Youngstown City Schools Curriculum Project
ENGLISH / LANGUAGE ARTS - - Grade 11
Unit #2 I BELIEVE THIS TO BE TRUE (6 weeks) 2013-14
SYNOPSIS: In this unit, students will consider fiction, poetry, and non-fiction that reflects the writer’s deep-felt beliefs and struggles with
belief. In their analysis of the literature, the students will analyze a complex set of ideas or sequence of events and explain how an
author’s ideas or events interact and develop over the course of a text. Additionally, the students will demonstrate their understanding
of figurative language, word relationships, and nuances in word meanings. They will produce clear and coherent writing about the
literature in which the development, organization, and style are appropriate to task, purpose and audience. By the end of the unit,
students will write their own personal essays in which they state and support a belief that they have based upon their experiences. In
collaboration with their Science classes, students will complete an Argumentative / Persuasive research paper.
This Unit includes the Argumentative Research Paper in collaboration with Science.
STANDARDS
RL 11.4
Determine the meaning of words and phrases as they are used in the text, including figurative and connotative
meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or
language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.)
RL 11.9
Demonstrate knowledge of eighteenth-, nineteenth- and early-twentieth-century foundational works of American
literature, including how two or more texts from the same period treat similar themes or topics.
RL 11.10 By the end of grade 11, read and comprehend literature, including stories, dramas, and poems, in the grades 11–CCR
text complexity band proficiently, with scaffolding as needed at the high end of the range.
RI 11.3
Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and
develop over the course of the text.
RI 11.4
Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical
meanings; analyze how an author uses and refines the meaning of a key term or terms over the course of a text (e.g.,
how Madison defines faction in Federalist No. 10).
RI 11.10 By the end of grade 11, read and comprehend literary nonfiction in the grades 11–CCR text complexity band proficiently,
with scaffolding as needed at the high end of the range.
W 11.1
W 11.4
Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and
sufficient evidence.
a.
Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s)
from alternate or opposing claims, and create an organization that logically sequences claim(s), counterclaims,
reasons, and evidence.
b.
Develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant evidence for each while
pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level,
concerns, values, and possible biases.
c.
Use words, phrases, and clauses as well as varied syntax 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.
d.
Establish and maintain a formal style and objective tone while attending to the norms and conventions of the
discipline in which they are writing.
e.
Provide a concluding statement or section that follows from and supports the argument presented.
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.)
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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W 11.5
Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing
on addressing what is most significant for a specific purpose and audience. (Editing for conventions should
demonstrate command of Language standards 1–3 up to and including grades 11–12 on page 6 of the standards.)
W 11.6
Use technology, including the Internet, to produce, publish, and update individual or shared writing products in
response to ongoing feedback, including new arguments or information. (podcasts or blog)
W 11.10 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.
L 11.1
Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
a. Apply the understanding that usage is a matter of convention, can change over time, and is sometimes contested.
b. Resolve issues of complex or contested usage, consulting references (e.g., Merriam- Webster’s Dictionary of
English Usage, Garner’s Modern American Usage) as needed. (compare/contrast Emerson/Thoreau with King)
L 11.4
Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 11–12 reading
and content, choosing flexibly from a range of strategies.
a. 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.
b. Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g.,
conceive, conception, conceivable).
c. 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, its
etymology, or its standard usage.
d. 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).
L 11.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
a. Interpret figures of speech (e.g., hyperbole, paradox) in context and analyze their role in the text.
b. Analyze nuances in the meaning of words with similar denotations.
Materials
Fiction
from “Walden,” Henry David Thoreau
from “Nature,” Ralph Waldo Emerson
from “Civil Disobedience,” Henry David Thoreau
Select “This I Believe” essays, NPR
Non-Fiction
Tuesdays with Morrie, Mitch Albom
“Letters from Birmingham Jail,” Dr.
Martin Luther King, Jr.
Poetry
“A Psalm of Life,” Henry
Wadsworth Longfellow
Drama
“Nature,” Henry David
Thoreau
Key Terms
General Vocabulary
Vocabulary from
Tuesdays with Morrie
(attached]
Select vocabulary from
selected readings
Literary Skills
figures of speech
aphorisms
similes / metaphors
allusion
context
connotation
imagery
denotation
personification
genres
multi-meaning words technical words
development
organization
style
task
purpose
audience
Writing Skills
annotation
writing groups
timed writing
essay writing
letter writing prompt
grammar and usage
MOTIVATION
Speaking /Listening Skills
TEACHER NOTES
1. Students review the statements on the “I Believe” handout (Attachment #1) and decide whether they
agree or disagree. Teacher invites students to share responses and to note patterns in students’
beliefs. If time, one option is the “Four Corner” activity. Teacher asks students how “beliefs” impact
actions and feelings.
[ cont’d ]
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MOTIVATION
TEACHER NOTES
Note: T labels the 4 corners of the classroom as Agree, Strongly Agree, Disagree, Strongly Disagree.
T chooses a statement from the list, and students go to the appropriate corner. Students discuss as a
group their reasons for agreeing or disagreeing with statement. Each corner will then report out their
reasons for agreeing or disagreeing. For more information on the Four Corner activity, visit
http://wvde.state.wv.us/teach21/FourCorners.html
2. In their journals, students choose one statement from the “I Believe” handout and explain in more depth
their reasons for agreeing or disagreeing. (W 11.4)
3. Students read and annotate the poem “A Psalm of Life” by Henry Wadsworth Longfellow (Attachment
#2 and on pg. 150 of the anthology). Students discuss the poem in whole group or pairs. In the margin,
students cite two of the poet’s central ideas and three supporting details for each. T reviews how a
“summary” is written for a poem. Students write a summary of the poem. [ See Unit 1 for Summary
samples and guidelines.]
Note: video of the poem is at http://www.youtube.com/watch?v=24KChPShTn0&feature=related
4. Students read a ‘this I believe’ essay (Attachment #3). In the margin, students record two of the
author’s central themes and three supporting details for each. Students write an analysis od how the
author inter-twines ideas into a whole (RI 11.3)
5. Teacher helps students set goals for the Unit (1 personal and 1 academic ); students record.
6. Teacher reminds students about the Independent Reading requirement. (see Unit #1 attachments)
7. Teacher previews “authentic assessments” as expectations for the Unit ( i.e., explains what students
will be expected to accomplish by the end of the Unit ). REMINDER: the Grade 11 team added the
Argumentative Research Paper - - in collaboration with Science. The schedule calls for the paper to
be written at the end of Unit 2, but teachers will decide between the two departments. Be sure
students have access to the Argumentative Research FOLIO.
TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
NON-FICTION Tuesdays with Morrie
1. Teacher introduces the book Tuesdays with Morrie by reading the chapter “The Curriculum” aloud.
