unit of work - the eye of the sheep (sophie laguna)

EDUF3062 TEACHING ENGLISH 2

Unit of Work

Paige Zavaglia

Sofie Laguna’s ‘Eye of the Sheep’ (2014)

An Australian novel written by Sophie Laguna for a mixed ability Stage 5 English class.

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ENGLISH UNIT OF WORK

The Eye of the Sheep by Sofie Laguna

Grade Stage 5, Year 9

Duration 6 Weeks (24 one-hour lessons)

Facilitator Paige Zavaglia

Rationale

In this unit, students explore trauma in relationships and investigate its often invasive and enduring effects

on one’s sense of identity. Designed for mixed-ability Year 9 classes, this unit offers a lens through which

students might develop critical understandings of higher-order emotions and complex, societal issues. In

doing so, they cultivate appropriate skills through which to communicate to others on greatly sensitive and

intricate ideas. In addition, by adopting a thematic approach in comparing Laguna’s ‘Eye of the Sheep’

with a range of richly-developed related texts, this unit develops students’ comparative analysis skills

through a range of personal, imaginative, critical and evaluative responses.

As its central focus, this unit is purposeful in bringing awareness to the issue of domestic violence – both in

hopes of aiding prevention and sparking intervention. As Australian of the Year, Rosie Batty, suggests:

“Schools are places where respect and equality can be modelled; they play a central role in teaching young

people what violence looks like and that it is never okay” (SMH, 2015). In the English classroom,

narratives stand out as a “special discursive device” to teach about this kind of violence, since “they form

the basis for the way people make sense of and give meaning to their lives” and “offer a special way of

recounting these experiences to others” (Mildorf, 2007).

Teaching and Learning Pedagogies

The unit is founded on the pedagogy of student-centred classrooms, where students take greater ownership

of their learning and development of core, transversal competencies such as critical thinking, problem-

solving, and independent learning (OECD, 2012; O’Neill & McMahon, 2005). Complimenting this

approach is the pedagogy of differentiated instruction, where teachers actively modify their practice in

response to individual learning needs (Tomlinson, 1999). With these approaches at its foundation, this unit

offers all students the chance to be successful (Tobin, 2008), while also emphasising student responsibility,

peer tutoring, flexible grouping, and student choice (Grimes & Stevens, 2009).

Uniting these pedagogies, and at the core of this unit’s design, is thus a pedagogy of creativity; when

students are encouraged and equipped by their teachers’ own ingenuity, they are better able to embrace

originality and so diversify the expression of their own ideas, opinions, and emotions (McIlroy, 2012).

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Scope and Sequence

1 Who is Jimmy?

In this introductory week, students examine the character of Jimmy and explore the way in which

he interacts with his world. Students begin to question the underlying reasons behind his truly

unique and at times perplexing actions as well as predict how the text will develop. Students pose

preliminary questions as to the novel’s themes. • Contextualising activity: Students question how they conceptualise and engage in their

own world. Students create a visually dynamic ‘Identity Map’ to stimulate thoughtful

reflection and write a ‘biopoem’ (Appendix 1). These are informally presented to the class

• Close analysis of first chapter and connecting activity (pp. 1 – 6): Students inquire into

Jimmy’s interaction with his world and create, as a class, a ‘Jimmy’s World’ identity map

and biopoem to be viewed alongside their own. Students question how Jimmy’s fascination

with the mechanics of things, as exemplified in the first chapter in his manuals, aids him in

explaining and engaging with his world • Reflection and prediction activity: Having introduced the complexities of Jimmy’s

unique voice, students predict how this might shape the text. Aided by explicit instruction

in annotation and analysis, students work in groups to assess the book’s cover and first

chapter to produce initial character-traits graphic organiser (Appendix 2).

Targeted Outcomes: EN5-2A, EN5-4B, EN5-7D

Assessment: Formative assessment portrait and presentation, involvement in construction of

Jimmy’s portrait, and level of analysis in character-consequence sheet.

Resources: A4 coloured card for each student (various colours), markers or coloured pencils,

twine / pegs to hang maps, bio-poem scaffold sheets, and character-consequence sheets.

2 Who surrounds Jimmy?

In the second week, students examine the characters that surround the protagonist – Jimmy’s father

(Gavin), mother (Paula) and brother (Robby). In analysing these characters, students develop a

greater awareness of Jimmy’s world, and in turn, are better equipped to understand the trauma that

develops. Students continue to predict possible plot developments in light of their developing

analysis of characters and begin to think interpretively about the key literary devices of symbolism

and motifs.

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• Close analysis of first domestic abuse scene (pp. 14 – 19): Aided by explicit instruction in

annotation and analysis, students begin to conceptualise other characters in the novel and

the role they play in the family. In groups, students compare and contrast the way in which

each character responds to the lawnmower incident. They then engage in a student-led

Socratic circle to discuss their responses. • Identification and analytical discussion of symbolism in the text: Using StormBoard,

students collaboratively participate in active reading to consolidate knowledge.

▪ Songs of Merle Haggard – students reflect on Gavin’s role in both keeping the family

together and tearing them apart.

