Youngstown City Schools Curriculum Project
ENGLISH / LANGUAGE ARTS - - Grade 11
Grade 11
Unit #1
THE POWER OF LANGUAGE (4.5 weeks ) 2013-14
THIS UNIT HAS TWO FILES - - THE UNIT PLAN AND THE READING TEXT “I Couldn’t Keep It to Myself.”
SYNOPSIS: In this unit, students will learn about the power of language by reading how others use writing to express themselves, and
how students use writing in their personal and school lives. They will consider how authors of fiction use language to develop the
elements of fiction and communicate their message. Students will also read non-fiction to examine how those authors use language to
develop their central ideas and points of view. Additionally, students will read and view speeches to analyze how presidents and
presidential candidates use language and rhetoric to share their messages. By the end of the unit, students will write original narratives
and use the skills they have mastered to analyze unfamiliar fiction and non-fiction.
STANDARDS
RL 11.2 Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including
how they interact and build on one another to produce a complex account; provide an objective summary of the text.
RL 11.3 Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a
story is set, how the action is ordered, how the characters are introduced and developed).
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 11.10 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 11.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from
the text, including determining where the text leaves matters uncertain.
RI 11.2 Determine two or more central ideas of a text and analyze their development over the course of the text, including how they
interact and build on one another to provide a complex analysis; provide an objective summary of the text.
RI 11.6 Determine an author’s point of view or purpose in a text in which the rhetoric is particularly effective, analyzing how style and
content contribute to the power, persuasiveness, or beauty of the text.
RI 11.7 Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as
well as in words in order to address a question or solve a problem.
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. By the end of grade 12, read and comprehend literary nonfiction at the high
end of the grades 11–CCR text complexity band independently and proficiently.
W 11.3
Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and wellstructured event sequences.
a. Engage / orient the reader by setting out a problem, situation, or observation and its significance, establishing one or
multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or
events.
b. Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop
experiences, events, and/or characters.
c. Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build
toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution).
d. Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences,
events, setting, and/or characters.
e. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the
narrative.
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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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.
SL11.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse
partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and
persuasively.
a. Come 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.
SL11.3 Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among
ideas, word choice, points of emphasis, and tone used.
L 11.2
Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.
a. Observe hyphenation conventions.
b. Spell correctly.
Materials
Fiction
“Eveline,” James
Joyce (attached)
“Everything Stuck
to Him,” Raymond
Carver (page 1128
of 11th grade
anthology)
Non-Fiction
“I Couldn’t Keep it to Myself,” Wally Lamb (attached)
[ JW sent an email to the publisher requesting permission on 7/2; awaiting
response. ]
“What-and How-to Write When You Have No Time to Write,”
Donald Murray (attached )
Poetry
“English 101,” Bart Edelman [ JW
Drama
obtained permission to use on 7/2. ]
“Slam, Dunk, & Hook,” Yusef
komunyakaa
[ JW sent an email to the publisher requesting permission on 7/2; awaiting
response. ]
[ JW sent an email to the publisher
requesting permission on 7/2; awaiting
response. ]
“Address to Congress and the Nation on Terrorism,” President
George Bush [ attached ]
“The Road Not Taken,” Robert
Frost
Key Terms
General Vocabulary
evaluate
analyze
emerges
Literary Skills
theme
connotative
tone
denotative
analysis
style
rhetoric
explicit
sensory language
inference
annotation
coherence
sequence
reflection
summary
annotation
editing skills
Writing Skills
narrative techniques
set the context
setting
sequential development
characterization
precise language
MOTIVATION
Speaking /Listening Skills
Writing Groups
collaborative discussions
draw on group members’
observations
evaluate a speaker’s point of
view, emphasis, tone
TEACHER NOTES
1. T asks students: “what roles do reading and writing play in your lives?” Ss will discuss; T records
responses on wall-chart for later reference.
2. T passes out the poem “English 101” by Bart Edelman (attached). Ss read the poem silently, and then the
T will read it aloud to Ss. T models the process of annotation using the first stanza of the poem.
( Annotation information is attached.)
Note: For Ts not familiar with annotating a text, visit the AP Central article at
http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/197454.html.
T may show a 3 minute clip to help Ss understand annotation of a text;
www.youtube.com/watch?v=IzrWOj0gWHU
3.
T gives Ss a list of options for annotation to keep in notebook as a reference. Ss work in pairs or small
groups to annotate the remaining stanzas of the poem.
[ cont’d ]
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MOTIVATION
3.
TEACHER NOTES
In their journals, Ss write a paragraph explaining the kind of student they are in English class. [ OPTION:
see attached questions for the poem. ]
5.
Students complete a Reading and Writing Inventory (Attachment #1) as a follow up to the poem “English
101” (Attachment #2) and as preparation for the Literacy Narrative.
6.
Students read and annotate two other poems: (1) “Slam, Dunk, and Hook” and/or (2) “The Road Not
Taken” (Attachment #3) as further practice of annotation. Teacher may show Ss a video clip of the
“Slam, Dunk. . . “ poet reading the poem aloud; http://www.youtube.com/watch?v=y9MYq0iTjoc When
finished, students will compare and contrast their annotations with the book example (Attachment #4).
7.
T reminds Ss of Independent Reading requirement (Attachment #5).
8.
T helps Ss set goals for the Unit (1 personal and 1 academic ); Ss record in Notebooks.
9.
T previews “authentic assessments” as expectations for the Unit ( i.e., explains what Ss will be expected
to accomplish by the end of the Unit ).
TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
NON-FICTION - - Couldn’t Keep It to Myself
1. Teacher introduces non-fiction selection to illustrate central idea, tone, task, audience, and purpose in
literature. Teacher introduces “I Couldn’t Keep it to Myself” by Wally Lamb by walking through the first
two pages - - reading aloud some portions and asking students to read some portions silently and/or
aloud. Students read the remaining pages independently. Teacher asks for general observations re:
central idea, tone, task, audience, and purpose. [ NOTE: The full text of the Wally Lamb piece is so
extensive, it is in a separate file - - Part 2 of Grade 11 Unit 1. ]
2.
Students read the selection and identify each of the five terms central idea, tone, task, audience, and
purpose using words and phrases from the text. Students will also practice annotating their insights,
interpretations, and questions. [ If using photocopy, ask students to highlight and make marginal notes; if
using text, have students use stickies. ] (RI 11.1; RI 11.2 and RI 11.6)
3.
Teacher leads class in discussing how authors of non-fiction develop their theme (message, “so-what”)
across the work; use attached non-fiction sample, or another sample. Teacher reminds students about
the term emerges. Students work in small groups or individually to “trace” the development of at least
two “central ideas” in the selection. Students take notes that include - (a) a timeline to show “emerging” theme. (RI 11.2)
(b) explicit details (RI 11.1)
(c) inferences, supported by text details (RI 11.1)
(d) verify author’s point of view (RI 11.6)
(e) describe the author’s rhetorical style, indicting how it contributes to the power, persuasiveness,
and beauty of the text (RI 11.6)
4. Teacher reminds students how to write a summary of non-fiction, explaining that these summaries use
the pattern of the text (e.g., main idea/supporting detail; compare-contrast; cause-effect; chronological
sequence, etc.). Teacher uses a familiar story or provide a brief nonfiction piece to use as a model. A
sample set of guidelines for writing summaries and sample summaries is included in Attachment #6.
5. Students write a summary of “I Couldn’t Keep. . .” using two central ideas and 3 supporting details for
each, explaining how the author develops the central idea across the piece. (RI 11.2 and W 11.10)
6. Teacher assigns the Literacy Narrative writing piece (see attached). Teacher reads excerpt from a sample
literacy narrative (written as a model by the teacher) or a student’s sample [see attached]. Students
brainstorm what makes a good narrative, and teacher records on wall-chart. NOTE: the Narrative
checklist / scoring Rubric is Attachment #7; Teacher should draw these components from students during
the brainstorm. (W 11.3)
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[ cont’d ]
TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
7. Students brainstorm a topic for their narrative using their Reading and Writing Inventories and/or
the attached brainstorming graphic organizer. Teacher and students review TAP (task, audience
and purpose) and complete TAP for the literacy narrative. Note: Teacher assigns a deadline for
students to bring their typed rough drafts to class to participate in their writing groups.
FICTION - - Eveline, by James Joyce
8. Students read and annotate the fiction piece “Eveline” by James Joyce (Attachment #8). In
their annotations, students focus on character, setting and plot. After reading and annotating,
students analyze the choices the author made in how to develop the character of Eveline.
Students number textual references that indicate Eveline’s character development throughout
the piece. (RL 11.3). See Directed Reading Guide for Fiction as an option (Attachment #9).
9. Students examine the language used by Joyce in “Eveline.” Find figurative devices, connotative
language, and determine the impact of Joyce’s language on the meaning and tone of the piece.
