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SECONDARY ENGLISH LANGUAGE ARTS (ELA) CURRICULUM MAP CANYONS SCHOOL DISTRICT 2012 – 2013 Curriculum Mapping Purpose Canyons School District’s English language arts curriculum maps are standards-based maps driven by the Common Core State Standards and implemented using materials selected by schools and coordinated with feeder systems. Student achievement is increased when both teachers and students know where they are going, why they are going there, and what is required of them to get there. Curriculum Maps are a tool for: • ALIGNMENT: Provides support and coordination between concepts, skills, standards, curriculum, and assessments • COMMUNICATION: Articulates expectations and learning goals for students • PLANNING: Focuses instruction and targets critical information • COLLABORATION: Promotes professionalism and fosters dialogue between colleagues about best practices pertaining to sequencing, unit emphasis and length, integration, and review strategies

Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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These maps were collaboratively developed and refined by teacher committees using feedback from classroom teachers, literacy leads, building administrators, and the office of Evidence-Based Learning. It is with much appreciation that we recognize the many educators that collaborated in the effort to provide these maps for the teachers and students of CSD. Specific individuals that have assisted in the writing and editing of this document include: Leslie Allen

Julie Fielding

Barbara Hopkins

Jana Mumford

Lynna Shin

Lark Anderson

Jenna Fitch

Brianne Hepworth

Jenny Olsen

Connietrue Simons

Marianne Bates

Russ Fullmer

Jennifer Humphreys

Randy Olsen

Jennifer Sinclair

Heather Beagley

Megan Gardner

Maggie Jensen

Hollie Pettersson

Alex Springer

Eva Bellison

Camille Graff

Molly Kendall

Karen Richards

Heather Swallow

Carolyn Brown

Laura Grzymkowski

Scott Lambert

Tavia Richards

Shane Tanner

Meghan Brown

Glen Gunnell

Jill Landes-Lee

Rob Richardson

Debra Thorpe

Shannon Callister

Michelle Gurr

Christine Lantis

Piper Riddle

Jacqueline Thurnau

Scott Christensen

Tawny Hawkins

Karen Larson

Michelle Ritter

Charlotte Williams

Arna Clark

Brooke HaydockDuncan

Whitney Lee

Amber RoderickLandward

Rand Winward

Belann Earley

Allison Martin Susan Henrie

Sheri Ebert

Jennifer Romney Ron Meyer

Rachel Hill Nathan Elkins

Mikianne Royal Kelli Miller

Martine Hales Denise Ferguson

Hannah Sharr Kimberlee Mitchell

Tawny Hawkins

Michelle Shimmin

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Canyons School District Curriculum Maps are created by CSD secondary teachers and published by the CSD Office of Evidence-Based Learning. ii

TABLE OF CONTENTS Overview CSD Student Achievement Framework

Page 1

Evidence-Based Instructional Priorities

2-3

Common Core Standards Overview

4-6

ELA Core Implementation Timeline

7

Assessment Calendar & Glossary

8-12

Curriculum and Assessment by Grade Level Grade 9

13-66

Grade 10

67-120

Grade 11

121-171

Grade 12

172-228

Tools and Resources Instructional Priorities

229

Text Selection & Complexity

230-241

Template Tasks & Rubrics

242-278

Common Core State Standards

279-304

Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning iii

Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning 1

Evidence-Based Instructional Priorities • • Explicit Instruction

•

Maximizing Opportunities to Respond

• • • • • • •

Feedback

Vocabulary

• • •

Differentiation and Grouping Structures

• • •

Classroom Positive Interventions and Supports (PBIS)