▪ Asthma inhaler – students reflect on Paula’s constant struggle to regain her breath.

▪ Fridge over the fence – students reflect on Robby’s constant desire to escape.

• Exploration of the role of motifs: Students are introduced to the recurring motif of water

(Paula is like a consuming ocean, while Gavin is as dry as land) and critically reflect and

respond in writing to the question: ‘What does the motif of water reveal about the Flick’s

family dynamic?’

• Explanation of unit assignment: Notification and rubric disseminated.

Targeted Outcomes: EN5-3B, EN5-4B, EN5-7D

Assessment: formative assessment of speaking and listening through quality of analysis in

Socratic circle and interactions in class, and quality of written response.

Resources: one computer between five students, Internet access to the StormBoard online program

(https://stormboard.com/).

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https://stormboard.com/

3 Jimmy and Trauma

In this week, students begin to critically analyse the effect trauma has on Jimmy’s already fragile

world. Students analyse the sequential loss of Robby, disappearance of Gavin, and death of Paula,

and question what this loss accumulates into.

• Related Text: Students begin by critically reflecting on Dr Erica Liu Wollin’s ‘Attachment

and Resilience – The Power of One’ TED talk. Teacher uses bubbl.us to visually compile

and clarify student responses. This mind-map is expanded on throughout the week to

incorporate analysis of Jimmy’s trauma.

• Creative Yarning / Socratic Circle: Students form a Socratic Circle and collaboratively

present their developing ideas as to how trauma seeps through the lives of characters in the novel. As each student presents their idea, they are thrown a ball of yarn

which they hold onto one end of. When they finish talking, they throw the ball to the next

speaker. By the end of the discussion, the yarn would have made quite an intricate pattern

around and across the circle. This visual and kinetic activity serves as another explanation

and demonstration of the connectedness and messiness of trauma and its effects.

• Close analysis: Students work in groups to analyse various short passages of Jimmy’s

immediate and delayed responses to traumatic situations. Students then identify Jimmy’s

coping strategies – specifically reflecting on how Jimmy will often invoke silence or turn

inwards to his imagination. These instances are tracked throughout the book and

documented analytically in the mind-map. Through joint construction, where the teacher

and students engage in explicit, critical talk together, the class builds upon relevant oral

language skills to support literacy.

• In class, formative response: Students use completed class mind-map to aid them in their

first in-class, extended response to the question: ‘Throughout the book, Jimmy struggles

with feelings of shame and guilt as he attempts to navigate traumatic events. How does

shame affect his perception of self, his relationships with others, and the choices he

makes?’

Targeted Outcomes: EN5-1A, EN5-3B, EN5-5C.

Assessment: Formative assessment of student’s involvement in collaborative mind-map and of

their ability to translate this consolidated analysis into a critical and original response.

Resources: Projector and computer, Internet to access Dr. Erica Liu Wollin’s ‘Attachment and

Resilience’ TED talk (https://www.youtube.com/watch?v=C-ZIUtJr8nE).

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https://www.youtube.com/watch?v=C-ZIUtJr8nE

4 Trauma as invasive and enduring

In this week, students begin to draw broader links between the novel and the real world, so as to

assess the complex nature of trauma in relationships. The central idea of the novel, that trauma

does not merely pertain to a single episode but rather holds invasive and enduring effects for all

involved, is formally conceptualised upon the foundations of student’s own analysis in the

previous week. • Collaborative analysis and comparison: Students conduct in groups a detailed textual

and thematic written analysis of Jimmy’s disconnection with time after the death of his

mother (pp. 271 – 272). This is then compared and contrasted to a detailed textual and

thematic in-class oral analysis of Hemingway’s ‘Shock Troops’ (1922) and ‘Killed

Piave’ (1921) (Appendix 3).

• Comparison to new media texts: Students compare the passage and poems with a range

of artworks from new media sources that deal with the theme of trauma and recovery,

complied from such websites as Pinterest and Tumblr. In analysing these texts, from

authors much like themselves, students recognise trauma’s relevance in their own

generation, and yet, feel empowered in their ability to contribute to a ‘communal voice of

action.’

• Contribution to the Luke Batty Foundation’s ‘Never Alone’ Campaign: Students use

their developing understanding of the trauma of domestic abuse to contribute to current

social activist campaigns. Students investigate the Foundation’s website and associated

media and write their own ‘Pledge to Stand Beside Luke’. In doing so, they use their own literacy skills to become a ‘voice’ in their community and see the real

world effects of their contributions. If possible, it would fantastic to have a representative

from the Foundation visit the cohort.

Targeted Outcomes: EN5-5C, EN5-7D. EN5-9E.

Assessment: Formative assessment of involvement in the collaborative written task and quality of

analysis in the oral whole-class analysis task.

Resources: Hemingway’s poems sourced online and printed for students (Appendix 3), a range of

artworks sourced from new media sites such as Pinterest and Tumblr and printed for students with

appropriate referencing, one computer between five students, Internet to access the Foundation site

(http://www.neveralone.com.au/).

