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ELA Grade 11 Module 4

SubjectEnglish Language Arts

Grade11

Module4

Suggested Timeline6-8 weeks

Grade Level SummaryIn eleventh grade, students analyze and evaluate perspective in connection to purpose, audience, and task (biases). They cite strong, thorough textual evidence based on and related to the author’s implicit and explicit assumptions and beliefs. Emphasis is placed on the analysis of the interaction between and development of themes or ideas over the course of a text or multiple texts.

Students analyze and evaluate the impact of an author’s rhetorical choices (i.e., point of view, purpose, style) on their writing and reasoning, including claims and counterclaims, as well as precise language such as metaphor, simile, and analogy. They analyze seminal and foundational U.S. and world texts based on reasoning and rhetoric, as well as works of literature that reflect a variety of genres and major periods. Finally, students conduct sustained research projects and/or make strategic use of digital media to answer a question by evaluating, organizing and integrating multiple sources and complex ideas to make informed decisions on how the specifics relate to the whole.

Grade Level ModulesModule 1: Rhetorical Devices Portray Emotions, Beliefs, and Experiences to An Audience Module 2: The Impact of Stereotypes on 21st Century SocietyModule 3: Evolution of the English Language Module 4: Propaganda and SatireModule 5: The Pursuit of Happiness

Module Title

Module 4: Propaganda and Satire

Module OverviewIn this module, reading, writing, speaking, and listening are framed around the big idea of exploring and evaluating rhetorical choices. This module addresses the essential question: How and why has language evolved over time? Students should read from, and write to, informational text as well as classic and contemporary literature. Students engage in class discussions involving informational text and literature to interpret diverse perspectives. Students apply a broad

CC.1.2.11-12.C -

Analyze the interaction and development of a complex set of ideas, sequence of events, or specific individuals over the course of the text.

CC.1.2.11-12.D -

Evaluate how an author’s point of view or purpose shapes the content and style of a text.

CC.1.2.11-12.E -

Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

CC.1.2.11-12.H -

Analyze seminal texts based upon reasoning, premises, purposes, and arguments.

CC.1.4.11-12.I -

Distinguish the claim(s) from alternate or opposing claims; develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level, concerns, values, and possible biases.

CC.1.5.11-12.C -

Integrate multiple sources of information presented in diverse formats and media (e.g. visually, quantitative, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data.

CC.1.4.11-12.V -

Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

CC.1.5.11-12.A -

Initiate and participate effectively in a range of collaborative discussions on grades level topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

CC.1.5.11-12.D -

Present information, findings, and supporting evidence, conveying a clear and distinct perspective; organization, development, substance, and style are appropriate to purpose, audience, and task.

CC.1.5.11-12.F -

Make strategic use of digital media in presentations to add interest and enhance understanding of findings, reasoning, and evidence.

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range of reading, writing, speaking, and listening skills. They will address how a writer influences the views and opinions of his or her audience. Key outcomes include analyzing the impact of the author’s choices; evaluating how an author’s point of view or purpose shapes the content and style of a text; evaluating the structure of texts; demonstrating knowledge of foundational works of literature that reflect a variety of genres in the respective major periods of literature; distinguishing the claim(s) from alternate or opposing claims; developing claim(s) and counterclaims fairly and thoroughly; integrating multiple sources of information presented in diverse formats and media in order to make informed decisions and solve problems.

Module ObjectivesAnalyze the impact of the author’s choices

Evaluate how an author’s point of view or purpose shapes the content and style of a text

Evaluate the structure of texts

Demonstrate knowledge of foundational works of literature that reflect a variety of genres in the respective major periods of literature

Distinguish the claim(s) from alternate or opposing claims; develop claim(s) and counterclaims fairly and thoroughly

Integrate multiple sources of information presented in diverse formats and media in order to make informed decisions and solve problems

Focus Standards Addressed in this Module

Important Standards Addressed in this Module

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MisconceptionsStudents may have misconceptions about how to analyze the interaaction and development of a complex set of ideas, sequence of events, or specific individuals over the course of the text.

Proper ConceptionsDemonstrate how to analyze the intearaction and development of a complex set of ideas over the course of the text as a focus in Literature (Module 4) and in Informational Text (Module 5).