• • •

Are directions clear, straightforward, and unequivocal, without vagueness, or ambiguity? Are skills introduced in a specific and logical order, easier to more complex? Do the lesson activities support the sequence of instruction? Is there frequent and cumulative review? Is there explicit use of prompts, cues, examples and encouragement to support the student? Are skills broken down into manageable steps, when necessary? Do students have sufficient opportunities to practice skills independently? Are the skills and strategies included in instruction clearly demonstrated for the student? Are all students actively engaged in the learning by saying, writing, or doing? Does the pace of the instruction allow for frequent student responses? Is the teacher familiar enough with the lesson to present it in an engaging manner? Are students receiving timely prompts that indicate what they have done correctly and incorrectly? Do students have the opportunity to use the feedback to continue the learning process? Is critical vocabulary explicitly taught before students are expected to use it in context? Are students able to say, define and use critical vocabulary? Is common academic vocabulary, (e.g. system, change, perspective) explicitly taught across all content areas? Is information presented at various levels of difficulty? Has data been analyzed for the purpose of creating small groups to target specific skills? Are groups flexible, providing students opportunities to move within groups, depending on their needs? Has the school identified 3-5 school rules? Can students state these rules? Has a school-wide reinforcement system been put in place for appropriate behavior? Is it routinely evaluated for effectiveness? Have significant numbers of students received recognition through the school-wide positive behavior support system for demonstrating appropriate behavior?


Evidence-Based Instructional Priorities Explicit Instruction I Do - We Do - Y’all Do - You Do Model - Guide Practice – Partner - Independent Systematic q Focused on critical content q Skills, strategies, and concepts are q q q q q

sequenced logically Break down complex skills Lessons are organized and focused Instructional routines are used Examples and non-examples Step-by-step demonstrations

Relentless q

q q q

Adequate initial practice NOTE: Students who struggle may require 10-30 more times as many practice opportunities than their peers. Distributed practice--frequent exposure to content/skill over time Cumulative review Teach to mastery

Increasing Opportunities to Respond Saying, Writing, Doing Group Reading Strategies for Student Engagement q

q

q

q

q

Model: All students track as the teacher reads the passage. Teacher emphasizes reading in phrases with expression. “My turn to model. Everyone tracking.” - Choose this strategy when text contains dialogue, advanced punctuation or other content that makes it more difficult for students. Echo Reading: The teacher reads a sentence fluently and immediately the students read it back to the teacher. Keep the time between the model and test very short. All students must track as the teacher or peer reads. “My turn. Echo read. Everyone tracking.” (Model) “Tracking back. Your turn, read.” Choral: Students and teacher read together aloud as all students are tracking. This should be only on short sentences and title. Teacher sets pace. “Everyone…choral read.” - Choose this strategy with text that all students can read. Cloze: Teacher reads and pauses at a word (focused vocabulary words) and students read the word. Continue for a paragraph or so. “My turn. Everyone tracking. Cloze read….” Partner: Partner A reads a sentence and Partner B reads a sentence. Students must track as their partners read.

Feedback q q q

Corrective and Affirmative Timely and Frequent Specific and Reinforcing

Engaging

Instructional Grouping q Whole group, Small groups, Partners q Fluid and flexible q Skill-Based Small Group Instruction

q q q q q q

Increasing Opportunities to Respond Explicit Vocabulary Instruction Feedback Instructional Grouping Acquire – Auto – Apply Classroom PBIS

Explicit Vocabulary Instruction q Introduce the word • Teacher says the word • All students repeat the word • Teacher gives a student-friendly definition • All students repeat the definition (with teacher guidance) • Repeat above steps as necessary q Demonstrate • Provide an example • Provide a non-example • Repeat above steps as necessary q Apply • Students turn to a partner and use the word in a sentence • Teacher shares a sentence using the word

Acquire – Auto – Apply q q q

Learn (acquire) the skill Build the skill to automaticity Apply the skill

Classroom PBIS q q q q

Forming clear behavior expectations Explicitly teaching expectations to students Reinforcing expectations with students Correcting of problem behaviors in a systematic manner


Common Core Standards English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects

College and Career Readiness Anchor Standards (found in each of the strands below)

READING Grade Specific Standards

WRITING Grade Specific Standards

SPEAKING & LISTENING Grade Specific Standards

LANGUAGE Grade Specific Standards

Key Ideas and Details Craft and Structure Integration of Knowledge and Ideas Range of Reading & Level of Text Complexity

Text Types and Purposes Production and Distribution of Writing Research to Build and Present Knowledge

Comprehension and Collaboration Presentation of Knowledge and Ideas

Conventions of Standard English Knowledge of Language Vocabulary Acquisition and Use