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http://www.neveralone.com.au/

5 Trauma as invasive and enduring (continued)

In this week, students continue to draw broader links between the novel and the real world so as to

assess the complex nature of trauma in relationships. The central idea of the novel continues to be

critically discussed in class as students begin to respond to the texts through the construction of

their in-class portfolio piece.

• Portfolio piece: Students work in pairs to draft and finalise an original response to

Laguna’s novel, Hemingway’s poem, and the online body of work (see Assessment). The

original response can take any form (creative, critical, spoken, or written) and must

incorporate an appropriation of either:

▪ Jimmy’s recurring use of visual ‘lines’ to conceptualise the interconnectedness of

trauma, relationships, and emotions, or,

▪ Jimmy’s recurring motif of water to conceptualise the paradox of trauma’s

overwhelming intensity with its oddly comforting allure.

This piece of work will be marked as one part of the student’s summative portfolio.

Students are reminded that their Assessment Portfolio is due soon.

Targeted Outcomes: EN5-1A, EN5-5C, EN5-6C, EN5-7D.

Assessment: Formative assessment of students’ collaborative work in drafting their portfolio piece,

summative assessment of students’ Assessment Portfolios.

Resources: Computers available for students to use to draft their work, Internet, flexible classroom

space so as to encourage and facilitate pair work and creativity.

6 Exhibition of Assessment Portfolios In this week, students present their portfolios to their fellow classmates in an informal, collegial

manner. Their work is celebrated by the teacher as an addition to the learning environment and

body of texts, and assessed critically by other students so as to encourage self-reflection and

improvement. While this presentation does not contribute to students’ final marks, it offers an

important opportunity for all learners to act as both literary critics and united, informed, and

empowered thinkers. Students also revisit the Socratic circle to reflect on the process of learning.

Targeted Outcomes: EN5-4B, EN5-7D, EN5-9E.

Assessment: Formative assessment of presentation skills, summative of students’ Portfolios.

Resources: Projector and computer should students need access to present their work.

Targeted Outcomes for Unit

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EN5-2A

This unit explicitly focuses on deepening students’ ability to effectively and critically assess texts

across a wide range of mediums including novels, war poetry and new media such as Pinterest and

Tumblr. With this vast range, students engage in various creative reading, writing, and viewing and

representing tasks – all scaffolded with explicit instruction – so as to cultivate a wide range of

processes, skills, and strategies for responding to different media and technologies.

EN5-3B

With various creative tasks, such as collaborative analytical writing exercises and Socratic circles,

students select and use language forms, features, and structures of texts appropriate to a range of

purposes, audiences, and contexts. These tasks provide opportunities for students to describe and

explain their effects on meaning and develop their ability to diversify their responses.

EN5-5C

In addition to the above, students think imaginatively, creatively, and critically about increasingly

complex ideas and arguments – such as generational trauma, abuse and shame. These ideas are

strategically built upon across the unit, so as to develop complexity and depth in students’ theses.

EN5-7D

A core focus of this unit is evidently broadening students’ awareness of domestic violence, such

that they might understand and evaluate the diverse ways texts can represent personal and public

worlds. This is achieved through incorporating the Luke Batty Foundation activist campaign.

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Introductory Lesson 1 Stage: 5 Class: Year 10, mixed ability Time: 50 minutes Facilitator: Paige Zavaglia

Context

In this introductory lesson, students explore how they conceptualise and engage in their own world; students question their sense of identity, values, and hopes for the future, and explicitly identify the factors which influenced these developments. In doing so, students create a foundation from which to compare, contrast, and question how the protagonist of Laguna’s novel, Jimmy, conceptualises and engages in his world.

Outcomes Objectives

EN5-2A: Effectively and critically assesses a wide range of processes, skills, and strategies for responding to and composing a wide range of texts in different media.

• Students create literary texts with a sustained 'voice', selecting and adapting appropriate text structures, literary devices, language, and visual structures and features for a specific purpose and audience (ACELT1815).

• Students understand how words and images can be arranged for different purposes, audiences, and stylistic effects (ACELA1567).

• Students create literary texts that reflect an emerging sense of personal style and evaluate their effectiveness (ACELT1814).

EN5-7D: Understands and evaluates the diverse ways texts can represent personal and public worlds.

Strategies and Learning Activities

5 mins

10 mins

10 mins

20 mins

5 mins

Introduction • Welcome students and introduce unit. Suggest that one of the central themes in the novel is identity. • Class Brainstorm: “How do we determine our identities? What influences their development?” To aid

students understand how one’s relationships affect identity, ask them to picture how someone from a small, rural town in the Outback might have different perspective to someone from central Melbourne.

Body of Lesson • Identity Map: “How do you conceptualise and engage in your world?” Ask students to create a map

which depicts all the components that make up their own identity, including the various roles they play (e.g. ‘loyal’, ‘artist’, ‘daughter’, etc.) Ask students to begin in the centre with their name, and extend outwards, encompassing illustrations, symbols, words, and colours.

• Gallery Walk: Hang maps around the room on lines of twine and ask students do a gallery walk. When a student sees an identity they share, they place a coloured dot next to the depiction. As the class observes, discuss: “What surprised you about a fellow student? Was there an identity that you wouldn’t have guessed? What identities appeared the most?”