Students note in particular multiple meaning words and those that are particularly fresh,
engaging, and beautiful. (RL 11.4)
10. Teacher asks students how the summary of fiction probably differs from the summary of nonfiction (i.e., 5 Ws in fiction vs organizational patterns in non-fiction). Students write an objective
summary of “Eveline.” (RL 11.2)
11. Students work in pairs or small groups to identify each of the five terms theme, tone, task,
audience, and purpose using words and phrases from the text. Students highlight and make
marginal notes in the margins of the text. Students jigsaw to discuss their results. (RL 11.2
and SL 11.1 a)
12. Students will respond to the following prompt in their journals: “Describe a time when you had to
make a difficult decision. What were the consequences of that decision?” (W 11.10)
Note to Teacher: Remind students of the assigned date to bring four typed copies of their Literacy
Narrative to class so that they can participate in writing groups. (W 11.10)
SPEECH - - President Bush’s Address to the Nation About 9-11
13. Students write in their Journals responding to the following prompt: “Knowing what you know
about 9/11, what ideas, thoughts, and sentiments would you include in a speech to the nation?.
What would be your purpose as you address the nation?” Students share their writing in triads.
(W 11.10 and SL 11.1 a)
14. Students read and view President Bush’s speech “Address to Congress and the Nation on
Terrorism.” The text is attached; the video link is http://www.youtube.com/watch?v=mPb9J4OFhU&feature=related As they read and view the speech, students complete the graphic
organizer “Analyzing a Speech.” (Attachment #10). Also see Attachment #11 - - the ListeningSpeaking Rubric.
15. The teacher uses the Bush speech to model how Ss should evaluate a speech (SL11.3). T
uses the following viewing-listening Rubric to model, but assigns Ss one of the speeches
delivered at the Democratic or Republican National Convention to actually analyze. (RI 11.7)
a. point of view / stance
b. reasoning / use of evidence
d. style of rhetoric
e. premises
g. links among ideas
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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h. choice of words
i. points of emphasis
j. tone
TEACHING-LEARNING ACTIVITIES
TEACHER NOTES
16. Ss integrate multiple sources of information about terrorism and President Bush’s response to
“9/11” (as per task #19, plus other available information). Ss combine information, and prepare
it graphically as well as in text. (RI 11.7)
RE: RL 11.10 and RI 11.10 - - by year’s end, Ss will have read an adequate assortment of on-level
literature via the Independent Reading requirement. See Attachment #5.
TRADITIONAL ASSESSMENT
TEACHER NOTES
1. Unit Test ( consisting of multiple choice and 2- and 4-point essay items )
2. Journals / Notebook entries
AUTHENTIC ASSESSMENT
TEACHER NOTES
Each student will
1. Write a personal narrative of 400 words from a set of prompts to be given. (W 11.3; L 11.2)
The narrative will be scored using the Narrative Rubric. (Attachment #7)
2. Analyze a passage from a NEW (not read during the Unit) FICTION passage dealing with the
power of language; from that analysis, the student will - - [ on a response form provided ]
a. determine two or more themes or central ideas in the text, and trace their development over
the course of the text, including how they build on one another to produce a complex
account. (RL 11.2)
b. describe the impact of the author’s choices in developing the story lines, setting, actions,
and characters. (RL 11.3)
c. determine the meaning of words and phrases as they are used in the text, including
figurative expressions; connotative language; and words with multiple meanings; describe
the impact of the word choices on meaning and tone (RL 11.4)
d. write an objective summary of the text. (RL 11.2)
3. Analyze a passage from a NEW (not read during the Unit) NON-FICTION text dealing with the
power of language; from that analysis, the student will - - [ on a response form provided ]
a. cite explicit detail from the text and draw valid inferences, the latter supported by text detail;
include matters the author has left uncertain. (RI 11.1)
b. determine two or more central ideas of the text, and analyze their development over the
course of the text, including how they interact an build on one another .
(RI 11.2)
c. write an objective summary. (RI 11.2)
d. identify the author’s point of view or purpose, the rhetorical devices used, and how the style
and content contribute to the power, persuasiveness, and beauty of the text. (RI 11.6)
4. work with a partner to compare two speeches on the same topic, using the Listening-Speaking
Rubric (Attachment #12). The Ss will share their analysis of the speeches with their partners. Ss
will then evaluate the speakers and come to a consensus based on their analysis of which speaker
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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was the more effective. Ss will submit a written summary explaining and validating their choice. (RI
11.7 and SL 11.1.a)
5. Evaluate progress on Unit goals.
Authentic Assessments GR 11 ELA Unit #1
1. Write a personal narrative of 400 words from one of the prompts listed below:
a. Evaluate a significant experience, achievement, risk you have taken, or ethical dilemma you have
faced and its impact on you.
b. Discuss some issue of personal, local, national, or international concern and its importance to you.
c. Indicate a person who has had a significant influence on you, and describe that influence.
d. Describe a character in fiction, a historical figure, or a creative work (as in art, music,
that has had an influence on you, and explain that influence.
science, etc.)
e. A range of academic interests, personal perspectives, and life experiences adds much to the
educational mix. Given your personal background, describe an experience that illustrates what you
would bring to the diversity in a college community, or an encounter that demonstrated the importance
of diversity to you. (W 11.3; L 11.2)
The narrative will be scored using the Narrative Rubric (Attachment #7)
2. Analyze the following passage from a NEW (not read during the Unit) work of FICTION dealing with
the power of language; from that analysis, respond to the questions that follow the passage. (RL
11.2). (RL 11.3) (RL 11.4) (RL 11.2)
adapted from “Bartleby the Scrivener”
by Herman Melville
[ NOTE: Civilization has seemed always to need to have on file multiple copies of important documents. Before photocopy
machines had been invented or were readily available, the job of making careful and exact copies of important documents was
done by a “scrivener.” Bartleby, the title character of this short story, has been hired by a law firm to do the necessary copying of
its important legal documents. In this excerpt, the narrator describes what he considers to be Bartleby’s unusual reaction to an
assignment.]
[1] At first, Bartleby did an extraordinary quantity of writing. As if long famishing for something to copy, he
seemed to gorge himself on my documents. There was no pause for digestion. He ran a day and night line,
copying by sun-light and by candle-light. I should have been quite delighted with his application, had he been
cheerfully industrious. But he wrote on silently - - palely, mechanically. I was dumbfounded at his lack of joy.
[2] It is, of course, an indispensable part of a scrivener’s business to verify the accuracy of his copy, word by
word. Where there are two or more scriveners in an office, they assist each other in this examination, one
reading from the copy, the other holding the original. It is a very dull, wearisome, and lethargic affair. I can
readily imagine that, to some sanguine temperaments, it would be altogether intolerable. For example, I
cannot credit that Lord Byron [ an action-loving and flambouyant poet, who was also a ladies’ man ] would
have contentedly sat down with Bartleby to examine a law document of, say five hundred pages, closely written
in a crimpy hand.
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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[3] Now and then, in the haste of business, it had been my habit to assist in comparing some brief document
myself, calling two other scriveners down the hall for this purpose. One object I had in placing Bartleby so near
me behind the screen, was to avail myself of his services on such trivial occasions. It was on the third day, I
think, of his being with me. We had not yet examined Bartleby’s own writing. But this day, I had need of a
Authentic Assessment, p. 2
quick examination of a small paper. I thus called on Bartleby. In my haste and natural expectancy of instant
compliance, I sat with my head bent over the original on my desk, and my right extended with the copy. That
way, immediately upon emerging from his retreat, Bartleby might snatch it and proceed to business without
the least delay.
[4] In this very attitude did I sit when I called to him, rapidly stating what it was I wanted him to do - - namely,
to examine a small paper with me. Imagine my surprise, nay, my alarm, when without moving from his privacy,
Bartleby in a singularly mild, firm voice, replied, “I would prefer not to.”
[5] I sat awhile in perfect silence, rallying my stunned faculties. Immediately it occurred to me that my ears
had deceived me, or Bartleby had entirely misunderstood my meaning. I repeated my request in the clearest
tone I could assume. But in quite as clear a voice came the previous reply, “I would prefer not to.”
[6] “Prefer not to!?” echoed I, rising in high excitement, and crossing the room with a stride. “What do you
mean? Are you moon-struck? I want you to help me compare this sheet here - -take it!” and I thrust it towards
him.
[7] “I would prefer not to,” said he. And he did not move to take the extended sheet.
[8] I looked at him steadfastly. His face was leanly composed; his gray eye dimly calm. Not a wrinkle of
agitation rippled him. Had there been the least uneasiness, anger, impatience or impertinence in his manner
- - in other words, had there been any thing ordinarily human about him - - doubtless I should have violently
dismissed him from the premises. But as it was, I should have as soon thought of turning out my plaster bust
of Cicero. I stood gazing at him awhile, as he went on with his own writing, and then reseated myself at my
desk. This is very strange, thought I.
