
dramas, and poems, at the high end of the grades 9–10 text complexity
band independently and proficiently.
(Lexile Range: 1050-1335)

RI.9-10.1.

RI.9-10.2.

RI.9-10.3.
Craft and Structure

RI.9-10.4.

RI.9-10.5.

RI.9-10.6.
Determine the meaning of words and phrases as they are used in a text,
including figurative, connotative, and technical meanings; analyze the
cumulative impact of specific word choices on meaning and tone (e.g.,
how the language of a court opinion differs from that of a newspaper).
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).




RI.9-10.7.
Analyze various accounts of a subject told in different mediums (e.g., a
person’s life story in both print and multimedia), determining which details
are emphasized in each account.
RI.9-10.8.
Delineate and evaluate the argument and specific claims in a text,
sufficient; identify false statements and fallacious reasoning.
RI.9-10.9.
Analyze seminal U.S. documents of historical and literary significance (e.g.,
Washington’s Farewell Address, the Gettysburg Address, Roosevelt’s Four
Freedoms speech, King’s “Letter from Birmingham Jail”), including how
they address related themes and concepts.
Range of Reading and Level of Text Complexity
RI.9-10.10.
By the end of grade 9, read and comprehend literary nonfiction in the
grades 9–10 text complexity band proficiently, with scaffolding as needed
at the high end of the range.
By the end of grade 10, read and comprehend literary nonfiction at the
high end of the grades 9–10 text complexity band independently and
proficiently. (Lexile Range: 1050-1335)
Writing

W.9-10.1.

W.9-10.1.a

W.9-10.1.b

W.9-10.1.c

W.9-10.1.d

W.9-10.1.e

W.9-10.2.

W.9-10.2.a

W.9-10.2.b

W.9-10.2.c

W.9-10.2.d

W.9-10.2.e

W.9-10.2.f

W.9-10.3.
Write arguments to support claims in an analysis of substantive topics or
texts, using valid reasoning and relevant and sufficient evidence.
Introduce precise claim(s), distinguish the claim(s) from alternate or
opposing claims, and create an organization that establishes clear
relationships among claim(s), counterclaims, reasons, and evidence.
Develop claim(s) and counterclaims fairly, supplying evidence for each
while pointing out the strengths and limitations of both in a manner that
anticipates the audience’s knowledge level and concerns.
Use words, phrases, and clauses to link the major sections of the text,
create cohesion, and clarify the relationships between claim(s) and
reasons, between reasons and evidence, and between claim(s) and
counterclaims.
Establish and maintain a formal style and objective tone while attending to
the argument presented.
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.
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.
Use appropriate and varied transitions to link the major sections of the text,
create cohesion, and clarify the relationships among complex ideas and
concepts.
Use precise language and domain-specific vocabulary to manage the
complexity of the topic.
Establish and maintain a formal style and objective tone while attending to
the information or explanation presented (e.g., articulating implications or
the significance of the topic).
Write narratives to develop real or imagined experiences or events using
effective technique, well-chosen details, and well-structured event
sequences.





W.9-10.3.a
Engage and orient the reader by setting out a problem, situation, or
observation, establishing one or multiple point(s) of view, and introducing
a narrator and/or characters; create a smooth progression of experiences
or events.
W.9-10.3.b Use narrative techniques, such as dialogue, pacing, description, reflection,
and multiple plot lines, to develop experiences, events, and/or characters.
W.9-10.3.c Use a variety of techniques to sequence events so that they build on one
another to create a coherent whole.
W.9-10.3.d Use precise words and phrases, telling details, and sensory language to
convey a vivid picture of the experiences, events, setting, and/or
characters.
W.9-10.3.e Provide a conclusion that follows from and reflects on what is experienced,
observed, or resolved over the course of the narrative.

W.9-10.4

W.9-10.5

W.9-10.6
above.)
Use technology, including the Internet, to produce, publish, and update
individual or shared writing products, taking advantage of technology’s
capacity to link to other information and to display information flexibly and
dynamically.

W.9-10.7

W.9-10.8

W.9-10.9

W.9-10.9.a
Conduct short as well as more sustained research projects to answer a
question (including a self-generated question) or solve a problem; narrow
or broaden the inquiry when appropriate; synthesize multiple sources on
the subject, demonstrating understanding of the subject under
investigation.
Gather relevant information from multiple authoritative print and digital
sources, using advanced searches effectively; assess the usefulness of
each source in answering the research question; integrate information into
the text selectively to maintain the flow of ideas, avoiding plagiarism and
following a standard format for citation.
Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an
author draws on and transforms source material in a specific work [e.g.,
how Shakespeare treats a theme or topic from Ovid or the Bible or how a
later author draws on a play by Shakespeare]”).