• Bio-Poem Creation: After reflecting on their classmates’ identities, students complete the bio-poem scaffold sheet. Students share their poem with another student, give constructive feedback and help edit. Students write a final copy of their bio poems on card, and these are hung next to their Identity Maps.

Conclusion • Teacher emphasises that identities are complex, developed over time, and influenced by the climate in

which they are developed. • Link - “Next lesson, we will begin looking at Laguna’s novel and create an Identity Map and bio-poem

for Jimmy so that we can compare it to our own.”

Resources Evidence of Learning / Assessment

• Whiteboard and whiteboard markers • A4 coloured card for every student,

markers, and coloured pencils • Twine, pegs, and coloured dots • Bio-poem scaffold sheet (Appendix 1).

Informal formative assessment of contributions in class brainstorm, and creativity and depth of identity maps and bio-poem creations. Teacher specifically observes how students use visual dynamics in their map and voice in their poems to explore their personal understanding of the world and significant human experience.

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Introductory Lesson 2Stage: 5 Class: Year 10, mixed ability Time: 50 minutes Facilitator: Paige Zavaglia

Context

In this second introductory lesson, students ‘meet’ Jimmy and explore the way in which he interacts with his world; students question his developing sense of identity, values, and hopes in the early chapters of the novel, and begin to explicitly identify the factors which have influenced these developments. In doing so, students question the underlying reasons behind Jimmy’s truly unique and at times perplexing actions, as well as predict how the text might develop.

Outcomes Objectives


• Students create literary texts with a sustained 'voice', selecting and adapting appropriate text structures, literary devices, language, and visual structures and features for a specific purpose and audience (ACELT1815).


• Students explore and reflect on personal understanding of the world and significant human experience (ACELT1635).

EN5-7D: Thinks interpretively and critically about information and increasingly complex ideas to respond to texts in a range of contexts.


5 mins

10 mins

15 mins

15 mins

5 mins

Introduction • Welcome students and revise previous lesson by drawing attention to students’ creative pieces on wall. • Introduction to novel. Ask students to share their initial thoughts about the text so far. Body of Lesson • Class Identity Map for Jimmy: “How does Jimmy conceptualise and engage in his world?” Brainstorm

the components that make up Jimmy’s identity, including the various roles he plays (e.g. intelligent, focused, son, brother, reader, etc.) Students pay particular attention to how Jimmy’s fascination with the mechanics of things aids him in explaining and engaging with his world. On a piece of butcher’s paper, students create the map, encompassing illustrations, symbols, words, and colours.

• Gallery Comparison: Hang Jimmy’s map beside students’ work from previous lesson. Arrange chairs around the display to facilitate reflective discussion. Ask: “What is similar about Jimmy’s world? What is different?” Then, observing all the maps as one, ask students to analyse what forces / influences they can see influencing how these maps are constructed (e.g. family, culture, religion, etc.)

• Bio-Poem for Jimmy: After reflecting on the intertwining maps and identities, students individually complete the bio-poem scaffold sheet for Jimmy. In the background, teacher plays music of waves crashing (just like Jimmy hears / imagines throughout the novel). Students share their poem with the class, and through constructive feedback, and negotiation, the class merge their poems to form one. This poem is written on card and hung next to Jimmy’s identity map.

Conclusion • Teacher emphasises that Jimmy’s identity is particularly complex and difficult to define as it is

reflectively of his tumultuous climate and weaving state of mind.


• Laguna’s ‘Eye of the Sheep’ (2014) • Whiteboard and whiteboard markers • Butchers paper and markers • Twine and pegs • Bio-poem scaffold sheet (Appendix 1)

Informal formative assessment of contributions in class brainstorm, and creativity and depth of in contributions to Jimmy’s identity maps and bio-poem. Teacher specifically observes how students explore visual dynamics and voice in their creations to represent Jimmy’s personal understanding of the world and significant human experience.

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Introductory Lesson 3Stage: 5 Class: Year 10, mixed ability Time: 50 minutes Facilitator: Paige Zavaglia

Context

In this final introductory lesson, having already ‘met’ Jimmy and made familiar with the peculiarities of his truly unique voice, students begin to predict how this might shape the text. Aided by explicit instruction in annotation and analysis, students work in groups to assess the book’s cover and first chapter to produce initial character-consequence sheets. This reflection and prediction activity focuses on visual connections – both visual images related to the novel and visual imagery included in the novel. As Wilhelm explains, “visual imaging encourages students of all backgrounds to access and apply their prior knowledge as they read, increases comprehension, and improves the ability to predict infer, and remember what has been read” (1997, p. 117). As students move from cover art to visual imagery to their own visual representations of the novel, they further explore predictions and increase their comprehension of the novel overall.

Outcomes Objectives

EN5-3B: Selects and uses language forms, features and structures of texts appropriate to a range of purposes, audiences and contexts, explaining their effects on meaning.

• Students consider how aspects of texts, including characterisation, setting, situations, ideas, tone, and point of view, can evoke a range of responses, including empathy and sympathy (ACELY1742).