Teacher uses the guided questions (Attachment #4) to lead a class discussion. Supplement the
reading with a video of the interview with Morrie. (RI 11.10)
2. T creates chapter journal prompts using the handout “Life Lessons from Tuesdays with Morrie”
(Attachment #10) as a teaser to help Ss predict or hypothesize what will take place and /or the
chapter Study Guide Questions. NOTE: A Complete Study Guide and Check for Understanding
Document is available from Angela Dooley (Angela.Dooley@Youngstown.k12.oh.us) (W 11.4; W
11.10; and L 11.1 )
3. Teacher assigns the next chapter “The Syllabus” for students to read independently. As they read,
students record key details, vocabulary, and “puzzlements.” A Directed Reading Guide is included
(Attachment #5).
4. Students discuss their notes or Directed Reading Guide responses with a partner in a Think-Pair-Share.
Students add to their notes or Directed Reading Guides as necessary.
5. Teacher reminds students about using context clues to predict the definitions of unfamiliar words and to
recognize technical words. Teacher has students look at sample pages of text (e.g., previously
examined in Motivation or Chapter 1 of Tuesdays) to practice. (RI 11.4)
6. Teacher reminds students about figurative language - - sees who can identify / name figurative devices
and/or give examples; T uses sample pages from text already read (could be same as that used in task
#4). T then introduces the figurative language definitions (Attachment #6). (RI 11.4 and L11.5)
[ cont’d ]
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TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
7. Students work with a partner to skim the first 2 chapters of Tuesdays to identify and record
examples of (a) technical language; (b) unfamiliar words; and (c) figurative language. Teacher
reminds students to add to this list after reading each chapter. Each chapter offers a list, but
student are to look for additional words to apply their own skills of using context. Sample
Vocabulary recording sheet is Attachment #7. (RI 11.4)
8. Students will read the chapter “The Student.” As they read, students will complete a second
Directed Reading Guide or set of notes. The categories are to be: Writer’s Style; Open-Ended
Discussion Questions; Characters’ Past; Central Theme and Supporting Ideas.
9. IF TIME, students will use their notes and / or Directed Reading Guides to participate in a Socratic
Seminar (Attachment #8 - - handout and rubric).
10. Teacher assigns the “Character Evolution Chart” (Attachment #9). Students complete one chart
for Mitch and one for Morrie throughout their reading to analyze the sequence of events of how the
characters interact and develop over the course of the text. (RI 11.3)
11. Teacher creates a reading schedule for students and assigns note-taking of key details and
important vocabulary.
NON-FICTION - - The Transcendentalists
12. Teacher shows a video clips to provide students with a context about the Transcendentalists
Movement and the Fireside Poets. Students take notes.
13. Students work with a partner to jigsaw and gain background knowledge on the American authors
Emerson and Thoreau. One group of student reads pp. 216-217 about Emerson, while the other
students reads pp. 230-231 about Thoreau. As students read, they record notes on the authors’
life, influences, accomplishments, and philosophies. When complete, students will share and
discuss their notes with their partner.
14. Students read “Self-Reliance” by Emerson (pg. 224 of the 11th grade anthology). In their journals
before reading, students complete the Quickwrite on page 224: “Write down the associations you
make with the word self-reliance: definitions, examples, and synonyms. Question: how does selfreliance differ from selfishness or self-centeredness?” (W 11.4; W 11.10; and L 11.1 )
15. As students read “Self-Reliance” - - independently or with a partner - - they complete a doubleentry journal. In the left column, they record unknown words, figures of speech, and main ideas
from the text. In the right column, students define the unknown words, the literal meaning of the
figures of speech, and the supporting detail(s) of each main idea. They should use the dictionary
when context fails to unlock meaning. (RI 11.4 and RL 11.10)
16. If students are rusty or uncertain about figurative language, they can be assigned to read the
“Reading Skills and Strategies” on page 228 of the grade 11 anthology. This will provide students
with practice to understand figurative language. (RL 11.4)
17. An introductory poem by Thoreau (“Nature”) is Attachment #11 to help students “discover”
Thoreau’s philosophy or outlook.
18. Students read a selection from “Walden” by Thoreau on page 233 of the grade 11 text. Students
read from p. 237 from “Where I Lived and What I Lived For.” Students paraphrase the selections.
19. As a pre-reading quick-write, students respond to the following prompt in their journals: “Under
what circumstances would you be willing to go to jail for a moral or political principle? Write a brief
description of the principle and your feelings about it. Alternatively, explain why you wouldn’t be
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willing to commit civil disobedience under any circumstances.”
[ cont’d ]
TEACHING-LEARNING ACTIVITIES
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TEACHER NOTES
5
Note: Teacher may choose to share the “Background” information on pg. 248 of the anthology to
provide students a context. (W 11.4; W 11.10; and L 11.1 )
20. Students read “Civil Disobedience” by Thoreau on p. 249 of the grade 11 anthology. As they
read, students record the author’s main ideas in their notes. Students complete the “Reading
Check” questions on p. 257 of the anthology to demonstrate their understanding of the text.
21. Students complete a double entry journal. In the left column, they list Thoreau’s ideas and
views about civil disobedience. In the right column, students write generalizations that
logically follow his views.
22. Students complete the “Reading Skills and Strategies” section on p. 257 of the grade 11
anthology. Students use the language from “Civil Disobedience” to determine the meaning of
words. ( L 11.1a; L 11.4)
23. Using their notes from the authors’ biographies, texts, and double entry journals, students
complete a Venn diagram showing the similarities and differences in Emerson and Thoreau’s
philosophies. (RL 11.9; RL 11.10)
24. Students draft their own “This I Believe” essay, based on the material read so far in the Unit.
(W 11.4; W 11.5; W 11.10; and L 11.1 )
[ The Argumentative Research Paper ]
If things went as planned, the students will have collected their information for the Argumentative
Paper in Science class. They will have developed source cards and note-cards on the approved
topic, and their work will have been “vetted” by the Science teacher. Make sure students are
working from the Argumentative Research FOLIO.
25. Once ELA teacher is sure most students are “ready” to write - - i.e., note-cards satisfactory,
direct and indirect quotes okay, and a basic “sense” of organization is apparent - - teacher
reviews the process of developing a rough draft. Make sure students have taken a position,
defended it with viable documentation; and acknowledged the counter-position, including a
viable basis for that point of view.
26. Teacher uses a “sample” paper topic (i.e., it is suggested that teachers prepare a decent
sample from previous years ) to show students how to use the cards to create a basic
organization (which, hopefully, most will have done already), and then to write the rough draft.
Pay special attention to introduction (W 11.1 a) and conclusion (W 11.1 e)- - how to add them last
(a)
It is suggested teacher include hints such as - 1. Do the introduction and conclusion last
2. Begin with the body
3. Form each paragraph with a thesis sentences, then the development
4. When combined, the thesis statements of each paragraph in a section
should provide a good developmental flow.)
5. Watch out for transitions - - usually easiest to add after-the-fact (W 11.1 c)
6. Show students how to use bold headings - - for some students, the headings
help shape the paper; for others, the headings go in last.
(b)
In terms of tone, help students achieve a personal style and tone by inserting their
“voice”