ConceptsText Analysis

Evaluating

Arguments Text

Structure

Focus for Writing

Content for Writing

Credibility, Reliability, and Validity of Sources

Purpose, Audience and Task

Context

CompetenciesAnalyze the interaction and development of a complex set of ideas, sequence of events, or specific individuals over the course of the text.

Analyze seminal texts based upon reasoning, premises, purposes, and arguments.

Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

Informational: Write with a sharp distinct focus identifying topic, task, and audience. Argumentative: Introduce the precise, knowledgeable claim. Narrative: Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple points of view, and introducing a narrator and/or characters.

Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the task, purpose, and audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.

Present information, findings, and supporting evidence, conveying a clear and distinct perspective; organization, development, substance, and style are appropriate to purpose, audience, and task.

Adapt speech to a variety of contexts and tasks.

VocabularyIntegrate academic vocabulary as the everyday discourse of the classroom, making a point to use these robust, high utility words in speech and writing and encouraging students to do so as well.

Vocabulary: Interactin, Complex, Evaluate, Style, Evaluate, Argument, Effectivness, Seminal, Reasoning, Premise, Purpose, Counterclaims, Values, Biases, Thorough, Sustained, Accuracty, Discrepancies, Data, Perspective, Organization, Development, Substance, Purpose, Audience, Task

AssessmentsThe assessments below include summative assessment examples (Formative assessment examples are located in the "Suggested Strategies to Support Design of Coherent Instruction"). The assessments in this module addressuthor's purpose, central idea of text, drawing evidence from text, and informational writing.

Multiple Choice AssessmentsAfter students have read the short passage, have them respond to multiple choice questions that focus on author's purpose, central idea of text, and drawing evidence from text.

Text for the following Multiple Choice Assessment

The Canterbury

Tales: General

Prologue

By Geoffery Chaucer

When April's gentle rains have pierced the drought

Of March right to the root, and bathed each sprout

Through every vein with liquid of such power

It brings forth the engendering of the flower;

WhenZephyrus too with his sweet breath has blown 5

Through every field and forest, urging on

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The tender shoots, and there's a youthful sun,

His second half course through the Ram now

run, And little birds are making melody

And sleep all night, eyes open as can be 10

(So Nature pricks them in each little heart),

On pilgrimage then folks desire to start.

The palmers long to travel foreign strands

To distant shrines renowned in sundry

lands;

And specially, from every shire's end 15

In England, folks to Canterbury wend:

To seek the blissful martyr is their will,

The one who gave such help when they were

ill. Now in that season it befell one day

In Southwark at the Tabard where I lay, 20

As I was all prepared for setting out

To Canterbury with a heart devout,

That there had come into that

hostelry At night some twenty-nine, a

company

Of sundry folk whom chance had brought to fall 25

In fellowship, for pilgrims were they all

And onward to Canterbury would ride.

The chambers and the stables there were wide,

We had it easy, served with all the best;

And by the time the sun had gone to rest 30

I'd spoken with each one about the trip

And was a member of the fellowship.

We made agreement, early to arise

To take our way, of which I shall advise.

But nonetheless, while I have time and space, 35

Before proceeding further here's the place

Where I believe it reasonable to state

Something about these pilgrims--to relate

Their circumstances as they seemed to me,

Just who they were and each of what degree 40

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And also what array they all were in.

And with a Knight I therefore will begin.

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There with us was a KNIGHT, a worthy man

Who, from the very first time he began

To ride about, loved honor, chivalry, 45

The spirit of giving, truth and courtesy.

He was a valiant warrior for his lord;

No man had ridden farther with the sword

Through Christendom and lands of heathen creeds,

And always he was praised for worthy deeds. 50

He helped win Alexandria in the East,

And often sat at table's head to feast

With knights of all the nations when in Prussia.

In Lithuania as well as Russia

No other noble Christian fought so well. 55

When Algaciras in Granada fell,

When Ayas and Attalia were won,

This Knight was there. Hard riding he had done

At Benmarin. Along the Great Sea coast

He'd made his strikes with many a noble host. 60

His mortal battles numbered then fifteen,

And for our faith he'd fought at Tramissene

Three tournaments and always killed his foe.

This worthy Knight was ally, briefly so,

Of the lord of Palathia (in work 65

Performed against a fellow heathen Turk).

He found the highest favor in all eyes,

A valiant warrior who was also wise

And in deportment meek as any maid.