• Students understand that authors innovate with text structures and language for specific purposes and effects (ACELA1553).

• Students reflect on, extend, endorse, or refute others’ interpretations of and responses to literature (ACELT1634 / 40).

EN5-5C: Thinks interpretively and critically about information and increasingly complex ideas to respond to texts.


10 mins

20 mins

15 mins

5 mins

Introduction • Welcome students and revise previous lesson by drawing attention to students’ creative pieces on wall. • Contextualise lesson. Ask students for initial reflections on the novel so far: “Are your predictions

coming true or is the novel taking a different turn than you expected?” Body of Lesson • Close analysis of book cover: Students work in groups of three to four to deconstruct the book cover.

They are aided in doing so by teacher monitoring and explicit questions on board: 1) Identify the colours in the image. What do you think these symbolise? 2) Identify the details in the image. What do you think these symbolise? 3) Describe the tone of the image. What aspects of the image helped you arrive at this conclusion?

Groups write a paragraph predicting the plot of the novel based on the cover and share their analysis orally with the class. Students provide constructive feedback and negotiate meaning.

• Character-trait graphic organisers: In the same groups, students complete the graphic organiser (Appendix 2), drawing on both the scaffolded analysis of the book cover, and individual analysis of the book’s first chapter. Students share their findings with the class and add missed information to their sheets throughout discussion.

Conclusion • Teacher emphasises that Jimmy’s conception of identity continues to develop throughout the novel,

and that these graphic organisers will be revisited in future lessons to note and compare these changes.


• Laguna’s ‘Eye of the Sheep’ (2014) • Whiteboard and whiteboard markers • Character-trait graphic organisers

(Appendix 2)

Informal formative assessment of contributions in class discussions, and careful monitoring of group collaboration. These lessons are purposefully informal, allowing students to navigate their way through the beginning of the unit without fearing failure or mistakes.

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Closing Lesson 1Stage: 5 Class: Year 10, mixed ability Time: 50 minutes Facilitator: Paige Zavaglia

Context

The final week of this unit is focused on the in-class exhibition of student’s summative assessment portfolio pieces. This involves students presenting their portfolios to their fellow classmates in an informal and collegial manner. After each presentation, the student’s work is celebrated by the teacher and class as an addition to the learning environment and body of texts. This celebration acts as both a validation to the student and works to strengthen the learning community. Students are also encouraged to critically reflect on others’ work and their own, and are explicitly scaffolded in providing constructive feedback. This process encourages both self-reflection and improvement. While this presentation does not contribute to students’ final marks, it offers an important opportunity for all learners to act as both literary critics and united, informed, and empowered thinkers.

Outcomes Objectives

EN5-1A: Responds to and composes increasingly sophisticated and sustained texts for understanding, interpretation, critical analysis, imaginative expression and pleasure


• Students pose increasingly perceptive and relevant questions, make logical predictions, draw analogies, and challenge ideas and information as presented by others and in texts (ACELT1640).


EN5-5C: Thinks interpretively and critically about information and increasingly complex ideas and arguments to respond to and compose texts in a range of contexts.


5 mins

40 mins

5mins

Introduction • Welcome students and offer congratulations on the completion of their Portfolios of Work. • Contextualise learning environment. Explain that reflection is one of the most academically rigorous

components of a learning course; undoubtedly, students who take the time to critically reflect on their learning experiences gain more from their learning (Eyler, & Giles, 1996).

• Encourage students to share their work confidently and clearly with their classmates, and respond to presentations with constructive and collaborative feedback.

Body of Lesson • Student Portfolio Presentations: Each student presents their Portfolio as a whole, briefly explaining

each piece, the method they used to construct their work, and any challenges they encountered. Students then present an excerpt one of their pieces to the class. This exercise develops students’ confidence in presenting their work in an academic community as well as developing their skills in oral presentations.

• Constructive Feedback: After each presentation, the teacher leads the class in providing brief constructive feedback, explicitly modelling the ‘constructive feedback model’ (University of Nottingham, 2012).

Conclusion • Teacher emphasises the quality of student work and thanks them for their additions to the learning

community. Portfolios are then collected for marking. Link that remaining students will present in the next lesson.


• Student Portfolios printed and ready for presentations

• Display / presentation stands • Computer and projector if needed

Informal formative assessment of students’ presentation skills and ability to give constructive and informed feedback to their peers.

Formal summative assessment presented to the teacher and initial constructive feedback is given. Portfolios are collected for marking.

– � – 12


Context

The final week of this unit is focused on the in-class exhibition of student’s summative assessment portfolio pieces. This lesson continues from the previous, with the remaining students continuing to present their work to the class in an informal and collegial manner. After each presentation, the student’s work is celebrated by the teacher and class as an addition to the learning environment and body of texts. This celebration acts as both a validation to the student and works to strengthen the learning community. Students are also encouraged to critically reflect on others’ work and their own, and are explicitly scaffolded in providing constructive feedback.