- - while staying “persuasive” and objective. (W 11.1 d)
[ cont’d ]
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TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
27. Teacher provides time to complete the draft - - section by section.
28. Teacher pairs students to review the rough draft as per the soring rubric, making suggestions
to strengthen the piece. (see FOLIO) Teacher reviews this review; advises on final draft. (W
11.5)
TRADITIONAL ASSESSMENT
TEACHER NOTES
1. Unit Test ( consisting of multiple choice and 2- and 4-point essay items )
2. Journals / Notebook entries [ OPTIONAL ]
AUTHENTIC ASSESSMENT
TEACHER NOTES
Each student will - 1. Read an excerpt from two unfamiliar pieces of fiction from the Transcendental era of American
Literature. He or she will create a Venn diagram comparing and contrasting the themes and
supporting details of the two texts. (RL 11.9)
2. Circle the figurative and connotative language used in one of the fictional texts. He or she will
explain the literal meanings. In a paragraph, the student will analyze the impact the language has
on the meaning and tone of the text. (RL 11.4; L 11.4; and L 11.5)
3. Further analyze that non-fiction passage, and
a. indicate the complex set of ideas or sequence of events, and explain how specific individuals,
ideas, or events interact and develop over the course of the text (RI 11.3)
b. determine the meaning of the words and phrases as they are used in the text, including
figurative, connotative, and technical meanings; analyze how the author uses and refines the
meaning of key terms over the course of the text. (RI 11.4)
4. Produce clear and coherent writing - - from an ACT-like prompt - - in which the development,
organization, and style are appropriate to task, purpose, and audience. (W 11.4)
5. Evaluate progress on Unit goals.
6. Complete an Argumentative Research project
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Authentic Assessment ELA Grade 11, Unit 2 “I Believe This to Be True”
Read an excerpt from the following two unfamiliar pieces of fiction from the Transcendental era
of American Literature. Then complete the tasks which follow. (RL 11.9)
Transcendentalist Passage #1
(excerpt from ) “Dr. Heidegger's Experiment” by Nathaniel Hawthorne
That very singular man, old Dr. Heidegger, once invited four venerable friends to meet him in
his study. There were three white-bearded gentlemen, Mr. Medbourne, Colonel Killigrew, and
Mr. Gascoigne, and a withered gentlewoman, whose name was the Widow Wycherly. They
were all melancholy old creatures, who had been unfortunate in life, and whose greatest
misfortune it was that they were not long ago in their graves. Mr. Medbourne, in the vigor of
his age, had been a prosperous merchant, but had lost his all by a frantic speculation, and was
now little better than a mendicant. Colonel Killigrew had wasted his best years, and his health
and substance, in the pursuit of sinful pleasures, which had given birth to a brood of pains,
such as the gout, and divers other torments of soul and body. Mr. Gascoigne was a ruined
politician, a man of evil fame, or at least had been so till time had buried him from the
knowledge of the present generation, and made him obscure instead of infamous. As for the
Widow Wycherly, tradition tells us that she was a great beauty in her day; but, for a long
while past, she had lived in deep seclusion, on account of certain scandalous stories which
had prejudiced the gentry of the town against her. It is a circumstance worth mentioning that
each of these three old gentlemen, Mr. Medbourne, Colonel Killigrew, and Mr. Gascoigne,
were early lovers of the Widow Wycherly, and had once been on the point of cutting each
other's throats for her sake.
"My dear old friends," said Dr. Heidegger, motioning them to be seated, "I am desirous of your
assistance in one of those little experiments with which I amuse myself here in my study."
If all stories were true, Dr. Heidegger's study must have been a very curious place. It was a dim,
old-fashioned chamber, festooned with cobwebs, and besprinkled with antique dust. Around
the walls stood several oaken bookcases . . . . Over the central bookcase was a bronze bust of
Hippocrates, with which, according to some authorities, Dr. Heidegger was accustomed to hold
consultations in all difficult cases of his practice. In the obscurest corner of the room stood a tall
and narrow oaken closet, with its door ajar, within which doubtfully appeared a skeleton.
Between two of the bookcases hung a looking-glass, presenting its high and dusty plate within a
tarnished gilt frame. Among many wonderful stories related of this mirror, it was fabled that the
spirits of all the doctor's deceased patients dwelt within its verge, and would stare him in the
face whenever he looked thitherward.
The opposite side of the chamber was ornamented with the full-length portrait of a young lady,
arrayed in the faded magnificence of silk, satin, and brocade, and with a visage as faded as her
dress. Above half a century ago, Dr. Heidegger had been on the point of marriage with this
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young lady; but, being affected with some slight disorder, she had swallowed one of her lover's
prescriptions, and died on the bridal evening.
Authentic Assessment, p. 2
The greatest curiosity of the study remains to be mentioned; it was a ponderous folio volume,
bound in black leather, with massive silver clasps. There were no letters on the back, and
nobody could tell the title of the book. But it was well known to be a book of magic; and once,
when a chambermaid had lifted it, merely to brush away the dust, the skeleton had rattled in
its closet, the picture of the young lady had stepped one foot upon the floor, and several
ghastly faces had peeped forth from the mirror; while the brazen head of Hippocrates
frowned, and said, - - "Forbear!"
Transcendentalist Passage #2
(excerpt from ) Little Women, by Louisa May Alcott
As young readers like to know `how people look', we will take this moment to give them a little
sketch of the four sisters, who sat knitting away in the twilight, while the December snow fell
quietly without, and the fire crackled cheerfully within. It was a comfortable room, though the
carpet was faded and the furniture very plain, for a good picture or two hung on the walls, books
filled the recesses, chrysanthemums and Christmas roses bloomed in the windows, and a
pleasant atmosphere of home peace pervaded it.
Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large
eyes, plenty of soft brown hair, a sweet mouth, and white hands, of which she was rather vain.
Fifteen- year-old Jo was very tall, thin, and brown, and reminded one of a colt, for she never
seemed to know what to do with her long limbs, which were very much in her way. She had a
decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and
were by turns fierce, funny, or thoughtful. Her long, thick hair was her one beauty, but it was
usually bundled into a net, to be out of her way. Round shoulders had Jo, big hands and feet, a
flyaway look to her clothes, and the uncomfortable appearance of a girl who was rapidly
shooting up into a woman and didn't like it. Elizabeth, or Beth, as everyone called her, was a
rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a
peaceful expression which was seldom disturbed. Her father called her `Little Miss Tranquility',
and the name suited her excellently, for she seemed to live in a happy world of her own, only
venturing out to meet the few whom she trusted and loved. Amy, though the youngest, was a
most important person, in her own opinion at least. A regular snow maiden, with blue eyes, and
yellow hair curling on her shoulders, pale and slender, and always carrying herself like a young
lady mindful of her manners. What the characters of the four sisters were we will leave to be
found out.
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The clock struck six and, having swept up the hearth, Beth put a pair of slippers down to warm.
Somehow the sight of the old shoes had a good effect upon the girls, for Mother was coming,
and everyone brightened to welcome her. Meg stopped lecturing, and lighted the lamp, Amy got
Authentic Assessment, p. 4
out of the easy chair without being asked, and Jo forgot how tired she was as she sat up to hold the
slippers nearer to the blaze.