Herman Melville (1819 – 1891). Adapted from Bartleby, the Scrivener. 1853.
a. Determine two or more themes or central ideas in the text, and trace their development over the course
of the text, including how they build one another to produce a complex account. (RL 11.2)
Theme #1: _________________________________________________________________________
_________________________________________________________________________
Theme #2: _________________________________________________________________________
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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_________________________________________________________________________
Theme #3 (optional): _________________________________________________________________
_________________________________________________________________
Authentic Assessment, p. 3
b. Trace the development of each theme across the course of the text, including how Melville builds them
on one another to produce his account.
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
c. Describe the impact of the author’s choices in developing the story lines, setting, actions, and
characters. (RL 11.3)
[ story lines ] _______________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
[ settings ] _________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
[ actions ] _________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
[ characters ] _________________________________________________________________________
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
Authentic Assessment, p. 4
d. determine the meaning of words and phrases as they are used in the text, including figurative
expressions; connotative language; and words with multiple meanings (RL 11.4)
NOTE TO TEACHER: Select at least 12
1. famishing
Definition from Context:
Multiple Meanings? If so, what?
2. gorge himself
Figurative Meaning? If so, what?
Connotative Meaning? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
6. verify
Connotative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
5. indispensable
Figurative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
4. dumbfounded
Connotative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
3. digestion
Figurative Meaning? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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what?
[ cont’d ]
Authentic Assessment, p. 5
7. sanguine
Definition from Context:
Multiple Meanings? If so, what?
8. expectancy
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
12. steadfastly
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
11. stunned faculties
Figurative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
10. emerging
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
9. compliance
Figurative Meaning? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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Authentic Assessment, p. 6
13. leanly composed
Definition from Context:
Multiple Meanings? If so, what?
14. agitation
Connotative Meaning? If so,
what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
17. impertinence
Figurative Meaning? If so, what?
Definition from Context:
Multiple Meanings? If so, what?
16. impatience
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
15. uneasiness
Figurative Meaning? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
18. plaster bust of Cicero
Figurative Meaning? If so, what?
Connotative Meaning? If so,
what?
Definition from Context:
Multiple Meanings? If so, what?
Figurative Meaning? If so, what?
Connotative Meaning? If so,
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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what?
Authentic Assessment, p. 7
e. Describe the impact of the word choices on meaning and tone. (RL 11.4)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
f. Write an objective summary of the text. (RL 11.2)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Authentic Assessment, p. 8
3. Analyze the following passage from a NEW (not read during the Unit) work of NON-FICTION dealing
with the power of language; from that analysis, respond to the questions that follow the passage.
(RI 11.1) (RI 11.2) (RI 11.6)
Excerpted and adapted from Mark Twain’s Autobiography, Chapter III
This was in 1849. I was fourteen years old, then. We were still living in Hannibal, Missouri, on the banks of the
Mississippi, in the new "frame" house built by my father five years before. That is, some of us lived in the new
part, the rest in the old part back of it - - the "L." In the autumn, my sister gave a party and invited all the
marriageable young people of the village. I was too young for this society, and was too bashful to mingle with
young ladies, anyway. Therefore I was not invited - - at least not for the whole evening. Ten minutes of it was to
be my whole share. I was to do the part of a bear in a small fairy play. I was to be disguised all over in a closefitting brown hairy stuff proper for a bear. About half past ten, I was told to go to my room and put on this disguise,
and be ready in half an hour. I started, but changed my mind; for I wanted to practise a little, and that room was
very small. I crossed over to the large unoccupied house across the street, unaware that a dozen of the young
people were also going there to dress for their parts. I took my litte brother, Sandy, with me, and we selected a
roomy and empty chamber on the second floor. We entered it talking, and this gave a couple of half-dressed
young ladies an opportunity to take refuge behind a screen undiscovered. Their gowns and things were hanging
on hooks behind the door, but I did not see them. It was Sandy who shut the door, but all his heart was in the
theatricals, and he was as unlikely to notice them as I was myself.
That was a rickety screen, with many holes in it, but as I did not know there were girls behind it, I was not
disturbed by that detail. If I had known, I could not have undressed in that flood of cruel moonlight that was
pouring in at the curtainless windows. I would have died of shame. But untroubled by apprehensions, I stripped
to the skin and began my practice. I didn’t bother with the furry costume, thinking I could add that later. I was full
of ambition; I was determined to make a hit; I was burning to establish a reputation as a bear and get further
engagements; so I threw myself into my work with an abandon that promised great things. I capered back and
forth from one end of the room to the other on all fours, Sandy applauding with enthusiasm. I walked upright and
growled and snapped and snarled; I stood on my head, I flung handsprings, I danced an exotic dance with my
paws bent and my imaginary snout sniffing from side to side. I did everything a bear could do, and many things
which no bear could ever do, and no bear with any dignity would want to do, anyway. And of course, I had no
idea I was making a spectacle of myself to any one but Sandy. At last, standing on my head, I paused in that
attitude to take a minute's rest.
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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There was a smothered burst of feminine snickers from behind the screen! All the strength went out of me, and I
toppled forward like an undermined tower and brought the screen down with my weight, burying the young ladies
under it. In their fright, they discharged a couple of piercing screams. But I did not wait to see any more. I
snatched my clothes and fled to the dark hall below, Sandy following. I was dressed in half a minute, and out the
back way. I swore Sandy to eternal silence, then we went away and hid until the party was over. The ambition was
all out of me. I could not have faced that giddy company after my adventure, for there would be two performers
Authentic Assessment, p. 9
there who knew my secret, and would be privately laughing at me all the time. I was searched for but not found,
and the bear had to be played by a young gentleman in his civilized clothes. The house was still and everybody
asleep when I finally ventured home. I was very heavy-hearted, and full of disgrace. Pinned to my pillow I found
a slip of paper which bore a line that did not lighten my heart, but only made my face burn. It was written in a
laboriously disguised hand, and these were its mocking terms:
"You probably couldn't have played “the bear,” but you played “bare” very well - - oh, very, VERY well!"
- - two unsigned admirers
a. cite 3 explicit details from the text and draw 3 valid inferences, the latter supported by text detail;
include matters the author has left uncertain. (RI 11.1)
Explicit detail #1 ________________________________________________________________________
_____________________________________________________________________________________
Explicit detail #2 ________________________________________________________________________
_____________________________________________________________________________________
Explicit detail #3 ________________________________________________________________________
_____________________________________________________________________________________
Valid inference #1 ______________________________________________________________________
_____________________________________________________________________________________
Support from Text __________________________________________________________________
_________________________________________________________________________________
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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Valid inference #2 ______________________________________________________________________
_____________________________________________________________________________________
Support from Text __________________________________________________________________
_________________________________________________________________________________
Authentic Assessment, p. 10
Valid inference #3 ______________________________________________________________________
_____________________________________________________________________________________
Support from Text __________________________________________________________________
_________________________________________________________________________________
b. Identify two or more central ideas of the piece, and analyze their development over the course of the text,
including how they interact an build on one another. (RI 11.2)
Central Idea #1 _______________________________________________________________________
____________________________________________________________________________________
Central Idea # 2 _______________________________________________________________________
____________________________________________________________________________________
Analysis of their development over the course of the text, including how they build on one another.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
c. Write an objective summary. (RI 11.2)
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
____________________________________________________________________________________[ cont’d ]
Authentic Assessment, p. 11
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
d. Describe [1] the author’s point of view or purpose, [2] the rhetorical devices used, and [3] how the style
and content contribute to the power, persuasiveness, and beauty of the text. (RI 11.6)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Authentic Assessment, p. 12
4. Work with a partner to compare two speeches on the same topic, using the Listening-Speaking Rubric
(Attachment #13). Share your analysis of the speeches with your partner. Evaluate the speakers and
come to a consensus based on your combined analysis of which speaker was the more effective.
Submit a written summary explaining and validating your choice. (RI 11.7 and SL 11.1.a)
Excerpts from Alexander Hamilton . . . . The Federalist Point of View
All communities divide themselves into the few and the many. The “first class” are rich
and well-born; the other are the mass of “the people.” The voice of the people has been
said to be the voice of God. And however popular this idea has been quoted and
believed, it is not true in fact. The people are turbulent and changing; they seldom judge
or determine right. Give therefore to the “first class” a definite and permanent share in
the government. They will check the unsteadiness of “the people.” And as the “first
class” cannot receive any advantage by change, they will therefore maintain good
government.
Can a democratic assembly, who annually [through elections] revolve in the mass of the
people, steadily pursue the public good? Nothing but a permanent body can check the
imprudence of democracy. Their violent and changing disposition requires checks. (1787)
Take mankind in general. They are vicious - - their passions may be operated upon.