Outcomes Objectives

EN5-1A: Responds to and composes increasingly sophisticated and sustained texts for understanding, interpretation, critical analysis, imaginative expression and pleasure


• Students pose increasingly perceptive and relevant questions, make logical predictions, draw analogies, and challenge ideas and information as presented by others and in texts (ACELT1640).


EN5-5C: Thinks interpretively and critically about information and increasingly complex ideas and arguments to respond to and compose texts in a range of contexts.


5 mins

30 mins

10 mins

5 mins

Introduction • Welcome students and again congratulate them on the completion of their Portfolios of Work. • Contextualise learning environment. Thank students for the response to the exhibition in the previous

lesson. Explain that reflection is one of the most academically rigorous components of a learning course.

• Encourage students to share their work confidently and clearly with their classmates, and respond to presentations with constructive and collaborative feedback.

Body of Lesson • Continuation of Student Portfolio Presentations: Each student presents their Portfolio as a whole,

briefly explaining each piece, the method they used to construct their work, and any challenges they encountered. Students then present an excerpt one of their pieces to the class. This exercise develops students’ confidence in presenting their work in an academic community as well as developing their skills in oral presentations.

• Constructive Feedback: After each presentation, the teacher leads the class in providing brief constructive feedback, explicitly modelling the ‘constructive feedback model’ (University of Nottingham, 2012).

• Time allowing: Reflective summary of portfolios: Students draw connections among the texts and creative pieces, identifying common themes and strands of analysis. Students also identity and discuss interesting theses and lines of argument. The teacher should scaffold and monitor this discussion, drawing together summarising ideas for the unit.

Conclusion • Teacher emphasises the quality of student work and thanks them for their additions to the learning

community. Portfolios are then collected for marking. When marked, the portfolios are displayed.


• Student Portfolios printed and ready for presentations

• Display / presentation stands • Computer and projector if needed

Informal formative assessment of students’ presentation skills and ability to give constructive and informed feedback to their peers. Formal summative assessment presented to the teacher and initial constructive feedback is given. Portfolios are collected for marking.

– � – 13


Context

In this final lesson of the unit, students revisit an earlier activity run during the third week of the unit – the Socratic Circle. In completing this activity at both the half-way point of the unit and the end, students reflect on the development and broadening of their understanding and analysis, and are assisted in drawing broader conclusions in the unit. As a student-directed and centred activity, this lesson also strengthens students’ confidence and ability to engage in higher-order, collegial discussions regarding their knowledge and ideas.

Outcomes Objectives


• Students create texts with a sustained personal voice, selecting and adapting appropriate textual examples, literary devices and language for a specific purpose and audience (ACELT1815).



EN5-7D: Understands and evaluates the diverse ways texts can represent personal and public worlds.


10 mins

30 mins

55 mins

5 mins

Introduction • Welcome students and thank them for their engagement with the unit. • Contextualise lesson. Remind students of the Socratic Circle activity in Week 3 with the yarn. Inform

students that this lesson, we are revisiting that activity to see how our understanding has developed. Body of Lesson • Socratic Circle with Yarn: In this activity, students form two concentric circles (both facing inwards).

The inner circle is the discussion circle, while the outer circle, do not speak but observe. The teacher sits outside of both circles to the side of the room. One student is asked to begin the activity, and offers a reflection on the text or one of its themes. Other students in the circle then contribute to the discussion – either further, refuting, or negotiating the original speaker’s idea. As each speaker offers a contribution, they are thrown a piece of yarn and hold one end, which they then throw onto the next speaker who holds onto one point. With each varying idea, the web of yarn develops and grows more convoluted as a web would. After 15 minutes, the circles swap over. This activity thus serves as both a visual analogy for trauma, and a summarising discussion-based activity.

• Reflection on Yarn Visual: The teacher leads students in a reflective, summarising discussion on the symbolism of the yarn visual. As previously learnt, this visual is an example of the interweaving effects and ‘messiness’ of trauma in a person’s life – especially in that of a young person like Jimmy. Students explore other means of the yarn, and reflect on the development of their analysis from Week 3.

Conclusion • Teacher emphasises that trauma, especially that of domestic violence, is extremely devastating, as it

effects are long-term and deeply embedded. However, trauma is not unmanageable and can be overcome, as exemplified by Jimmy in the novel.


• Laguna’s ‘Eye of the Sheep’ (2014) • Chairs arranged in two concentric

circles in the middle of the room. • Tables moved to outer edges.

Informal formative assessment of contributions in the Socratic circle. This lesson particularly assesses students’ ability to negotiate meaning in a fast-paced environment, and present their ideas in a clear and coherent manner.

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Assessment Overview

As Smagorinsky (2014) suggests, an evaluation system must have validity from research, reliability for replication, and utility for all participants, and as such, must include both high-stakes summative and low-stakes formative assessments. This suite of lessons, situated for students completing the Stage 5 - Year 10 syllabus, provides three opportunities for formative assessment: in-class oral and written learning tasks, monitored classroom discussion, and short, analytical reflection tasks. By determining the level at which students engage with the varying low-stakes assessments, the teacher is better equipped to recognise those who need further instruction in the process of critical analysis and synthesis. In providing students with these formative assessments, and in reporting back with clear constructive feedback on the quality of their analysis, the teacher is able to provide specific and ongoing feedback to students on their strengths and areas of improvement.