"They are quite worn out. Marmee [mother] must have a new pair."
"I thought I'd get her some with my dollar," said Beth.
"No, I shall!" cried Amy.
"I'm the oldest," began Meg, but Jo cut in with a decided, "I'm in charge of the family now Papa is away,
and I shall provide the slippers, for he told me to take special care of Mother while he was gone."
"I'll tell you what we'll do," said Beth, "let's each get her something for Christmas, land not get
anything for ourselves."
Everyone thought soberly for a minute, then Meg announced, as if the idea was suggested by the
sight of her own pretty hands, "I shall give her a nice pair of gloves."
"Army shoes, best to be had," cried Jo.
"Some handkerchiefs, all hemmed," said Beth.
"I'll get a little bottle of cologne. She likes it, and it won't cost much, so I'll have some left to buy my
pencils," added Amy.
"How will we give the things?" asked Meg.
"Put them on the table, and bring her in and see her open the bundles. Don't you remember how we
used to do on our birthdays?" answered Jo.
“Glad to find you so merry, my girls," said a cheery voice at the door, and actors and audience turned
to welcome a tall, motherly lady with a `can I help you' look about her which was truly delightful. She
was not elegantly dressed, but a noble-looking woman, and the girls thought the gray cloak and
unfashionable bonnet covered the most splendid mother in the world.
"Well, dearies, how have you got on today? There was so much to do, getting the boxes ready to go
tomorrow, that I didn't come home to dinner. Has anyone called, Beth? How is your cold, Meg? Jo,
you look tired to death. Come and kiss me, baby."
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While making these maternal inquiries Mrs. March got her wet things off, her warm slippers on, and
sitting down in the easy chair, drew Amy to her lap, preparing to enjoy the happiest hour of her busy
day. The girls flew about, trying to make things comfortable, each in her own way. Meg arranged the
tea table, Jo brought wood and set chairs, dropping, over-turning, and clattering everything she
touched. Beth trotted to and fro between parlor kitchen, quiet and busy, while Amy gave directions to
everyone, as she sat with her hands folded.
Authentic Assessment, p. 5
1. Create a Venn diagram comparing and contrasting the themes and supporting details of
the two texts. (RL 11.9)
Dr. Heidegger ( Nathaniel Hawthorne)
Little Women ( Louisa May Alcott )
Both
2. Circle the figurative and connotative language used in one of the fictional texts. In the margin, explain the
literal meanings. In a paragraph, analyze the impact the language has on the meaning and tone of the text.
(RL 11.4; L 11.4; and L 11.5)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
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_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Authentic Assessment, p. 6
3. Read an excerpt from the following unfamiliar piece of non-fiction from the Transcendental American
Literature era. Then complete the tasks which follow. (RI 11.3) (RI 11.4) For the vocabulary items,
you may need to consult reference materials. (L 11.4)
(excerpt from ) “Self-Reliance” by Ralph Waldo Emerson
I read the other day some verses written by an eminent painter which were original and not conventional. The soul
always hears an admonition in such lines, let the subject be what it may. The sentiment they instill is of more value
than any thought they may contain. To believe your own thought, to believe that what is true for you in your private
heart is true for all men, — that is genius.
Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost,—
and our first thought is rendered back to us by the trumpets of the Last Judgment. Familiar as the voice of the mind is
to each, the highest merit we ascribe to Moses, Plato, and Milton is, that they set at naught books and traditions, and
spoke not what men knew but what they thought. A man should learn to detect and watch that gleam of light which
flashes across his mind from within, more than the brilliance of the firmament of famous authors and experts. Yet he
dismisses without notice his own thought, because it is his.
In every work of genius, we recognize our own rejected thoughts: they come back to us with a certain alienated
majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous
impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else, tomorrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we
shall be forced to take with shame our own opinion from another.
There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is
suicide; that he must take himself for better, for worse, as his portion; that though the wide universe is full of good, no
kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him
to till. The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does
he know until he has tried.
Not for nothing one face, one character, one fact, makes much impression on him, and another none. This sculpture in
the memory is not without pre-established harmony. The eye was placed where one ray should fall, that it might
testify of that particular ray. We but half express ourselves, and are ashamed of that divine idea which each of us
represents. It may be safely trusted as proportionate and of good issues, so it be faithfully imparted, but God will not
have his work made manifest by cowards.
Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the
society of your contemporaries, the connection of events. Great men have always done so, and confided themselves
childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart,
working through their hands, predominating in all their being. And we are now men, and must accept in the highest
mind the same transcendent destiny . . . .
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
12
Whoso would be a man must be a nonconformist. He who would gather immortal palms must not be hindered by the
name of goodness, but must explore if it be goodness. Nothing is at last sacred but the integrity of your own mind.
Absolve you to yourself, and you shall have the suffrage of the world.
It is easy in the world to live after the world’s opinion; it is easy in solitude to live after our own; but the
great man is he who in the midst of the crowd - - keeps with perfect sweetness the independence of solitude
Authentic Assessment, p. 7
a. For this passage, indicate the complex set of ideas or sequence of events, and explain how specific
individuals, ideas, or events interact and develop over the course of the text (RI 11.3)
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
b. Determine the meaning of the words and phrases as they are used in the text, including figurative,
connotative, and technical meanings; analyze how the author uses and refines the meaning of key
terms over the course of the text. (RI 11.4)
1. original and not conventional
Multiple Meanings? If so, what?
2. for the inmost, in time, becomes
the outmost
Multiple Meanings? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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3. our first thought is rendered back to
us by the trumpets
Multiple Meanings? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Authentic Assessment, p. 8
4. gleam of light
Definition from Context:
Multiple Meanings? If so, what?
5. more than the brilliance of the
firmament
Multiple Meanings? If so, what?
6. alienated
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
7. majesty
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
8. good-humored inflexibility
Multiple Meanings? If so, what?
9. nourishing corn can come to him but
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
through [his] toil on that plot of ground
given to him
Multiple Meanings? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Authentic Assessment, p. 9
10. sculpture in the memory
Definition from Context:
Multiple Meanings? If so, what?
11. every heart vibrates to that iron string
Multiple Meanings? If so, what?
12. great man is he who in the midst of
the crowd keeps with perfect sweetness
the independence of solitude
Multiple Meanings? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Definition from Context:
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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I Believe…
Attachment #1
Name:
Date:
Strongly
Agree
Agree
Strongly
Disagree
Disagre
e