Take mankind as they are, and what are they governed by? There are, in every
government, a few choice men who may act from more worthy motives. One great
error is that we suppose mankind more honest than they are. Man’s strongest passions
are ambition and interest; and it will be the duty of a wise government to avail itself of
those passions, in order to make them subservient to the public good. (1787)
Your people, sir, is a great beast. (1792)
I have an indifferent [low] opinion of the honesty of this country, and ill foreboding as to
its future system. (1783)
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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I said that I was attached to the Federalist theory... I add that I have strong hopes for the
success of that theory. But in honesty, I ought also to add that I am far from being
without doubts about even that. I consider its success as yet a problem. (1792)
Authentic Assessment, p. 13
Excerpts from Thomas Jefferson . . . . The Democratic-Republican Point of View
Those who labor in the earth are the chosen people of God, if ever he had a chosen
people, in whom he has made his particular deposit for substantial and genuine virtue.
(1784)
Men are naturally divided into two parties. Those who fear and distrust the people and
those who identify themselves with the people. Have confidence in the second group;
cherish and consider them as the most honest and safe. They are the depository of the
public interest. (1824)
The mass of mankind has not been born with saddles on their backs, nor a favored few
booted and spurred, ready to ride them. This is by the grace of God. (1826)
I have such reliance on the good sense of the body of the people and the honesty of their
leaders that I am not afraid of their letting things go wrong to any length in any cause.
(1788)
Whenever the people are well-informed, they can be trusted with their own
government; whenever things get so far wrong as to attract their notice, they may be
relied on to set them to rights. (1789)
I am not among those who fear the people. They, and not the rich, are our dependence
for continued freedom. (1816)
I have great confidence in the common sense of mankind in general. (1800)
My most earnest wish is to see the republican element of popular control pushed to the
maximum of its practicable exercise. I shall then believe that our government may be
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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pure and perpetual. (1816)
[ use analysis hints on next page. ]
Authentic Assessment, p. 14
ANALYSIS OF SPEECHES
Hamilton
Hamilton
Jefferson
Major Points
“Thread” Running throughout
(images, biases, unspoken
inferences )
Who would likely agree with
him today?
Barriers to persuading YOU
Etc.
Synthesis of Which Speaker Was More Effective and Why
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Attachment #1
Youngstown City Schools
Reading & Writing Survey
Name ______________________________
Date ____________
Please respond to the following questions completely and honestly. The more information you give me about yourself as a reader and a
writer, the more I can help you to grow in your skills throughout this year. Please answer using complete sentences and proper mechanics.
1.
What do you like best about writing? As a writer, what do you do well?
2.
What do you dislike about writing? As a writer, what skills do you need to work on?
3.
Describe the things you write during your free time (poetry, songs, stories, emails, blog, FaceBook, Twitter, etc)?
4.
In your opinion, what makes a good writer? What things does a good writer do?
5.
What is the best piece of writing you’ve ever done? What makes it so good?
6.
Rate your writing skills:  advanced  average  below average. Why did you rate yourself the way you did? Be
specific.
7.
In your opinion, what makes a good reader? What things do good readers do?
9.
Describe what you read in your free time (books, magazines, the Internet, etc.)?
10.
Rate your reading skills:  advanced  average  below average. Why did you rate yourself the way you did? Be
specific.
11.
What are the qualities you look for in a good book? What topics (sports, romance, mystery) do you like to read?
12.
What’s the best book you’ve ever read? What made it so good?
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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13.
Do you have a favorite author?  yes ________________________  no What do you like about his/her books?
14.
Describe (don’t name !) your best Language Arts teacher. How did he/she help you to improve as a reader and/or writer?
15.
What advice would you give to me that might help you to be a better reader and writer?
Attachment #2
English 101
By Bart Edelman
They appear—
Always—
That first day,
Astray;
Some wait to fall,
Others to rise;
Here rests the tired boy,
The hour long,
He drops his brain
Upon the desk
And thinks he’d be better off dead,
Five worlds away
From Frost to Twain…
(He’ll have no part of 101).
A fair-haired girl in knots
Twists her braids so tight
They make her ache;
She takes good notes,
Does what she’s told,
If asked a quote
She knows it cold…
(But could a smile unclench those lips?)
Then the hand,
One resolute voice
Speaks through the bell
And the great stampede—
Engaged in speculation
We turn wheat to notion,
Sifting through each tiny grain…
(The composition now complete).
Used with permission of the Red Hen Press
(www.redhen.org) (http://bartedelman.com)
YCS Grade 11 English /Language Arts: Unit 1 - - The Power of Language PART 1 of 2 20013-14
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Attachment #2, cont’d
“English 101” Questions
The Facts
1. Where does the action of the poem take place? How do you know?
2. Who are “They” in the first stanza? Why are they described as “astray”?
3. What is meant by “He drops his brain/Upon the desk” in the second stanza? Explain the
figure of speech.
4. What kind of student is described in stanza 3? Describe her in your own words.
5. What is the meaning of the phrase “One resolute voice/Speaks through the bell”?
The Issues
1. What is the theme (thesis) of this poem? State in one sentence.
2. According to the poem, wherein lies a teacher’s greatest classroom challenge?
3. If you were a teacher, which student would bother you more—the student of stanza 2 or the
student of stanza 3? Give reasons for your answer.
4. What is your opinion on the basic importance of English class?
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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Attachment #3
Slam, Dunk, & Hook
By Yusef Komunyakaa
Fast breaks. Lay ups. With Mercury's
Insignia on our sneakers,
We outmaneuvered to footwork
Of bad angels. Nothing but a hot
Swish of strings like silk
Ten feet out. In the roundhouse
Labyrinth our bodies
Created, we could almost
Last forever, poised in midair
Like storybook sea monsters.
A high note hung there
A long second. Off
The rim. We'd corkscrew
Up & dunk balls that exploded
The skullcap of hope & good
Intention. Lanky, all hands
& feet...sprung rhythm.
We were metaphysical when girls
Cheered on the sidelines.
Tangled up in a falling,
Muscles were a bright motor
Double-flashing to the metal hoop
Nailed to our oak.
When Sonny Boy's mama died
He played nonstop all day, so hard
Our backboard splintered.
Glistening with sweat,
We rolled the ball off
Our fingertips. Trouble
Was there slapping a blackjack
Against an open palm.
Dribble, drive to the inside,
& glide like a sparrow hawk.
Lay ups. Fast breaks.
We had moves we didn't know
We had. Our bodies spun
On swivels of bone & faith,
Through a lyric slipknot
Of joy, & we knew we were
Beautiful & dangerous.
Yusef Komunyakaa, "Slam, Dunk, & Hook" from Pleasure Dome: New and Collected Poems. Copyright © 2001 by Yusef
Komunyakaa. Reprinted with the permission of Wesleyan University Press
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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Attachment #3, cont’d
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
- - Robert Frost
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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Attachment #4
How to Annotate a Text
As an "active reader," you already know that when you read textbook assignments, you should have questions in
your mind. As you read, you should be looking for the answers to these questions. You should also have a pencil in
hand so that you can "annotate" your text. As the word suggests, you "take notes" in your textbook.
Unlike "highlighting," which is a passive activity, the process of annotating text helps you to stay focused and
involved with your textbook. You'll find that the process of taking notes as you read will help you to concentrate
better. It will also help you to monitor and improve your comprehension. If you come across something that you don't
understand or that you need to ask you instructor about, you'll be able to quickly make note of it, and then go on with
your reading.
Annotation is your thinking on paper. It is also evidence to your teacher that you read and thought about the reading.
The following is a list of some techniques that you can use to annotate text:

Mark anything that you think is important, confusing, interesting, or surprising.

Underline important terms.

Circle definitions and meanings.

Write key words and definitions in the margin.

Signal where important information can be found with key words or symbols in the margin. Use circles,
underlines, and arrows to help identify information.

Write short summaries in the margin at the end of sub-units.

Write the questions in the margin next to the section where the answer is found.

Indicate steps in a process by using numbers in the margin.

Annotation is to help you become a better reader and learner. It is not polished and perfect. Thinking is
messy, and so your annotations may also be a little messy.
http://faculty.bucks.edu/specpop/annotate.htm
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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Attachment #5
Youngstown City Schools
INDEPENDENT READING PROGRAM GUIDELINES
Grade 11 English / Language Arts
GROUND RULES
1. Submitted documentation will comprise 20% of the letter grade each 9 weeks.
2. In keeping with the Common Core standards, materials selected must be from a variety
of sub-genres (see Genre Checklist - - attached).
3. All materials selected must be approved by either the teacher or the Media Specialist /
Librarian.
4. To be included in the grade for any nine weeks, all work must be submitted on the
forms provided one week prior to the end of each quarter.