In addition, this unit places particular emphasis on cultivating students’ ability to be both self-reflective and critically constructive to their peers. This focus is a result of the pedagogical foundations of this unit, which favours learning communities and creativity over teacher-dominated talk. This self and peer reflection is conducted most prominently in the final week of the unit, where students engage in an informal and collegial exhibition of their work. Research has shown that when students share their work with colleagues, and receive validation and constructive feedback, they not only are more likely to positively remember the work they achieved, but also feel connected in the learning community (Rovai, Wighting, & Lucking, 2004). Evidently, while this presentation does not contribute to students’ final marks, it offers an important opportunity for all learners to act as both literary critics and united, informed, and empowered thinkers.

Summative Assessment Task: Portfolio

The summative assessment of this suite of lessons is an individual portfolio task. For this assessment, students complete a range of diversified tasks stemming from their study of Sofie Laguna’s ‘Eye of the Sheep’ (2014). In order to properly assess the outcomes for this unit, there are four tasks that are individually targeted towards different ways of thinking: imaginative, creative, interpretive, and critical. This formal assessment is to be submitted to the teacher at the beginning of the sixth week and then orally presented to the class in a non-assessed oral exhibition. This medium-stakes assessment encourages students to consolidate the information they have learnt so far while simultaneously engaging them in the process of inquiry and creativity. This task also supports the development of key literacy strategies, as students are instructed to present their findings in both written and oral form. The assessments are then formally marked; while grades are provided, reporting is focused in this assessment on detailed feedback.

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A

Task: Viewing / Representing – Portfolio of Work

Text: Sofie Laguna’s The Eye of the Sheep (2014)

Weighting: 20%

Submission: Class time in the second last week of the unit has be allocated to the completion of this assessment task. However, significantly more time should be allocated to its completion beyond these lessons. Portfolios are to be submitted to your class teacher on Friday 30th October 2015.

Outcomes: EN5-2A, EN5-3B, EN5-5C, EN5-7D.

ENGLISH PORTFOLIO OF WORK

Formal Assessment Notification

Year 10

Term 4, 2015

Assessment Task Details:

For this assessment, you must engage in the literary process of textual creation as you compile your own portfolio of work. This portfolio must respond to both Sofie Laguna’s novel The Eye of the Sheep and the range of related texts studied in class. In this portfolio, you must include four distinct pieces of work: 1. An imaginative, alternative book cover design for Laguna’s Eye of the Sheep. 2. A short, interpretive response to an excerpt from the novel. 3. An extended, critical response analyzing the texts set for study. 4. A creative piece of your own choosing to be created in pairs.

These four tasks are explicated explained on the next page.

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Assessment Task Notification

TASK ONE An imaginative, alternative book cover design for Laguna’s ‘Eye of the Sheep’: For this task, you are to design an alternative front book cover for Laguna’s Eye of the Sheep. This design must be on one A4 page, and should be purposeful in its use of such visual techniques as colour, space, content, typography, and size. The design should be reflective of your understanding of the book and its characters. You may choose to hand draw this design OR you may use an online or software-based image editing program.

NOTE: If using online images, please be aware of copyright laws; do not use another person’s artwork or images unless in the creative commons. If you require assistance, please ask you class teacher or school librarian.

TASK TWO A short interpretive response to an excerpt of the novel: For this task, you are to respond in analytical writing to the following question. You must refer in detail to the provided excerpt and may use prior understandings of the text.

How does this excerpt reveal the lasting effects of traumatic and significant events in Jimmy’s life?

(200 – 300 words).

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TASK THREE An extended, critical response analyzing the texts set for study: For this task, you are to write an extended response in analytical writing to the following question. You must refer in detail to Laguna’s The Eye of the Sheep and the two Hemingway poems studied in class.

Texts often show us that singular events can have lasting effects on one’s sense of self and emotional identity.

To what extent do the texts you have studied support this idea?

(700 – 800 words).

TASK FOUR A creative piece of your own choosing to be created in pairs:

For this task, you are to work in pairs to draft and finalise an original response to Laguna’s novel, Hemingway’s poem, and the online body of work. The original response can take any form (creative, critical, spoken or written) and must incorporate an appropriation of either:

i. Jimmy’s recurring use of visual ‘lines’ to conceptualise the interconnectedness of trauma, relationships, and emotions, or,

ii. Jimmy’s recurring motif of water to conceptualise the paradox of trauma’s overwhelming intensity with its oddly comforting allure.

You will be allocated class time in Week 5 to complete this task.

Criteria for Assessing Learning Students will be assessed on their ability to: • Imaginatively and creatively uses such visual techniques as colour, space, content,

typography, and size to create a book cover design that reflects a well-developed understanding of the core text and its themes.

• Interpretively responds to the stimuli with a well-reasoned and supported thesis that reflects a well-developed understanding of the core text and its themes.

• Critically responds to both the core text and related material with a well-reasoned and supported thesis that is well-synthesized.