1.
Life is fair.
2.
Words can hurt.
3.
Police are your friends.
4.
What goes around comes
around.




5.
How you act in a crisis
shows who you really are.




6.
Love conquers all.




7.
An eye for an eye...




8.
People learn from their
mistakes.




9.
You can’t depend on
anyone else; you can only
depend on yourself.








11. Doing what’s right means
obeying the law.




12. There is one special person
for everyone.








10. Money can’t buy happiness.
13. Miracles do happen.
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
Reason(s) for
My Answer
16
Attachment #2
A Psalm of Life
- - by Henry Wadsworth Longfellow
What The Heart Of The Young Man Said To The Psalmist.
Tell me not, in mournful numbers,
Life is but an empty dream!
For the soul is dead that slumbers,
And things are not what they seem.
Life is real! Life is earnest!
And the grave is not its goal;
Dust thou art, to dust returnest,
Was not spoken of the soul.
Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each to-morrow
Find us farther than to-day.
Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.
In the world’s broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!
Trust no Future, howe’er pleasant!
Let the dead Past bury its dead!
Act,— act in the living Present!
Heart within, and God o’erhead!
Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of time;
Footprints, that perhaps another,
Sailing o’er life’s solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.
Let us, then, be up and doing,
With a heart for any fate;
Still achieving, still pursuing,
Learn to labor and to wait.
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #3
Being Content with Myself
Kamaal Majeed - Waltham, Massachusetts
As heard on NPR’s All Things Considered, May 7, 2007
Massachusetts teenager Kamaal Majeed believes being content with himself and
defining his own life are more important than adhering to any racial stereotypes that
his peers may try to force upon him.
Why don’t you act black? Since my middle school years, I’ve been asked this
question more than any other. It seems to me that too many people have let society
program into their brains what should be expected of me, a black person, before ever
interacting with me. But I believe in being who I am, not who others want me to be.
On my first day of high school, going into math class, Two of my classmates pointed
and laughed at me. I initially thought my fly was open, or that something was stuck in
my teeth. But as I took my seat, I heard one of the students whisper, “Why is a black
person taking Honors?” So my fly wasn’t open. An honors level class had simply been
joined by a student whose skin was an unsettling shade of brown.
Many people think my clothes should be big enough for me to live in. or expect me to
listen exclusively to “black music.” In seventh grade, a group of my peers fixed their
cold stares on my outfit: cargo shorts and a plain, fitting t-shirt. They called out to me,
“Go get some ‘gangsta’ clothes, white boy.”
In one of my Spanish classes, as part of a review exercise, the teacher asked me,
“¿Te gusta más la música de rap o rock?” “Do you like rap music or rock music
more?” I replied, “La música de rock.” The look of shock on my classmates’ faces
made me feel profoundly alienated.
I am now in my junior year of high school. I still take all Honors courses. My wardrobe
still consists solely of clothes that are appropriate to my proportions. My music library
spans from rock to pop to techno, and almost everything in between. When it comes
to choosing my friends, I am still colorblind. I continue to do my best work in school in
order to reach my goals; and yet, when I look in the mirror, I still see skin of that same
shade of brown.
My skin color has done nothing to change my personality, and my personality has
done nothing to change my skin color.
I believe in being myself. I believe that I – not any stereotype – should define who I
am and what actions I take in life. In high school, popularity often depends on your
willingness to follow trends. And I’ve been told that it doesn’t get much easier going
into adulthood. But the only other option is to sacrifice my individuality for the
satisfaction and approval of others. Sure, this can be appealing, since choosing to
keep my self-respect intact has made me unpopular and disliked at times, with no end
to that in sight. Others’ being content with me, though, is not nearly as important as
my being content with myself.
Kamaal Majeed is a high school student in Waltham, Mass. In addition to his studies, he works part-time at the local public library and enjoys
studying foreign languages and writing a personal journal. Majeed hopes to pursue a career in journalism.
http://thisibelieve.org/essay/10490/
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #4
Individual Learning Packet and Teaching Unit for Tuesdays with Morrie (by Mitch Albom)
written by Michelle Ryan
Copyright © 2005 by Prestwick House Inc., P.O. Box 658, Clayton, DE 19938.
1-800-932-4593. www.prestwickhouse.com
Permission to copy this unit for classroom use is extended to purchaser for his or her personal use (purchased 7/2/12 by Angela Dooley).
This material, in whole or part, may not be copied for resale.
ISBN 1-58049-497-8
Reorder No.TU4978
Tuesdays with Morrie
Background
Tuesdays with Morrie is a true story about the relationship between Morrie Schwartz and his former student Mitch Albom. As Morrie is on his
death-bed, suffering from Lou Gehrig’s disease, Mitch and Morrie discuss aspects of life, including, aging, death, relationships, marriage, and
most importantly love. The book chronicles the time that Morrie and Mitch spent with one another before Morrie’s death. The book is one that
anyone can enjoy and benefit from reading. While the book does not contain any inappropriate words or situations, the teacher should be
prepared to discuss sensitive issues, especially those that deal with death. Some students may have difficulty verbalizing emotions that may be
associated with the death of a loved one.
Objectives
By the end of this Unit, the student will be able to:
1.
Explain how Morrie Schwartz feels about death and dying and what he feels society’s approach is to those who are dying.
2.
Explain Morrie’s struggle with death throughout the novel.
3.
Discuss the characterization of Mitch as a man who is defined by society’s idea of a successful man.
4.
Demonstrate an understanding of the variability between people and their experiences with death.
5.
Define and cite example(s) of:
• imagery
• motifs
• flashback
• symbols
• foreshadowing
6.
Understand how popular culture may influence people’s viewpoints about issues such as aging and death.
7.
Define the way in which Morrie has created his own culture.
8.
Compare and contrast Mitch and Morrie and their beliefs about life.
9.
Explain the importance of love in Morrie’s life.
10. Understand Morrie’s understanding of and use of religion in his life.
11. Explain the use of reincarnation as a theme in Morrie’s and Mitch’s lives.
12. Characterize Peter, Mitch’s brother, and explain his purpose in the memoir.
13. Explain the duality of media in current culture and justify an opinion about its benefits or detriments.
14. Explain the conflict that drives the book.
15. Describe the purpose and effect of the flashbacks throughout the narrative.
16. Explain how themes of love, rejection, and acceptance function throughout the narrative.
17. Explain the use of figurative language and rhetorical techniques within the text and how they function.
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
19
Attachment #4, cont’d
Questions for Essay and Discussion
1. Trace the mention of the pink hibiscus plant throughout the memoir. For each instance, explain the situation in which it is
mentioned. How does it serve as a metaphor for Morrie’s life? Explain its use as a motif in the memoir and how it may be a
metaphor for the cycle of life.
2.
Throughout the memoir, Morrie refers to the poet W.H. Auden. Explain why Morrie relishes this poet and relies on Auden’s poetry
as a way of illustrating his mantra, “Love or perish.”
3.
Explain the development of Morrie’s religious beliefs. How does Morrie use religion in his life?
4.
Throughout the memoir, the reader is given an insight into Morrie’s relationship with Mitch Albom and Ted Koppel. Explain the
relationship that Morrie has with each person. How does each person change as a result of a relationship with Morrie?
5.
Even though this is an autobiographical work, explain the impact of the subjective point of view as Morrie’s life is documented
through Mitch Albom. How might Mitch have influenced the way in which Morrie’s story is told? How would the memoir be different
if it has been written by Morrie?
6.
Morrie uses detachment as a way of coping with his disease. Explain Morrie’s idea of detachment and how he utilizes it in his life.
7.
Explain Mitch’s relationship with his brother.
8.
Describe Morrie’s beliefs about the media and its importance in society. How does Morrie use media to his advantage?
9.
Characterize the person Mitch Albom was before his Tuesday experiences with Morrie. Describe how Mitch changes.
10. Each reader will come to this text with a different belief about aging and dying. Explain your thoughts about aging, dying, and death
before you read the memoir, and then describe how you feel after reading the book.
11. Explain the “effect of silence” exercise that Morrie uses in his classroom. What is a person supposed to learn through the exercise?