5. All reading must be done outside of class; all of the write-ups must be completed
outside of class with the exception of one period per nine weeks to consult with the
teacher.
FOR THE YEAR
FICTION
Four novels of at least 200 pages each (e.g., 1per quarter); book review format attached
NOTE: at the end of each grading period, students will submit an interim form to
document progress. If they finish the novel within the quarter, they will submit a
complete form. Sample interim report form attached.
Eight short stories of at least 4 pages each; response sheet attached
NON-FICTION
Twelve pieces of at least 900 words each; response sheet attached
NOTE: Photocopies must be submitted with the response sheet.
These entries may be provided by content teachers (e.g., Science, Social Studies, Art,
Music, etc.) and may count toward the course requirements in those subjects, if teacher
permits.
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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Youngstown City Schools
Attachment #5, cont’d
Independent Reading Checklist
Fiction
Adventure
Contemporary
Classical
Mystery
Contemporary
Classical
Science Fiction
Contemporary
Classical
Allegory
Contemporary
Classical
Historical
Contemporary
Classical
Myth
Contemporary
Classical
Realistic Fiction
Contemporary
Classical
Parody or Satire
Contemporary
Classical
Graphic Fiction
Contemporary
Classical
Contemporary
Classical
Contemporary
Classical
Contemporary
Classical
Comedy
Contemporary
Classical
Tragedy
Contemporary
Classical
Narrative
Contemporary
Classical
Drama
Historic Event
Contemporary
Classical
Musical
Lyrical
Contemporary
Classical
Free Verse
Contemporary
Classical
Sonnet
Contemporary
Classical
Ode
Contemporary
Classical
Ballad
Contemporary
Classical
Epic
Contemporary
Classical
Contemporary
Classical
Essay
Speech
Contemporary
Classical
Poetry
Non-Fiction
Opinion Piece
Contemporary
Classical
Contemporary
Classical
Contemporary
Classical
Biography
Contemporary
Classical
Autobiography
Contemporary
Classical
Memoir
Contemporary
Classical
Historic Account
Contemporary
Classical
Scientific Account
Contemporary
Classical
Technical Account
Contemporary
Classical
Essays about Art or
Literature
Contemporary
Classical
Journalism
Contemporary
Classical
Contemporary
Classical
Attachment #5, cont’d
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
27
Independent Reading Documentation
Student: ____________________________ Teacher: ____________________ Date: ___________________
Selection: _______________________________ Author: _________________________ Pages: _________
Genre: ________________________ Sub-Genre: _____________________
[ use above Checklist for Genres and Sub-Genres ]
NOVEL
 Final Report
 Contemporary  Classical
 Interim Report
Summary of Material Read
Chronological Diagram of Plot Events, labeled with Characters and Setting(s)
Author’s Theme (message)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Analysis of Author’s Style (i.e., use of language, imagery, tone; include reference to figurative devices and
connotation)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Personal Reflection and Analysis (i.e., Did you enjoy the book - - why or why not? Why would you or would you
NOT recommend it to a friend?)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Attachment #5, cont’d
Independent Reading Documentation
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
28
Student: ____________________________ Teacher: ____________________ Date: ___________________
Selection: _______________________________ Author: _________________________ Pages: _________
Genre: ________________________ Sub-Genre: _____________________
[ use above Checklist for Genres and Sub-Genres ]
 Contemporary  Classical
SHORT-STORY
Summary of the Short Story
Chronological Diagram of Plot Events, labeled with Characters and Setting
Author’s Theme (message)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Analysis of Author’s Style (i.e., use of language, imagery, tone; include reference to figurative devices
and connotation)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Personal Reflection and Analysis (i.e., Did you enjoy the story - - why or why not? Why would you or
would you NOT recommend it to a friend?)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Attachment #5, cont’d
Independent Reading Documentation
Student: ____________________________ Teacher: ____________________ Date: ___________________
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
29
Selection: _______________________________ Author: _________________________ Pages: _________
Genre: ________________________ Sub-Genre: _____________________
[ use above Checklist for Genres and Sub-Genres ]
 Contemporary  Classical
DRAMA
Summary of the Drama
Chronological Diagram of Dramatic Events, labeled with Characters and Setting(s)
Dramatist’s Theme (message)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Analysis of Dialogue (i.e., use of language, imagery, tone; include reference to figurative devices and connotation)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Personal Reflection and Analysis (i.e., Did you enjoy the drama - - why or why not? Why would you or
would you NOT recommend it to a friend?)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Attachment #5, cont’d
Independent Reading Documentation
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
30
Student: ____________________________ Teacher: ____________________ Date: ___________________
Selection: _______________________________ Author: _________________________ Pages: _________
Genre: ________________________ Sub-Genre: _____________________
[ use above Checklist for Genres and Sub-Genres ]
 Contemporary  Classical
POETRY
Summary of the Poem
Diagram of poetic sequence and detail (verse by verse), including any Characters and Setting(s)
Poet’s Theme (message)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Analysis of Lyrics (i.e., use of language, imagery, tone; include reference to figurative devices and connotation)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Personal Reflection and Analysis (i.e., Did you enjoy the poem - - why or why not? Why would you or
would you NOT recommend it to a friend?)
_________________________________________________________________________________________
_________________________________________________________________________________________
_________________________________________________________________________________________
Attachment #5, cont’d
Independent Reading Documentation
Student: ____________________________ Teacher: ____________________ Date: ___________________
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
31
Selection: _______________________________ Author: _________________________ Pages: _________
Genre: ________________________ Sub-Genre: _____________________
 Contemporary  Classical
[ use above Checklist for Genres and Sub-Genres ]
NON-FICTION
Summary of the Non-Fiction Text
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
Key Details
(1) _______________________________________________________________________________________
(2) _______________________________________________________________________________________
(3) _______________________________________________________________________________________
Key Inferences Drawn
(1) _______________________________________________________________________________________
(2) _______________________________________________________________________________________
(3) _______________________________________________________________________________________
Key Word or Phrase #1
Definition in THIS context
Connotation ?
Key Word or Phrase #1
Definition in THIS context
Connotation ?
Location (p. # and “context” )
Original sentence that shows understanding
Definition in THIS context
Figurative Expression ?
Location (p. # and “context” )
Original sentence that shows understanding
Definition in THIS context
Figurative Expression ?
[ cont’d ]
Attachment #5, cont’d
Key Word or Phrase #1
Definition in THIS context
Location (p. # and “context” )
Original sentence that shows understanding
Definition in THIS context
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
32
Connotation ?
Figurative Expression ?
One connection to your own experience
____________________________________________________________________________________________
____________________________________________________________________________________________
____________________________________________________________________________________________
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
33
Attachment #6
SAMPLE GUIDELINES FOR PREPARING SUMMARIES
FICTION SUMMARIES
Pre-Write a simple outline
1. Genre (e.g., a short story, a folk tale, a poem, a novel, a TV show, a movie, a play, etc.)
2. Author
3. Context
a. environment (e.g., the woods, a theme park, the suburbs, a space station etc.)
b. geographic location (e.g., near X city, in the deep South, colonial Massachusetts)
c. timeframe, if specified (e.g., the 1700s, today, the future)
4. Characters / Narrator (e.g., involves 3 high school students; told by the main character’s best pal)
5. Major Plot Details (e.g., two or three key events including the ending)
Avoid ANY editorial remarks or comments - - include ONLY what’s written
SAMPLE
The Lion King is a Broadway play and an animated movie written by Irene Mecchi and others. It is set in the Pride
Lands of Africa. It is the story of a community of jungle animals ruled by lions. The father lion has a son who will
become king. But the father’s
wicked brother decides to have the father killed and drive off the son so that he
can become king. The son goes into hiding, believing he killed his father. The wicked brother becomes king, and the
community begins to fall apart. But friends loyal to the father king and the son find the son and convince him to return
to the Pride Lands and take his rightful place as king. He does so, and the wicked brother is thrown out.
NON-FICTION SUMMARIES
Pre-Write a simple outline
1. Genre (e.g., an essay, a speech, a set of directions, a court transcript, a treaty, a biography, etc.)
2. Author(s)
3. Context or locale - - if important (e.g., delivered to the Ohio Historical Society)
4. Purpose (e.g., to convince, to entertain, to inform, to explain, etc.)
5. Thesis Idea(s) or Main Point(s)
6. Support or development of detail
Avoid ANY editorial remarks or comments - - include ONLY what’s written
SAMPLE
“The Gettysburg Address” is a famous speech given by President Abraham Lincoln just after the battle at Gettysburg
during the Civil War. The President was asked to make a few remarks to the crowd who had come to the battlefield to
remember those who died in the battle. The speech was to remind people that the country had been set up as one
nation and that everyone deserved to be free. But with the Civil War, there was the threat that the country would split
into North and South and that slavery would continue. Mr. Lincoln urged listeners to see the horrific sacrifice of so
many lives as a reminder that the country dare not forget its origins of one nation under God.