He never spoke unkindly, never played 70

The villain's part, but always did the right.

He truly was a perfect, gentle knight.

But now to tell of his array, he had

Good horses but he wasn't richly clad;

His fustian tunic was a rusty sight 75

Where he had worn his hauberk, for the Knight

Was just back from an expedition when

His pilgrimage he hastened to begin.

His gown was short, his sleeves were long and wide.And well upon a horse the lad could ride;

Good verse and songs he had composed, and he 95

Could joust and dance, drew well, wrote gracefully.

At night he'd love so hotly, without fail,

He slept no more than does a nightingale.

He was a courteous, humble lad and able,

And carved meat for his father at the table. 100

Now he had brought one servant by his side,

A YEOMAN--with no more he chose to ride.

This Yeoman wore a coat and hood of green.

He had a sheaf of arrows, bright and keen,

Beneath his belt positioned handily-- 105

He tended to his gear most yeomanly,

His arrow feathers never drooped too low--

And in his hand he bore a mighty bow.

His head was closely cropped, his face was brown.The fellow knew his woodcraft up and down. 110

He wore a bracer on his arm to wield

His bolts. By one side were his sword and shield,

And on the other, mounted at the hip,

A dagger sharply pointed at the tip.

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There with him was his son, a youthful SQUIRE,

A lover and knight bachelor to admire. 80

His locks were curled as if set by a press.

His age was twenty years or so, I guess.

In stature he was of an average height

And blest with great agility and might.

He'd ridden for a time with cavalry 85

In Flanders and Artois and Picardy,

Performing well in such a little space

In hopes of standing in his lady's grace.

He was embroidered like a flowerbed

Or meadow, full of flowers white and red. 90

He sang or else he fluted all the day;

He was as fresh as is the month of

May.

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A Christopher of silver sheen was worn 115

Upon his breast; a green strap held his

horn. He must have been a forester, I

guess.

There also was a Nun, a PRIORESS,

Her smile a very simple one and coy.

Her greatest oath was only "By Saint Loy!" 120

Called Madam Eglantine, this Nun

excelled At singing when church services

were held, Intoning through her nose

melodiously.

And she could speak in French quite fluently,

After the school of Stratford at the Bow 125

(The French of Paris wasn't hers to know).

Of table manners she had learnt it all,

For from her lips she'd let no morsel fall

Nor deeply in her sauce her fingers wet;

She'd lift her food so well she'd never get 130

A single drop or crumb upon her

breast. At courtesy she really did her

best.

Her upper lip she wiped so very clean

That not one bit of grease was ever seen

Upon her drinking cup. She was discreet 135

And never reached unseemly for the meat.

And certainly she was good company,

So pleasant and so amiable, while she

Would in her mien take pains to imitate

The ways of court, the dignity of state, 140

That all might praise her for her worthiness.

To tell you of her moral consciousness,

Her charity was so great that to see

A little mouse caught in a trap would be

Enough to make her cry, if dead or bleeding. 145

She had some little dogs that she was feeding

With roasted meat or milk and fine white

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bread; And sorely she would weep if one were

dead Or if someone should smite it with a

stick.

She was all tender heart right to the quick. 150

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Her pleated wimple was of seemly class,

She had a well formed nose, eyes gray as glass,

A little mouth, one that was soft and red.

And it's for sure she had a fair forehead--

It must have been a handbreadth wide, I own, 155

For hardly was the lady undergrown.

The beauty of her cloak I hadn't

missed. She wore a rosary around her

wrist

Made out of coral beads all colored green,

And from it hung a brooch of golden sheen 160

On which there was an A crowned with a wreath,

With Amor vincit omnia beneath.

She brought along another NUN, to be

Her chaplain, and her PRIEST, who made it three.

A MONK there was, a fine outrider of 165

Monastic lands, with venery his love;

A manly man, to be an abbot able.

He had some dainty horses in the stable,

And when he rode, his bridle might you hear

Go jingling in the whistling wind as clear 170

And loud as might you hear the chapel bell

Where this lord not too often kept his cell.

Because Saint Maurus and Saint Benedict

Had rules he thought were old and rather strict,

This mounted Monk let old things pass away 175

So that the modern world might have its day.