12. Explain the tension of opposites that Morrie describes to Mitch.
13. Choose one of Morrie’s lessons in the memoir. Explain the lesson and then discuss whether you disagree or agree with the lesson.
14. Support the idea that “Love or perish” is a theme of this memoir.
15. Cite examples and explain how personal values may be more important than a generalized acceptance of cultural mores.
16.
Discuss how Morrie’s view of death is unique.
17.
In the complete title to the book, Tuesdays with Morrie: an old man, a young man, and life’s greatest lesson, Mitch alludes to “life’s
greatest lesson.” Explain what you believe to be the lesson that Mitch is describing.
18. Discuss the significance of each chapter’s title as it connects to the information in the chapter.
19. Explain what Morrie means when he states that he will be “that final bridge between life and death, and narrate the trip.” (Pg. 10)
20. Throughout the class that Mitch shares with Morrie in the last few months of Morrie’s life, Mitch does not feel like he contributes
much to the relationship. What would Morrie’s response to that assessment be? How does Mitch contribute to Morrie’s life?
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
20
Attachment #5
Youngstown City Schools
SAMPLE DIRECTED READING GUIDE FOR NON-FICTION / INFORMATIONAL TEXT
Student: ____________________________ Teacher: ___________________ Date: ___________________
Selection: _______________________________ Author: _________________________ Pages: ________
A. Key Details ( i.e., what the author says; what’s in print ) (RI 11.1);
(1) ____________________________________________________________________________________
(2) ____________________________________________________________________________________
(3) ____________________________________________________________________________________
B. Key Inferences Drawn ( i.e., what the author means; what’s behind the print ) (RI 11.1);
(1) ____________________________________________________________________________________
(2) ____________________________________________________________________________________
(3) ____________________________________________________________________________________
C. Central Idea / Theme
__________________________________________________________________________________________
How the central idea is developed through the text (RI 11.2)
Create a flow-chart
D. Connections and Distinctions
How the text makes connections among or distinctions between ideas, events, or individuals (RI 11.3)
Create a diagram or graphic organizer
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
21
Attachment #6
Literary Terms
Alliteration: the repetition of sounds at the beginning of words. Example: More Mischief and Merriment.
Aphorism: a short statement, sometimes humorous, that attempts to state a general principal about
human behavior. Example: “Three people may keep a secret if two of them are dead.”–Ben Franklin
Figurative Language: words and phrases that have meanings different from their usual ones in order to
create a poetic and/or literary effect. Examples: Love certainly has its own seasons; crumbling cities made
of matches.
Flashback: a scene that interrupts the ongoing action in a story to show an event that happened earlier.
Example: The movie, Citizen Kane, tells its story almost exclusively through the memories of its characters,
who all knew Kane before his death.
Foreshadowing: the use of hints or clues in a story to suggest what action is to come. Foreshadowing is
frequently used to create interest and build suspense. Example: Two small and seemingly inconsequential
car accidents predict and hint at the upcoming, important wreck in The Great Gatsby.
Imagery: the use of words to evoke impressions and meanings that are more than just the basic,
accepted definitions of the words themselves. Example: The quotation, “Get thee to a nunnery,” from
Hamlet implies that Ophelia must regain her purity and chastity and does not simply mean that she needs to
go to a convent.
Irony: a perception of inconsistency, sometimes humorous, in which the significance and understanding of
a statement or event is changed by its context. Example: The firehouse burned down.
•
Dramatic Irony: the audience or reader knows more about a character’s situation than the
character does and knows that the character’s understanding is incorrect. Example: In Medea,
Creon asks, “What atrocities could she commit in one day?” The reader, however, knows Medea
will destroy her family and Creon’s by day’s end.
•
Structural Irony: the use of a naïve hero, whose incorrect perceptions differ from the reader’s
correct ones. Example: Huck Finn.
•
Verbal Irony: a discrepancy between what is said and what is really meant; sarcasm. Example: A
large man whose nickname is “Tiny.”Juxtaposition - the placement of two dissimilar items, people,
thoughts, places, etc., next to one another to emphasize the differences or heighten the
similarities. Example: In The Pearl, the main character instinctively touches the valuable pearl and
his knife at the same time.
Metaphor: a comparison of two things that are basically dissimilar in which one is described in terms of the
other. Example: The moon, a haunting lantern, shone through the clouds.
Motif: a situation, incident, idea, or image that is repeated significantly in a literary work. Examples: In
Hamlet, revenge is a frequently repeated idea. In The Catcher in the Rye, Holden continually comments on
the phoniness of people he meets.
Point of View: the position or vantage point, determined by the author, from which the story seems to
come to the reader. The two most common points of view are First-person and Third-person. Examples:
First-person point of view occurs in The Adventures of Huckleberry Finn; the reader receives all information
through Huck’s eyes. An example of third-person point of view is Dickens’ Hard Times, in which the narrator
is not a character in the book.
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
22
[ cont’d ]
Attachment #6, cont’d
Repetition: repeating of a word or phrase for stylistic effect. Example: “When I was a child, I spoke as a
child, I understood as a child, I thought as a child.” - - I Corinthians 13:11
Rhetoric: the art of eloquent speech or writing, which employs various techniques in order to persuade
one’s audience. Example: Congressional speeches.
Simile: a comparison between two different things using either like or as. Examples: I am as hungry as a
horse. The huge trees broke like twigs during the hurricane.
Subjective: first-person narration in which the author is recording action from a character’s point of view.
Example: Huckleberry Finn tells his story from his own viewpoint, which is prejudiced, limited, and
opinionated.
Symbol: an object, person, or place that has a meaning in itself and that also stands for something larger
than itself, usually an idea or concept; some concrete thing which represents an abstraction. Example: The
sea could be symbolic for “the unknown.” Since the sea is something that is physical and can be seen by
the reader, and also has elements that cannot be understood, it can be used symbolically to stand for the
abstraction of “mystery,” “obscurity,” or “the unknown.”
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #7
SAMPLE Sheet for Recording VOCABULARY (World-Builder)
Date: __________ Source: ____________________________________ Inclusive pages __________________
Word or Phrase
Location (p. # and “context” )
e.g., capital
p. 3 In this Op-Ed piece, the guy objects to English proficiency being a
Definition in THIS context
requirement for U.S. Citizenship
Original sentence that shows understanding
Other definitions in OTHER contexts
resources or influence
The Senator used the last of his political
(1) A crime punishable by death; (2)
that can be “spent” to
capital to get a bill passed to help his
The city in which state government
get a desired end
Connotation ? neutral
district create jobs.
Figurative Expression ?
is located
Word or Phrase
Location (p. # and “context” )
Definition in THIS context
Connotation ?
Original sentence that shows understanding
Other definitions in OTHER contexts
Figurative Expression ?
Word or Phrase
Location (p. # and “context” )
Definition in THIS context
Connotation ?
Original sentence that shows understanding
Definition in THIS context
Connotation ?
Word or Phrase
Location (p. # and “context” )
Definition in THIS context
Original sentence that shows understanding
Connotation ?
not here
Other definitions in OTHER contexts
Figurative Expression ?
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #8
Guidelines for Participants in a Socratic Seminar
1. Refer to the text when needed during the discussion. A seminar is not a test of memory. You are not
"learning a subject"; your goal is to understand the ideas, issues, and values reflected in the text.
2. It's OK to "pass" when asked to contribute.
3. Do not participate if you are not prepared. A seminar should not be a bull session.
4. Do not stay confused; ask for clarification.
5. Stick to the point currently under discussion; make notes about ideas you want to come back to.
6. Don't raise hands; take turns speaking.
7. Listen carefully.
8. Speak up so that all can hear you.
9. Talk to each other, not just to the leader or teacher.
10. Discuss ideas rather than each other's opinions.
Dialogue is characterized by:







suspending judgment
examining our own work without defensiveness
exposing our reasoning and looking for limits to it
communicating our underlying assumptions
exploring viewpoints more broadly and deeply
being open to disconfirming data
approaching someone who sees a problem differently not as an adversary, but as a colleague in common
pursuit of better solution.
Expectations of Participants in a Socratic Seminar
When I am evaluating your Socratic Seminar participation, I ask the following questions about participants. Did you
Speak loudly and clearly?
Cite reasons and evidence for their statements?
Use the text to find support?
Listen to others respectfully?
Stick with the subject?
Talk to each other, not just to the leader?
Paraphrase accurately?
Ask for help to clear up confusion?
Support each other?
Avoid hostile exchanges?
Question others in a civil manner?
Seem prepared?
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
25
Attachment #8, cont’d
Stem Questions that Facilitate & Sustain Dialogue for the Socratic Seminar
These stem questions are not only for the leader of the seminar but for participant use as well. It is a great idea to post the list in your
classroom as a reference tool for students. At first, when students use them, they may seem a bit artificial; however, the more you make
them a regular practice in your classroom, the more comfortable and automatic they will become for both you and your students.
Agree / Disagree
 Has anyone else had a similar . . .?
 Who has a different . . .?
Counterexample

Would that still happen if . . . ?

What might have made the difference?
Clarification
 I'm not sure I understand . . .?
 Tell me more about . . .?
 Do you see gaps in my reasoning?
 Are you taking into account something different
from what I have considered?
Point of View / Perspective
 How might she/he have felt . . .?
 What do you think he/she was thinking when . . .?
 He might not like that, but can you think of
someone who would?
 _____________ has expressed a different
opinion. Are there others?
 Do you have a different interpretation?
 Do you have different conclusions?
 How did you arrive at your view?
Support Questions
 Can you give us an example of . . .?
 Where in the story . . .?
 What would be a good reason for . . .?
 What is some evidence for . . .?
Cause and Effect
 Why do you think that happened?
 How could that have been prevented?
 Do you think that would happen that way again? Why?
 What are some reasons people . . .?
Compare / Contrast
 How are __________ and _______ alike?
Different?
 What is that similar to?
 Can you think of why this feels different than . .
.?
 How does this (poem, book, incident, etc.)
remind you of . . .?
Benefits / Burdens

What are some of the reasons this wouldn't
(would) be a good idea?

Would anyone like to speak to the opposite
side?