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Attachment #7
Youngstown City Schools
strong
partial
Narrative Elements
weak
editing
missing
Included In
Pre-Write
Rubric for Early NARRATIVE - - Grade 11
Introduction
engaging; establishes context (problem, situation, or observation); one or more points
of view; introduce narrator and/or characters; sets forth a natural and logical
progression of experiences or events (W 11.3 a)
Plot Detail
that is logical and easy to follow, building on one another (events are relevant and
authentic) (W 9.3 c)
 build on one another to create a coherent whole
 build toward a particular tone and outcome
(e.g., a sense of mystery, suspense, growth, or resolution)
Narrative Techniques
to develop experiences, events, and characters; e.g., (W 11.3 b)
 dialogue
 description
 reflection by one or more characters (or the narrator)
 multiple plot lines to develop events or characters
Characters
are believable, 3-dimensional, have flaws and virtues, change along the way (e.g.,
lessons learned, growth or decline, relationships, etc.)
Settings
are effective, multiple as needed; “when” and “where” are appropriate
Transitions
words, phrases, and clauses to convey sequence and signal shifts from one timeframe or setting to another (W 9.3)
Language
 precise, mature words and phrases (W 11.3) (L 11.4)
 relevant descriptive detail and sensory language (W 11.3 d) (L 11.4) (L 11.5)
 connotative language (L 11.5)
 figurative language (L 11.5)
Conclusion
follows from and reflects on the narrated experiences or events (W 11.3 e)
Response Appropriate to (W 11.4)
 task
 purpose
 audience
Conventions
use the conventions of standards English grammar and usage
punctuation
 hyphens (L 11.2)
spelling (L 11.2 )
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Attachment #8
Eveline
by James Joyce
(from Dubliners)
SHE sat at the window watching the evening invade the avenue. Her head was leaned
against the window curtains and in her nostrils was the odour of dusty cretonne. She was
tired.
Few people passed. The man out of the last house passed on his way home; she heard his
footsteps clacking along the concrete pavement and afterwards crunching on the cinder
path before the new red houses. One time there used to be a field there in which they used
to play every evening with other people's children. Then a man from Belfast bought the field
and built houses in it--not like their little brown houses but bright brick houses with shining
roofs. The children of the avenue used to play together in that field --the Devines, the
Waters, the Dunns, little Keogh the cripple, she and her brothers and sisters. Ernest,
however, never played: he was too grown up. Her father used often to hunt them in out of
the field with his blackthorn stick; but usually little Keogh used to keep nix and call out when
he saw her father coming. Still they seemed to have been rather happy then. Her father was
not so bad then; and besides, her mother was alive. That was a long time ago; she and her
brothers and sisters were all grown up and her mother was dead. Tizzie Dunn was dead,
too, and the Waters had gone back to England. Everything changes. Now she was going to
go away like the others, to leave her home.
Home! She looked round the room, reviewing all its familiar objects which she had dusted
once a week for so many years, wondering where on earth all the dust came from. Perhaps
she would never see again those familiar objects from which she had never dreamed of
being divided. And yet during all those years she had never found out the name of the priest
whose yellowing photograph hung on the wall above the broken harmonium beside the
coloured print of the promises made to Blessed Margaret Mary Alacoque. He had been a
school friend of her father. Whenever he showed the photograph to a visitor her father used
to pass it with a casual word:
"He is in Melbourne now."
She had consented to go away, to leave her home. Was that wise? She tried to weigh each
side of the question. In her home anyway she had shelter and food; she had those whom
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Attachment #8, cont’d
she had known all her life about her. O course she had to work hard, both in the house and
at business. What would they say of her in the Stores when they found out that she had run
away with a fellow? Say she was a fool, perhaps; and her place would be filled up by
advertisement. Miss Gavan would be glad. She had always had an edge on her, especially
whenever there were people listening.
"Miss Hill, don't you see these ladies are waiting?"
"Look lively, Miss Hill, please."
She would not cry many tears at leaving the Stores.
But in her new home, in a distant unknown country, it would not be like that. Then she would
be married--she, Eveline. People would treat her with respect then. She would not be
treated as her mother had been. Even now, though she was over nineteen, she sometimes
felt herself in danger of her father's violence. She knew it was that that had given her the
palpitations. When they were growing up he had never gone for her like he used to go for
Harry and Ernest, because she was a girl but latterly he had begun to threaten her and say
what he would do to her only for her dead mother's sake. And no she had nobody to protect
her. Ernest was dead and Harry, who was in the church decorating business, was nearly
always down somewhere in the country. Besides, the invariable squabble for money on
Saturday nights had begun to weary her unspeakably. She always gave her entire wages-seven shillings--and Harry always sent up what he could but the trouble was to get any
money from her father. He said she used to squander the money, that she had no head, that
he wasn't going to give her his hard-earned money to throw about the streets, and much
more, for he was usually fairly bad on Saturday night. In the end he would give her the
money and ask her had she any intention of buying Sunday's dinner. Then she had to rush
out as quickly as she could and do her marketing, holding her black leather purse tightly in
her hand as she elbowed her way through the crowds and returning home late under her
load of provisions. She had hard work to keep the house together and to see that the two
young children who had been left to her charge went to school regularly and got their meals
regularly. It was hard work--a hard life--but now that she was about to leave it she did not
find it a wholly undesirable life.
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Attachment #8, cont’d
She was about to explore another life with Frank. Frank was very kind, manly, open-hearted.
She was to go away with him by the night-boat to be his wife and to live with him in Buenos
Ayres where he had a home waiting for her. How well she remembered the first time she
had seen him; he was lodging in a house on the main road where she used to visit. It
seemed a few weeks ago. He was standing at the gate, his peaked cap pushed back on his
head and his hair tumbled forward over a face of bronze. Then they had come to know each
other. He used to meet her outside the Stores every evening and see her home. He took her
to see The Bohemian Girl and she felt elated as she sat in an unaccustomed part of the
theatre with him. He was awfully fond of music and sang a little. People knew that they were
courting and, when he sang about the lass that loves a sailor, she always felt pleasantly
confused. He used to call her Poppens out of fun. First of all it had been an excitement for
her to have a fellow and then she had begun to like him. He had tales of distant countries.
He had started as a deck boy at a pound a month on a ship of the Allan Line going out to
Canada. He told her the names of the ships he had been on and the names of the different
services. He had sailed through the Straits of Magellan and he told her stories of the terrible
Patagonians. He had fallen on his feet in Buenos Ayres, he said, and had come over to the
old country just for a holiday. Of course, her father had found out the affair and had
forbidden her to have anything to say to him.
"I know these sailor chaps," he said.
One day he had quarrelled with Frank and after that she had to meet her lover secretly.
The evening deepened in the avenue. The white of two letters in her lap grew indistinct. One
was to Harry; the other was to her father. Ernest had been her favourite but she liked Harry
too. Her father was becoming old lately, she noticed; he would miss her. Sometimes he
could be very nice. Not long before, when she had been laid up for a day, he had read her
out a ghost story and made toast for her at the fire. Another day, when their mother was
alive, they had all gone for a picnic to the Hill of Howth. She remembered her father putting
on her mothers bonnet to make the children laugh.
Her time was running out but she continued to sit by the window, leaning her head against
the window curtain, inhaling the odour of dusty cretonne. Down far in the avenue she could
hear a street organ playing. She knew the air Strange that it should come that very night to
remind her of the promise to her mother, her promise to keep the home together as long as
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Attachment #8, cont’d
she could. She remembered the last night of her mother's illness; she was again in the close
dark room at the other side of the hall and outside she heard a melancholy air of Italy. The
organ-player had been ordered to go away and given sixpence. She remembered her father
strutting back into the sickroom saying:
"Damned Italians! coming over here!"
As she mused the pitiful vision of her mother's life laid its spell on the very quick of her
being--that life of commonplace sacrifices closing in final craziness. She trembled as she
heard again her mother's voice saying constantly with foolish insistence:
"Derevaun Seraun! Derevaun Seraun!"
She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save
her. He would give her life, perhaps love, too. But she wanted to live. Why should she be
unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his
arms. He would save her.
She stood among the swaying crowd in the station at the North Wall. He held her hand and
she knew that he was speaking to her, saying something about the passage over and over
again. The station was full of soldiers with brown baggages. Through the wide doors of the
sheds she caught a glimpse of the black mass of the boat, lying in beside the quay wall, with
illumined portholes. She answered nothing. She felt her cheek pale and cold and, out of a
maze of distress, she prayed to God to direct her, to show her what was her duty. The boat
blew a long mournful whistle into the mist. If she went, tomorrow she would be on the sea
with Frank, steaming towards Buenos Ayres. Their passage had been booked. Could she
still draw back after all he had done for her? Her distress awoke a nausea in her body and
she kept moving her lips in silent fervent prayer.