That text he valued less than a plucked hen

Which says that hunters are not holy men,

Or that a monk ignoring rules and order

Is like a flapping fish out of the water 180

(That is to say, a monk out of his cloister).

He held that text not worth a single oyster,

And his opinion, I declared, was good.

Why should he study till he's mad? Why should

He pore through books day after day indoors, 185

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Or labor with his hands at all the chores

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That Austin bids? How shall the world be served?

Let such works be to Austin then reserved!

And so he was a pricker and aright;

Greyhounds he had as swift as birds in flight, 190

For tracking and the hunting of the hare

Were all his pleasure, no cost would he spare.

His sleeves, I saw, were fur-lined at the hand

With gray fur of the finest in the land,

And fastening his hood beneath his chin 195

There was a golden, finely crafted pin,

A love knot in the greater end for

class.

His head was bald and shinier than

glass. His face was shiny, too, as if

anointed.

He was a husky lord, one well appointed. 200

His eyes were bright, rolled in his head and glowed

Just like the coals beneath a pot. He rode

In supple boots, his horse in great estate.

Now certainly he was a fine prelate,

He wasn't pale like some poor wasted ghost. 205

Fat swan he loved the best of any roast.

His palfrey was as brown as is a berry.

A FRIAR there was, a wanton one and merry,

Who begged within a certain limit. None

In all four orders was a better one 210

At idle talk, or speaking with a flair.

And many a marriage he'd arranged for fair

And youthful women, paying all he could.

He was a pillar of his brotherhood.

Well loved he was, a most familiar Friar 215

To many franklins living in his shire

And to the worthy women of the town;

For he could hear confessions and played down

The parish priest. To shrive in every quarter

He had been given license by his order. 220

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He'd sweetly listen to confession, then

As pleasantly absolve one of his sin.

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He easily gave penance when he knew

Some nice gift he'd receive when he was through.

Politics And The English Language by George OrwellPublished in Horizon, April 1946; Modern British Writing ed. Denys Val Baker, 1947.

Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent, and our language — so the arguments runs — must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes.

Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influences of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these habits one can think more clearly, and to think clearly is a necessary first step towards political regeneration: so that the fight against bad English is not frivolous and is not the exclusive concern of professional writers. I will come back to this presently, and I hope that by that time the meaning of what I have said here will have become clearer. Meanwhile, here are five specimens of the English language as it is now habitually written.

These five passages have not been picked out because they are especially bad — I could have quoted far worse if I had chosen but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative samples. I number them so I can refer back to them when necessary:

1. I am not, indeed, sure whether it is not true to say that the Milton who once seemed not unlike a seventeenth-century Shelley had not become, out of an experience ever more bitter in each year, more alien (sic) to the founder of that Jesuit sect which nothing could induce him to tolerate.—Professor Harold Laski (Essay in Freedom of Expression).

2. Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes such egregious collocations of vocables as the Basic put up with fortolerate or put at a loss for bewilder.—Professor Lancelot Hogben (Interglossa).

3. On the one side we have the free personality: by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefront of consciousness; another institutional pattern would alter their number and intensity; there is little in them that is natural, irreducible, or culturally dangerous. But on the other side, the social bond itself is nothing but the mutual reflection of these self-secure integrities. Recall the definition of love. Is not this the very picture of a small academic? Where is there a place in this hall of mirrors for either personality or fraternity? —Essay on psychology in Politics (New York).

4. All the 'best people' from the gentlemen's clubs, and all the frantic Fascist captains, united in common hatred of Socialism and bestial horror of the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction to proletarian organizations, and rouse the agitated petty-bourgeoisie to chauvinistic fervour on behalf of the fight against the revolutionary way out of the crisis. — Communist pamphlet.

5 . If a new spirit is to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the B.B.C. Timidity here will bespeak canker and atrophy of the soul. The heart of Britain may be sound and of strong beat, for instance, but the British lion's roar at present is like that of Bottom in Shakespeare's Midsummer Night's Dream — as gentle as any sucking dove. A virile new Britain cannot continue indefinitely to be traduced in the eyes, or rather ears, of the world by the effete languors of Langham Place, brazenly masquerading as 'standard English'. When the Voice of Britain is heard at nine o'clock, better far and infinitely less ludicrous to hear aitches honestly dropped than the present priggish, inflated, inhibited, school ma'amish arch braying of blameless, bashful mewing maidens! —Letter in Tribune.

Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery: the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more of phrases tacked together like the sections of a prefabricated hen-house.

I have not here been considering the literary use of language, but merely language as an instrument for expressing and not for concealing or preventing thought. Stuart Chase and others have come near to claiming that all abstract words are meaningless, and have used this as a pretext for advocating a kind of political quietism. Since you don't know what Fascism is, how can you struggle against Fascism? One need not swallow such absurdities as this, but one ought to

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recognize that the present political chaos is connected with the decay of language, and that one can probably bring about some improvement by starting at the verbal end. If you simplify your English, you are freed from the worst follies of orthodoxy. You cannot speak any of the necessary dialects, and when you make a stupid remark its stupidity will be obvious, even to yourself. Political language —and with variations this is true of all political parties, from Conservatives to Anarchists — is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind. One cannot change this all in a moment, but one can at least change one's own habits, and from time to time one can even, if one jeers loudly enough, send some worn-out and useless phrase— some jackboot, Achilles' heel, hotbed, melting pot, acid test, veritable inferno or other lump of verbal refuse — into the dustbin where it belongs.

Multiple Choice Assessment

1. (L.F. 2.2.2)Which characteristic of the passage best indicates to readers that it is fiction rather than informational nonfiction?A. the use of active verbsB. the development of a toneC. the description of the conflictD.the incorporation of many historical allusions

2. (L.F. 2.2.4)How does the reader know that the passage is a poem rather than drama?A. The author uses the elements of plot. B. The author uses rhythm and rhyme .C. The author uses dialogue.D. The author uses figurative language.

3. (L.F. 2.3.1)Which word best describes the Knight in the selection? A. lauded B. boastfulC. destituteD. stubborn

4. (L.F. 2.3.2)Which sentence best describes the relationship of the setting to the plot in the selection?A. The setting provides the main source of conflict.B.The setting makes it easier to understand the backgrounds of the characters. C. The setting is unimportant to selection.D. The setting explains the rising action.

5. (L.F. 2.3.3)Which sentence from the passage best represents the rising action?A. “It brings forth the engendering of the flower;”B. “And sleep all night, eyes open as can be” C. “On pilgrimage then folks desire to start.”D. “Where I believe it reasonable to state/Something about these pilgrims”

6. (L.F. 2.3.4)Which universal theme is most reflected in the selection?A. Groups of people never get along perfectly.B. Family always supersedes friends.C. Traveling in groups is safer than traveling alone.D.Individual members’ backgrounds add to the group’s cohesion.

7. (L.F. 2.3.5)How does the author’s style contribute to the tone of the passage?A. The author’s use of positive language creates an admiring tone.B. The author’s use of negative language creates a bitter tone.C.The author’s use of objective language creates an impartial tone. D. The author’s use of figurative language creates a humorous tone.

8. (L.F. 2.4.1)Based on the passage, which cultural idea is most emphasized?A. frugalityB.individuality C. love for landD. love for travel

9. (L.F. 2.5.1)Read the sentences from the selection.This Yeoman wore a coat and hood of green.He had a sheaf of arrows, bright and keen,Beneath his belt positioned handily-- 105He tended to his gear most yeomanly,His arrow feathers never drooped too low--And in his hand he bore a mighty bow.His head was closely cropped, his face was brown.The fellow knew his woodcraft up and down. 110He wore a bracer on his arm to wield

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His bolts. By one side were his sword and shield, And on the other, mounted at the hip,A dagger sharply pointed at the tip.

What is the effect of the imagery used to describe the Yeoman?A. It shows that he feels superior to his traveling companions.B. It implies that he feels uncomfortable around others.C. It emphasizes the differences between him and his traveling companions. D. It suggests his supreme preparation.

10. (L.F. 2.5.2)What is the rhyme scheme of the first four lines of the poem? A. a a b b B. a b a bC. a b c aD. a b c b

LDC TaskThe Literacy Design Collaborative (LDC) writing task offers an opportunity for students to write an essay after reading the passage above.

Task 25: How and why has language evolved over time? After reading George Orwell’s Politics and the English Language on the state of the English Language, write an essay that argues the cause(s) of the “decline” of the English Language and explains the effect(s) of this “decline”. What conclusions or implications can you draw? Support your discussion with evidence from the texts.