Those are some reasons this would work;
what reasons might it not work?
Structure / Function
 If that was the goal, what do you think about . .
(the action, reaction)?
 What were her/his choices of how to . . .?
 Why was she/he doing that? (Reply gives
reason) What do you think of that approach?
 What better choices could he/she have made?
 What rules would we need to make sure . . .?
Different Situation
 Can you describe a situation that would . . .?
 Suppose ________________. Would that still be
true? Why or why not?
Solicit Questions
 What are some things that you wonder about?
 What would you like to know about?
 Are there questions we should remember now?
Personal Experience
 What would you do in that situation?
 Has anything like that ever happened to you?
 In what way are you alike or different from ___
[ character in the piece ]
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #8, cont’d
Socratic Seminar Rubric
Student's Name:
4
Date:
Topic:
frequently contributes meaningfully to the discussion
uses specific references to the text or film
builds on another's point explains ideas thoroughly
explains ideas clearly
initiates new ideas
pays attention when others speak
makes direct references to points made by other students
includes others through verbal exchange or invitation into conversation
3
occasionally contributes to the discussion
refers to the text or film in general ways
occasionally refers to another's point
attempts to explain ideas
may initiate a new idea
pays attention when others speak
2
rarely contributes to the discussion
shows little evidence of knowledge regarding the text or film
presents unexplained ideas
makes tangential remarks
becomes involved sporadically
rarely pays attention when others speak
1
makes little or no contribution to the discussion
no evidence of knowledge regarding the text or film
speaks off topic
shows uninvolved attitude
interrupts when others speak
dominates
makes personal criticisms of the ideas of others
shows disrespect
attempts to obstruct the discussion process
does not pay attention to others
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #9
Character Evolution
Name:
Date:
Title:
Use this organizer to accomplish the following tasks:
1. Choose four defining moments for a character from the text. In other words, choose four moments from the
novel that changed the character in a significant way.
2. Find a quote to support each defining moment. Don’t forget to include the page number!
3. Briefly describe the way in which each moment changed your character.
4. Note whether your moment was “low,” “medium,” or “high.” Low moments changed your character in a
negative way, high moments improved your character, and medium moments were neutral.
5. Remember to keep your moments in chronological order (don’t skip back and forth in time).
Character_______________________
Defining Moment 1:
Quote:
This changed the character in the following way(s):
Circle one:
Low
Medium
High
Medium
High
Defining Moment 2:
Quote:
This changed the character in the following way(s):
Circle one:
Low
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Attachment #9, cont’d
Defining Moment 3:
Quote:
This changed the character in the following way(s):
Circle one:
Low
Medium
High
Medium
High
Defining Moment 4:
Quote:
This changed the character in the following way(s):
Circle one:
Low
http://www.readwritethink.org/classroom-resources/lesson-plans/defining-moments-charting-character30867.html?tab=3#tabs
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #9, cont’d
Character Evolution Chart Grading Rubric
Name:
Date:
Defining
Moments
Quotes
Presentation
Title:
3
Chart includes
four insightful and
appropriate
moments that
demonstrate
understanding of
the term “defining
moment.”
2
Chart includes
four appropriate
moments that
demonstrate
understanding of
the term “defining
moment.”
1
Chart includes
four moments, but
one or two
moments do not
reflect
understanding of
the term “defining
moment.”
0
Chart does not
include four
moments, or
several of the
moments do not
reflect
understanding of
the term “defining
moment.”
Chart includes
four quotes that
effectively and
powerfully
demonstrate a
character’s
changes.
Chart includes
four quotes that
effectively
demonstrate a
character’s
changes, but a
few quotes are
weak or
incomplete.
Chart includes
four quotes, but
one or two quotes
do not
demonstrate a
character’s
changes. Several
quotes may be
weak or
incomplete.
Chart does not
include four
quotes, or most
quotes do not
demonstrate a
character’s
changes.
Chart contains
few to no errors in
standard
grammar,
punctuation or
spelling. Quotes
include page
numbers.
Chart contains
some errors in
standard
grammar,
punctuation or
spelling, but
errors do not
greatly distract
from the chart.
Quotes include
page numbers.
Chart contains
several errors in
standard
grammar,
punctuation, or
spelling, but the
chart is still
presentable.
Quotes do not
include page
numbers.
Chart contains
many errors. The
amount and/or
types of errors
greatly distract
the reader, so the
chart is not
presentable.
Quotes do not
include page
numbers.
Notes
http://www.readwritethink.org/classroom-resources/lesson-plans/defining-moments-charting-character30867.html?tab=3#tabs
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Attachment #10
Life Lessons From Tuesdays With Morrie
1. “Accept what you are able to do and what you are not able to do.” (p.18)
2. “Accept the past as past, without denying it or discarding it.” (p.18)
3. “Learn to forgive yourself and to forgive others.” (p.18)
4. “Don’t assume that it is too late to get involved.” (p.18)
5. Find someone to share your heart, give to your community, be at peace with yourself, try to be as human as
you can be. (p. 34)
6. “Love always wins.” (p.40)
7.
“The culture we have does not make people feel good about themselves. And you have to be strong enough
to say if the culture doesn’t work, don’t buy it.” (p. 42)
8. “So many people walk around with a meaningless life. They seem half-asleep, even when they’re busy doing
things they think are important. This is because they’re chasing the wrong things. The way you get meaning
into your life is to devote yourself to loving others, devote yourself to your community around you, and devote
yourself to creating something that gives you purpose and meaning.” (p. 43)
9. “...if you really want it, then you’ll make your dream happen.” (p.47)
10. “The most important thing in life is to learn how to give out love, and to let it come in.” (p. 52)
11. “Love is the only rational act.” (p. 52)
12.
“I don’t allow myself any more self-pity than that. A little each morning, a few tears, and that’s all . . . . It’s
horrible to watch my body slowly wilt away to nothing. But it’s also wonderful because of all the time I get to
say goodbye.” (p. 57)
13. “Sometimes you can’t believe what you see; you have to believe what you feel.” (p. 61)
14. “What if today were my last day on earth?” (p. 64)
15. “Once you learn how to die, you learn how to live.” (p. 82)
16. If you accept you are going to die at any time, then you might not be as ambitious as you are. (p. 83)
17. There is no foundation, no secure ground, upon which people may stand today if it isn’t the family. (p. 91)
18. “Don’t cling to things, because everything is impermanent.” (p. 103)
19. “ . . . If you’ve found meaning in your life you don’t want to go back. You want to go forward. You want to see
more, do more. You can’t wait until sixty-five.” (p. 118)
20. “Money is not a substitute for tenderness, and power is not a substitute for tenderness.” (p. 125)
YCS Grade 11 English/Language Arts: Unit 2 - - I Believe This to be True 2013-14
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Attachment #10, cont’d
21. “ . . . love is how you stay alive, even after you are gone.” (p. 133)
22.
“Love each other or perish.” (p. 149)
23. “ . . . the big things—how we think, what we value—those you must choose yourself. You can’t let anyone--or
any society—determine those for you.” (p. 155)
24. “Don’t let go too soon, but don’t hang on too long.” (p. 162)
25. “Be compassionate. And take responsibility for each other. If we only learned those lessons, this world would
be so much better a place.” (p. 163)
26. “Forgive yourself before you die. Then forgive others.” (p. 164)
27. “As long as we can love each other, and remember the feeling of love we had, we can die without ever really
going away. All the love you created is still there. All the memories are still there. You live on—in the hearts of
everyone you have touched and nurtured while you were here.” (p. 174)
28. “Death ends a life, not a relationship.” (p. 174)
29. The important questions have to do with love, responsibility, spirituality, awareness. (p. 175)
30. “You’re not a wave, you are part of the ocean.” (p. 180)
31. “ . . . there is no such thing as ‘too late’ in life.” (p. 190)
http://www.readwritethink.org/classroom-resources/lesson-plans/significant-influence-describing-important-824.html?tab=3#tabs
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Attachment #11
Nature
By Henry David Thoreau
O Nature! I do not aspire
To be the highest in thy choir, To be a meteor in thy sky,
Or comet that may range on high;
Only a zephyr* that may blow
Among the reeds by the river low;
Give me thy most privy* place
Where to run my airy race.
In some withdrawn, unpublic mead*
Let me sigh upon a reed,
Or in the woods, with leafy din,
Whisper the still evening in:
Some still work give me to do, Only - be it near to you!
For I'd rather be thy child
And pupil, in the forest wild,
Than be the king of men elsewhere,
And most sovereign* slave of care;
To have one moment of thy dawn,
Than share the city's year forlorn.
zephyr (n) a gentle breeze from the west
privy (adj.) private or withdrawn
mead (n) an archaic or poetic word for meadow
sovereign (adj.) having supreme rank, power or authority
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