A bell clanged upon her heart. She felt him seize her hand.
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Attachment #8, cont’d
"Come!"
All the seas of the world tumbled about her heart. He was drawing her into them: he would
drown her. She gripped with both hands at the iron railing.
"Come!"
No! No! No! It was impossible. Her hands clutched the iron in frenzy. Amid the seas she sent
a cry of anguish.
"Eveline! Evvy!"
He rushed beyond the barrier and called to her to follow. He was shouted at to go on but he
still called to her. She set her white face to him, passive, like a helpless animal. Her eyes
gave him no sign of love or farewell or recognition.
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Attachment #9
Youngstown City Schools
SAMPLE DIRECTED READING GUIDE FOR FICTION TEXT - - Grade 9
Student: ____________________________ Teacher: ___________________ Date: ___________________
Selection: _______________________________ Author: _________________________ Pages: ________
A. Key Details ( i.e., what the author says; what’s in print ) (RL 9.1);
(1) ____________________________________________________________________________________
(2) ____________________________________________________________________________________
(3) ____________________________________________________________________________________
B. Key Inferences Drawn ( i.e., what the author means; what’s behind the print ) (RL 9.1);
(1) ____________________________________________________________________________________
(2) ____________________________________________________________________________________
(3) ____________________________________________________________________________________
C. Central Idea / Theme
__________________________________________________________________________________________
How is this central idea further developed through the text? (RL 9.2)
Create a flow-chart of plot events and idea development, indicating tie-ins with settings and characters
D. Complex Characters (RL 9.3) How do they develop over the course of the text ?
Character _______________________________
Interaction with other characters ___________________________________________________
Advances to plot ________________________________________________________________
Develops the theme _____________________________________________________________
Change over the course of the story ________________________________________________
[ cont’d ]
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Attachment #9, cont’d
Character _______________________________
Interaction with other characters ___________________________________________________
Advances to plot ________________________________________________________________
Develops the theme _____________________________________________________________
Change over the course of the story ________________________________________________
Character _______________________________
Interaction with other characters ___________________________________________________
Advances to plot ________________________________________________________________
Develops the theme _____________________________________________________________
Change over the course of the story ________________________________________________
E. Key Vocabulary
Word or
Phrase
Meaning as
used
in the text
Original Sentences reflecting
student’s OWN understanding
Connotation ?
Figurative Language?
Connotation ?
Figurative Language?
Connotation ?
Figurative Language?
Connotation ?
Figurative Language?
F. Summary
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
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Attachment #10
PRESIDENT GEORGE W. BUSH'S
ADDRESS TO CONGRESS AND THE NATION ON TERRORISM
20 September 2001
Mr. Speaker, Mr. President Pro Tempore, members of Congress, and fellow Americans:
In the normal course of events, Presidents come to this chamber to report on the state of the Union. Tonight,
no such report is needed. It has already been delivered by the American people.
We have seen it in the courage of passengers, who rushed terrorists to save others on the ground - passengers like an exceptional man named Todd Beamer. And would you please help me to welcome his
wife, Lisa Beamer, here tonight.
We have seen the state of our Union in the endurance of rescuers, working past exhaustion. We have seen
the unfurling of flags, the lighting of candles, the giving of blood, the saying of prayers
- - in English, Hebrew, and Arabic. We have seen the decency of a loving and giving people who have made
the grief of strangers their own.
My fellow citizens, for the last nine days, the entire world has seen for itself the state of our Union
- - and it is strong.
Tonight we are a country awakened to danger and called to defend freedom. Our grief has turned to anger,
and anger to resolution. Whether we bring our enemies to justice, or bring justice to our enemies, justice will
be done.
I thank the Congress for its leadership at such an important time. All of America was touched on the evening
of the tragedy to see Republicans and Democrats joined together on the steps of this Capitol, singing "God
Bless America." And you did more than sing; you acted, by delivering $40 billion to rebuild our communities
and meet the needs of our military.
Speaker Hastert, Minority Leader Gephardt, Majority Leader Daschle and Senator Lott, I thank you for your
friendship, for your leadership and for your service to our country.
And on behalf of the American people, I thank the world for its outpouring of support. America will never
forget the sounds of our National Anthem playing at Buckingham Palace, on the streets of Paris, and at
Berlin's Brandenburg Gate.
We will not forget South Korean children gathering to pray outside our embassy in Seoul, or the prayers of
sympathy offered at a mosque in Cairo. We will not forget moments of silence and days of mourning in
Australia and Africa and Latin America.
Nor will we forget the citizens of 80 other nations who died with our own: dozens of Pakistanis; more than
130 Israelis; more than 250 citizens of India; men and women from El Salvador, Iran, Mexico and Japan; and
hundreds of British citizens. America has no truer friend than Great Britain. Once again, we are joined
together in a great cause -- so honored the British Prime Minister has crossed an ocean to show his unity of
purpose with America. Thank you for coming, friend.
On September the 11th, enemies of freedom committed an act of war against our country. Americans have
known wars -- but for the past 136 years, they have been wars on foreign soil, except for one Sunday in
1941. Americans have known the casualties of war -- but not at the center of a great city on a peaceful
morning. Americans have known surprise attacks -- but never before on thousands of civilians. All of this
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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was brought upon us in a single day -- and night fell on a different world, a world where freedom itself is
under attack.
Attachment #10, cont’d
Americans have many questions tonight. Americans are asking: Who attacked our country? The evidence
we have gathered all points to a collection of loosely affiliated terrorist organizations known as al Qaeda.
They are the same murderers indicted for bombing American embassies in Tanzania and Kenya, and
responsible for bombing the USS Cole.
Al Qaeda is to terror what the mafia is to crime. But its goal is not making money; its goal is remaking the
world -- and imposing its radical beliefs on people everywhere.
The terrorists practice a fringe form of Islamic extremism that has been rejected by Muslim scholars and the
vast majority of Muslim clerics -- a fringe movement that perverts the peaceful teachings of Islam. The
terrorists' directive commands them to kill Christians and Jews, to kill all Americans, and make no
distinction among military and civilians, including women and children.
This group and its leader -- a person named Osama bin Laden -- are linked to many other organizations in
different countries, including the Egyptian Islamic Jihad and the Islamic Movement of Uzbekistan. There are
thousands of these terrorists in more than 60 countries. They are recruited from their own nations and
neighborhoods and brought to camps in places like Afghanistan, where they are trained in the tactics of
terror. They are sent back to their homes or sent to hide in countries around the world to plot evil and
destruction.
The leadership of al Qaeda has great influence in Afghanistan and supports the Taliban regime in
controlling most of that country. In Afghanistan, we see al Qaeda's vision for the world.
Afghanistan's people have been brutalized -- many are starving and many have fled. Women are not
allowed to attend school. You can be jailed for owning a television. Religion can be practiced only as their
leaders dictate. A man can be jailed in Afghanistan if his beard is not long enough.
The United States respects the people of Afghanistan -- after all, we are currently its largest source of
humanitarian aid -- but we condemn the Taliban regime. It is not only repressing its own people, it is
threatening people everywhere by sponsoring and sheltering and supplying terrorists. By aiding and
abetting murder, the Taliban regime is committing murder.
And tonight, the United States of America makes the following demands on the Taliban: Deliver to United
States authorities all the leaders of al Qaeda who hide in your land. Release all foreign nationals, including
American citizens, you have unjustly imprisoned. Protect foreign journalists, diplomats and aid workers in
your country. Close immediately and permanently every terrorist training camp in Afghanistan, and hand
over every terrorist, and every person in their support structure, to appropriate authorities. Give the United
States full access to terrorist training camps, so we can make sure they are no longer operating.
These demands are not open to negotiation or discussion. The Taliban must act, and act immediately. They
will hand over the terrorists, or they will share in their fate.
I also want to speak tonight directly to Muslims throughout the world. We respect your faith. It's practiced
freely by many millions of Americans, and by millions more in countries that America counts as friends. Its
teachings are good and peaceful, and those who commit evil in the name of Allah blaspheme the name of
Allah. The terrorists are traitors to their own faith, trying, in effect, to hijack Islam itself. The enemy of
America is not our many Muslim friends; it is not our many Arab friends. Our enemy is a radical network of
terrorists, and every government that supports them.
Our war on terror begins with al Qaeda, but it does not end there. It will not end until every terrorist group
of global reach has been found, stopped and defeated.
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Americans are asking, why do they hate us? They hate what we see right here in this chamber -- a
democratically elected government. Their leaders are self-appointed. They hate our freedoms -- our freedom
Attachment #10, cont’d
of religion, our freedom of speech, our freedom to vote and assemble and disagree with each other.