Suggested Strategies to Support Design of Coherent InstructionCharlotte Danielson's Framework for Teaching: Domain 3 Instruction

Reading LiteratureThis module was designed to include one extended text of Literature supported by three to five shorter texts. The selection of these texts may support the thematic based essential question for this module: How and why has language evolved over time?

Reading Informational TextThis module was designed to include one or two shorter informational texts to support the idea of propaganda and satire.

Text SelectionThe selected text allows readers to analyze how language has evolved over time. This exerpt was chosen because it shows the evolution of the English language. Teachers may select a variety of texts to develop this module. These are suggested texts which may be interchanged with texts in this module. Your current texts may also suffice.

Politics and the English Language

The Canterbury Tales

Create a campaign to “Save the English Language” - Students can be on opposing sides, one who believes the English Language must be saved, the other believes the English Language needs to continue to evolve (it’s fine the way it is). Create speeches and other campaign propaganda to defend your side.

Walt Whitman’s “Slang in America” essay

Chinua Achebe’s “Language and the Destiny of Man” essay

Pull in technology and social media’s impact on language development

Writing TasksThis module was designed to focus on opinion / argumentative writing. This module should include routine writing to develop and convey understanding. There should be four to six analyses focusing on argument with one or two narratives to convey experiences, events or procedures.

Formative AssessmentsFormative assessments may include the following: Ticket out the Door, Partner Share, Compass Summary.

Speaking and ListeningStudents will initiate and engage in meaningful collaborative discussion framed around the big idea of mastering purposeful and independent expression from their informational text and literature selections. Students may engage in Socratic seminar debating how rhetorical devices influence the audience. Students will focus on evaluating how the speaker's perspective, reasoining anduse of evidence and rhetoric affect the credibility of an argument.

Language MechanicsLanguage usage and mechanics will be progressively incorporated throughout this module. Remember -- once skills are taught in a mini-lesson, students are

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expected to edit their work, paying attention to these elements before publication.

Text Complexity Resources

Core Standards Text Complexity Factors

Teaching PA Common Core and Keystone Literature

Sample Text Complexity Analysis of To Kill A Mockingbird

Current Lexile Band 11-CCR 1070L-1220L CCSS Lexile Stretch Band: 1185L-1385L. Lexiles may be found athttp://www.lexile.com and you may refer to the Appendix A of the Common Core State Standards.

DifferentiationContent

Full text:

Excerpts of speeches:

Audio File/Books:

Graphic organizers/Study Guides

Process

Flexible Grouping

Practical Examples

Video

Graphic Organizers

Tiered Assignments

Real World Application

Web quests

Curriculum compacting

Reading and writing conferences with the teacher

Reciprocal teaching opportunities within groups and the class as a whole

Re-teaching and / or pre-teaching

Leveled, guided reading

Modeling

Chunking the reading material or reading process

Chunking for the writing process with explicit graphic organizers

Product

LDC tasks are crafted from the most fundamental levels of difficulty (Level 1) to additional demands to a “next step-up” skill or cognitive demand (Level 2) toa task in which writers are asked to make connections and use background knowledge (Level 3)

Independent student projects

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Menu of tiered assignments pertaining to specific material

Multi-modal activities

Supplemental opportunities for student choice in both reading and writing

Interdisciplinary ConnectionsIn core content courses there is also a focus on literacy standards. The document below allows educators to analyze the comparison of literacy standards across the curriculum; it displays the ELA focus standards as green and the important standards as yellow for this module. This document comparatively aligns the PA Core Literacy Standards for ELA, history and social studies, and science and technical subjects. For cross curricular purposes, educators can compare discipline literacy standards listed below to the focus and important standards for the ELA module.

11th grade ELA Reading Standards Side by Side Module 4.doc

Additional Resources

Created ByAmy Martell, IU17 - Northeast Bradford School District Anthony Gabriele, Wissahickon School DistrictStacy Minahan, North Schuylkill School District Sharon Leonard, PaTTANTheresa Hartman, Haverford TownshipEmily Dickey, Waynesboro Area School District Ryan Devlin, Brockway Area High SchoolLindsey O’Shane-Shimrack, Mohawk Area School District

untitled [hs.scasd.us]hs.scasd.us/monick/cit/pcs-ela_files/pcs ela gr11 m… · web viewrange of...

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