W.9-10.9.b
Apply grades 9–10 Reading standards to literary nonfiction (e.g.,
“Delineate and evaluate the argument and specific claims in a text,
sufficient; identify false statements and fallacious reasoning”).
Range of Writing

W.9-10.10
Write routinely over extended time frames (time for research, reflection,
and revision) and shorter time frames (a single sitting or a day or two) for a
range of tasks, purposes, and audiences.

SL.9-10.1 

SL.9-10.1.a

SL.9-10.1.b

SL.9-10.1.c

SL.9-10.1.d

SL.9-10.2 

SL.9-10.3.
Come to discussions prepared, having read and researched material
needed.
conclusions.
Integrate multiple sources of information presented in diverse media or
formats (e.g., visually, quantitatively, orally) evaluating the credibility and
accuracy of each source
Evaluate a speaker’s point of view, reasoning, and use of evidence and
rhetoric, identifying any fallacious reasoning or exaggerated or distorted
evidence.
Presentation of Knowledge and Ideas

SL.9-10.4 
Present information, findings, and supporting evidence clearly, concisely,
and logically such that listeners can follow the line of reasoning and the
organization, development, substance, and style are appropriate to
purpose, audience, and task.

SL.9-10.5. 

SL.9-10.6. 
Make strategic use of digital media (e.g., textual, graphical, audio, visual,
and interactive elements) in presentations to enhance understanding of
findings, reasoning, and evidence and to add interest.
Adapt speech to a variety of contexts and tasks, demonstrating command
of formal English when indicated or appropriate.
Language

L.9-10.1. 


L.9-10.1.a
L.9-10.1.b

L.9-10.2. 

L.9-10.2.a


L.9-10.2.b
L.9-10.2.c
Demonstrate command of the conventions of standard English
capitalization, punctuation, and spelling when writing.
Use a semicolon (and perhaps a conjunctive adverb) to link two or more
closely related independent clauses.
Use a colon to introduce a list or quotation.
Spell correctly.
Knowledge of Language

L.9-10.3. 

L.9-10.3.a
Apply knowledge of language to understand how language functions in
different contexts, to make effective choices for meaning or style, and to
comprehend more fully when reading or listening.
Write and edit work so that it conforms to the guidelines in a style manual
(e.g., MLA Handbook, Turabian’s Manual for Writers) appropriate for the
discipline and writing type.
Vocabulary Acquisition and Use

L.9-10.4. 

L.9-10.4.a

L.9-10.4.b

L.9-10.4.c
Determine or clarify the meaning of unknown and multiple-meaning words
and phrases based on grades 9–10 reading and content, choosing flexibly
from a range of strategies.
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.
Identify and correctly use patterns of word changes that indicate different
meanings or parts of speech (e.g., analyze, analysis, analytical; advocate,
advocacy).
Consult general and specialized reference materials (e.g., dictionaries,
glossaries, thesauruses), both print and digital, to find the pronunciation of
a word or determine or clarify its precise meaning, its part of speech, or its
etymology.

L.9-10.4.d

L.9-10.5. 

L.9-10.5.a


L.9-10.5.b
L.9-10.6. 
Verify the preliminary determination of the meaning of a word or phrase
(e.g., by checking the inferred meaning in context or in a dictionary).
Demonstrate understanding of figurative language, word relationships,
and nuances in word meanings.
Interpret figures of speech (e.g., euphemism, oxymoron) in context and
analyze their role in the text
Analyze nuances in the meaning of words with similar denotations.
Acquire and use accurately general academic and domain-specific
words and phrases, sufficient for reading, writing, speaking, and listening at
the college and career readiness level; demonstrate independence in
gathering vocabulary knowledge when considering a word or phrase
important to comprehension or expression.

Standards for Grade 6

Transcription

Similar documents

Mokena Burros_2014 Flyer_RELEASE

Ignition Timing Accuracy : Causes, Impact, and Solutions

Print edition as PDF

Romeo and Juliet - Dallas Theater Center

Why Shakespeare

William Shakespeare`s Romeo and Juliet

「Juliet Love Letter」 release from LOVE PASSPORT !

Newsletter No. 2 - gpche