• Collaboratively and effectively creates a text for a specific purpose and audience that appropriates one of the detailed motifs in such a way as to reveal either the interconnectedness of trauma or its paradox.

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Guidelines for Marking The following guidelines for marking show one approach to assigning value to a student’s work. It is intended that complementary to a mark and grade, students be provided with detailed individual comments / notations that report back to them what they did well and areas they could improve.

Range A student in this range:

Very High 16-20

• Uses the visual techniques of colour, space, content, typography, and size both highly imaginatively and creatively in book design to reflect a very well-developed understanding of the core text and its themes.

• Responds to stimuli with a highly reasoned and very well-supported thesis that reflects a well-developed understanding of the core text and its themes.

• Responds highly critically to the texts with a very well-reasoned and highly supported thesis that effectively synthesizes the texts.

• Collaboratively and highly effectively creates a text that is clear in its purpose and audience and appropriates highly effectively one of the detailed motifs to reveal a well-developed understanding of trauma.

High 12-15

• Uses most of the visual techniques of colour, space, content, typography, and size imaginatively and creatively in book design to reflect a well-developed understanding of the core text and its themes.

• Responds to stimuli with a reasoned and well-supported thesis that reflects a well-developed understanding of the core text and its themes.

• Responds critically to the texts with a well-reasoned and highly supported thesis that synthesizes the texts.

• Collaboratively creates a text that is clear in its purpose and audience and appropriates effectively one of the detailed motifs to reveal a developed understanding of trauma.

Satisfactory

7-11

• Uses some of the visual techniques of colour, space, content, typography, and size somewhat creatively in book design that reflects an understanding of the core text and its themes.

• Responds to stimuli with a reasoned and supported thesis that reflects a developed understanding of the core text and its themes.

• Responds to the texts with a reasoned and supported thesis that attempts to synthesize the texts.

• Collaboratively creates a text that is unclear in purpose or audience but does appropriate one of the detailed motifs to reveal an understanding of trauma.

Progressing 1-6

• Visual techniques are not used in book design, or used minimally, to reflect an understanding of the core text and its themes.

• Does not respond to stimuli or responds with little to no valid reasoning or support.

• Does not respond to the set texts with a reasoned thesis or uses little to no support or does not attempt to analyse both texts.

• Does not attempt to collaborative or work collaboratively or creates a text which is very unclear in purpose or audience or does not appropriate the detailed motif.

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Feedback and Reporting

The teacher provides students with detailed written feedback that foregrounds comments about

students’ performance in relation to the criteria for assessment. Students are also provided with

a mark and, more importantly, a grade, to measure how the development of their historical

skills are progressing. Oral feedback on this assessment task could also include reading and

discussion of quality responses in the next lesson, and comparison of the themes that have

emerged from students’ work, as well as a consideration how the texts have been synthesized.

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References

Eyler, J., & Giles, D. E. (1996). A Practitioners Guide to Reflection in Service-Learning. Nashville, U.S.: Vanderbilt University Press.

Grimes, K. J., & Stevens, D. D. (2009). Glass, bug, mud. Phi Delta Kappan, 90(9): 677 –80.

Mildorf, J. (2007). Storying domestic violence: Constructions and stereotypes of abuse in the discourse of general practitioners. Nebraska, U.S.: University of Nebraska Press.

OECD. 2012. Assessment of Higher Education Learning Outcomes (AHELO). Retrieved from: http://www.oecd.org.ezproxy2.library.usyd.edu.au/edu/ahelo.

O'Neill, G., & McMahon, T. (2005). Student-centred learning: What does it mean for students? Dublin, U.K.: AISHE.

Sydney Morning Herald (2015, September 24). Rosie Batty emotional at Malcolm Turnbull’s $100 million push against domestic violence. Sydney Morning Herald: Federal Politics. Retrieved from: http://www.smh.com.au/federal-politics/political-news/rosie-batty-emotional-at-malcolm-turnbulls-100-million-push-against-domestic-violence-20150923-gjtnpq.html

Tobin, R. 2008. Conundrums in the differentiated literacy classroom. Reading Improvement, 45(4): 159 – 69.

Tomlinson, C. A. (1999). Mapping a route toward a differentiated instruction. Educational Leadership, 57(1): 12.

University of Nottingham (2012). Personal development and performance review guide: Principles of constructive feedback. Retrieved from: https://www.nottingham.ac.uk/hr/g u i d e s a n d s u p p o r t / p e r f o r m a n c e a t w o r k / p d p r / d o c u m e n t s /pdprprinciplesofconstructivefeedback.pdf .

Wilhelm, J. (1997). ‘You gotta be the book’: Teaching engaged and reflective reading with adolescents. Urbana, U.S.: NCTE.

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http://www.servicelearning.org/library/lib_cat/index.php?library_id=2228

http://www.oecd.org.ezproxy2.library.usyd.edu.au/edu/ahelo

http://www.smh.com.au/federal-politics/political-news/rosie-batty-emotional-at-malcolm-turnbulls-100-million-push-against-domestic-violence-20150923-gjtnpq.html

unit of work - the eye of the sheep (sophie laguna)

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