They want to overthrow existing governments in many Muslim countries, such as Egypt, Saudi Arabia, and
Jordan. They want to drive Israel out of the Middle East. They want to drive Christians and Jews out of
vast regions of Asia and Africa.
These terrorists kill not merely to end lives, but to disrupt and end a way of life. With every atrocity, they
hope that America grows fearful, retreating from the world and forsaking our friends. They stand against
us, because we stand in their way.
We are not deceived by their pretenses to piety. We have seen their kind before. They are the heirs of all
the murderous ideologies of the 20th century. By sacrificing human life to serve their radical visions -- by
abandoning every value except the will to power -- they follow in the path of fascism, and Nazism, and
totalitarianism. And they will follow that path all the way, to where it ends: in history's unmarked grave of
discarded lies.
Americans are asking: How will we fight and win this war? We will direct every resource at our command -every means of diplomacy, every tool of intelligence, every instrument of law enforcement, every financial
influence, and every necessary weapon of war -- to the disruption and to the defeat of the global terror
network.
This war will not be like the war against Iraq a decade ago, with a decisive liberation of territory and a swift
conclusion. It will not look like the air war above Kosovo two years ago, where no ground troops were used
and not a single American was lost in combat.
Our response involves far more than instant retaliation and isolated strikes. Americans should not expect
one battle, but a lengthy campaign, unlike any other we have ever seen. It may include dramatic strikes,
visible on TV, and covert operations, secret even in success. We will starve terrorists of funding, turn them
one against another, drive them from place to place, until there is no refuge or no rest. And we will pursue
nations that provide aid or safe haven to terrorism. Every nation, in every region, now has a decision to
make. Either you are with us, or you are with the terrorists. From this day forward, any nation that
continues to harbor or support terrorism will be regarded by the United States as a hostile regime.
Our nation has been put on notice: We are not immune from attack. We will take defensive measures
against terrorism to protect Americans. Today, dozens of federal departments and agencies, as well as
state and local governments, have responsibilities affecting homeland security. These efforts must be
coordinated at the highest level. So tonight I announce the creation of a Cabinet-level position reporting
directly to me -- the Office of Homeland Security.
And tonight I also announce a distinguished American to lead this effort, to strengthen American security: a
military veteran, an effective governor, a true patriot, a trusted friend -- Pennsylvania's Tom Ridge. He will
lead, oversee and coordinate a comprehensive national strategy to safeguard our country against
terrorism, and respond to any attacks that may come.
These measures are essential. But the only way to defeat terrorism as a threat to our way of life is to stop
it, eliminate it, and destroy it where it grows.
Many will be involved in this effort, from FBI agents to intelligence operatives to the reservists we have
called to active duty. All deserve our thanks, and all have our prayers. And tonight, a few miles from the
damaged Pentagon, I have a message for our military: Be ready. I've called the Armed Forces to alert, and
there is a reason. The hour is coming when America will act, and you will make us proud.
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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This is not, however, just America's fight. And what is at stake is not just America's freedom. This is the
world's fight. This is civilization's fight. This is the fight of all who believe in progress and pluralism,
tolerance and freedom.
Attachment #10, cont’d
We ask every nation to join us. We will ask, and we will need, the help of police forces, intelligence
services, and banking systems around the world. The United States is grateful that many nations and
many international organizations have already responded -- with sympathy and with support. Nations from
Latin America, to Asia, to Africa, to Europe, to the Islamic world. Perhaps the NATO Charter reflects best
the attitude of the world: An attack on one is an attack on all.
The civilized world is rallying to America's side. They understand that if this terror goes unpunished, their
own cities, their own citizens may be next. Terror, unanswered, can not only bring down buildings, it can
threaten the stability of legitimate governments. And you know what
-- we're not going to allow it.
Americans are asking: What is expected of us? I ask you to live your lives, and hug your children. I know
many citizens have fears tonight, and I ask you to be calm and resolute, even in the face of a continuing
threat.
I ask you to uphold the values of America, and remember why so many have come here. We are in a fight
for our principles, and our first responsibility is to live by them. No one should be singled out for unfair
treatment or unkind words because of their ethnic background or religious faith.
I ask you to continue to support the victims of this tragedy with your contributions. Those who want to give
can go to a central source of information, libertyunites.org, to find the names of groups providing direct
help in New York, Pennsylvania, and Virginia.
The thousands of FBI agents who are now at work in this investigation may need your cooperation, and I
ask you to give it.
I ask for your patience, with the delays and inconveniences that may accompany tighter security; and for
your patience in what will be a long struggle.
I ask your continued participation and confidence in the American economy. Terrorists attacked a symbol of
American prosperity. They did not touch its source. America is successful because of the hard work, and
creativity, and enterprise of our people. These were the true strengths of our economy before September
11th, and they are our strengths today.
And, finally, please continue praying for the victims of terror and their families, for those in uniform, and for
our great country. Prayer has comforted us in sorrow, and will help strengthen us for the journey ahead.
Tonight I thank my fellow Americans for what you have already done and for what you will do. And ladies
and gentlemen of the Congress, I thank you, their representatives, for what you have already done and for
what we will do together.
Tonight, we face new and sudden national challenges. We will come together to improve air safety, to
dramatically expand the number of air marshals on domestic flights, and take new measures to prevent
hijacking. We will come together to promote stability and keep our airlines flying, with direct assistance
during this emergency.
We will come together to give law enforcement the additional tools it needs to track down terror here at
home. We will come together to strengthen our intelligence capabilities to know the plans of terrorists before
they act, and find them before they strike.
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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We will come together to take active steps that strengthen America's economy, and put our people back to
work.
Attachment #10, cont’d
Tonight we welcome two leaders who embody the extraordinary spirit of all New Yorkers: Governor George
Pataki, and Mayor Rudolph Giuliani. As a symbol of America's resolve, my administration will work with
Congress, and these two leaders, to show the world that we will rebuild New York City.
After all that has just passed -- all the lives taken, and all the possibilities and hopes that died with them -- it
is natural to wonder if America's future is one of fear. Some speak of an age of terror. I know there are
struggles ahead, and dangers to face. But this country will define our times, not be defined by them. As long
as the United States of America is determined and strong, this will not be an age of terror; this will be an
age of liberty, here and across the world.
Great harm has been done to us. We have suffered great loss. And in our grief and anger we have found
our mission and our moment. Freedom and fear are at war. The advance of human freedom -- the great
achievement of our time, and the great hope of every time -- now depends on us. Our nation -- this
generation -- will lift a dark threat of violence from our people and our future. We will rally the world to this
cause by our efforts, by our courage. We will not tire, we will not falter, and we will not fail.
It is my hope that in the months and years ahead, life will return almost to normal. We'll go back to our lives
and routines, and that is good. Even grief recedes with time and grace. But our resolve must not pass. Each
of us will remember what happened that day, and to whom it happened. We'll remember the moment the
news came -- where we were and what we were doing. Some will remember an image of a fire, or a story of
rescue. Some will carry memories of a face and a voice gone forever.
And I will carry this: It is the police shield of a man named George Howard, who died at the World Trade
Center trying to save others. It was given to me by his mom, Arlene, as a proud memorial to her son. This is
my reminder of lives that ended, and a task that does not end.
I will not forget this wound to our country or those who inflicted it. I will not yield; I will not rest; I will not
relent in waging this struggle for freedom and security for the American people.
The course of this conflict is not known, yet its outcome is certain. Freedom and fear, justice and cruelty,
have always been at war, and we know that God is not neutral between them.
Fellow citizens, we'll meet violence with patient justice -- assured of the rightness of our cause, and
confident of the victories to come. In all that lies before us, may God grant us wisdom, and may He watch
over the United States of America. Thank you.
Source: The White House, online, 21 September 2001 [http://www.whitehouse.gov]
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Attachment #11
LISTENING – SPEAKING RUBRIC (SL 11.3)
Student Name _______________________________ Date ___________ Class ___________________
Speech by ____________________ Title or Occasion _______________________________________
0 = not evident
RATIINGS
0 1 2 3
1 = attempted but weak
2 = partial, fragmented
CRITERIA
3 = clear, effective
COMMENT or NOTES
point of view or stance
(i.e., general message, overall intent)
reasoning or use of evidence
(i.e., support, proof, logic)
style of rhetoric
(i.e., distinctive, deliberate style to make the points;
effective use of pauses, gestures, and use of inflection to
convince the audience)
premises / points of emphasis
(i.e., major ideas or compelling points on which speech is
based)
links among ideas
(i.e., connections among major ideas to strengthen overall
message)
choice of words
(i.e., language that helps make the speaker’s point in a
way that appeals to audience)
tone
(i.e., overall feeling conveyed)
YCS Grade 11 English/Language Arts: Unit 1 The Power of Language 2012-13
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