Range of Writing

Literacy in History/Social Studies, Science, and Technical Subjects Grades 6-12 Reading and Writing standards for content area subjects Foundational Skills Grades K-5 Print Concepts Phonological Awareness Phonics and Word Recognition Fluency

Appendices A: Research behind the standards and glossary of the terms B: Text exemplars illustrating complexity, quality and range of reading appropriate and sample performance tasks for various grade levels C: Annotated samples of students writing at various grades

Access the ELA Core Standards at corestandards.org


Key Points in English Language Arts Core Standards Authors: National Governors Association Center for Best Practices, Council of Chief State School Officers ~ Title: Common Core State Standards English Language Arts Publisher: National Governors Association Center for Best Practices, Council of Chief State School Officers, Washington D.C. ~ Copyright Date: 2010

Reading •

The standards establish a “staircase” of increasing complexity in what students must be able to read so that all students are ready for the demands of college- and career-level reading no later than the end of high school. The standards also require the progressive development of reading comprehension so that students advancing through the grades are able to gain more from whatever they read.

•

Through reading of a diverse array of classic and contemporary literature as well as challenging informational text in a range of subjects, students are expected to build knowledge, gain insights, explore possibilities, and broaden their perspective. Because the standards are building blocks for successful classrooms, but recognize that teachers, school districts and states need to decide on appropriate curriculum, they intentionally do not offer a reading list. Instead, they offer numerous sample texts to help teachers prepare for the school year and allow parents and students to know what to expect at the beginning of the year.

•

The standards mandate certain critical types of content for all students, including classic myths and stories from around the world, foundational U.S. documents, seminal works of American literature, and the writings of Shakespeare. The standards appropriately defer the many remaining decisions about what and hot to teach to states, districts, and schools.

Writing •

The ability to write logical arguments based on substantive claims, sound reasoning, and relevant evidence is a cornerstone of the writing standards, with opinion writing—a basic form of argument—extending down into the earliest grades.

•

Research—both short, focused projects (such as those commonly required in the workplace) and longer term in depth research —is emphasized throughout the standards but most prominently in the writing strand since a written analysis and presentation of findings is so often critical.

•

Annotated samples of student writing accompany the standards and help establish adequate performance levels in writing arguments, informational/explanatory texts, and narratives in the various grades.


Key Points in English Language Arts Core Standards (cont.) Authors: National Governors Association Center for Best Practices, Council of Chief State School Officers ~ Title: Common Core State Standards English Language Arts Publisher: National Governors Association Center for Best Practices, Council of Chief State School Officers, Washington D.C. ~ Copyright Date: 2010

Speaking and Listening •

The standards require that students gain, evaluate, and present increasingly complex information, ideas, and evidence through listening and speaking as well as through media.

•

An important focus of the speaking and listening standards is academic discussion in one-on-one, small group, and whole-class settings. Formal presentations are one important way such talk occurs, but so is the more informal discussion that takes place as students collaborate to answer questions, build understanding, and solve problems.

Language •

The standards expect that students will grow their vocabularies through a mix of conversations, direct instruction, and reading. The standards will help students determine word meanings, appreciate the nuances of words, and steadily expand their repertoire of words and phrases.

•

The standards help prepare students for real life experience at college and in 21st century careers. The standards recognize that students must be able to use formal English in their writing and speaking but that they must also be able to make informed, skillful choices among the many ways to express themselves through language.

•

Vocabulary and conventions are treated in their own strand not because skills in these areas should be handled in isolation but because their use extends across reading, writing, speaking, and listening.

Technology •

Just as media and technology are integrated in school and life in the twenty-first century, skills related to media use (both critical analysis and production of media) are integrated throughout the standards.


ELA Timeline Year 2009-2010 2010-2011

2011-2012

2012-2013

2013-2014

2014-2015

Action(s) Related to Curriculum, Instruction, and Assessment for English Language Arts (ELA) The Council of Chief State School Officers (CCSSO) and the National Governors Association Center for Best Practices (NGA Center) lead the effort to develop a common core of state standards for English and mathematics. August: Utah Adopts the Common Core Ongoing: CBM for reading conducted at middle schools; Skills-based Reading Cohort PD Winter: The Canyons Board of Education adopts a timeline for implementation of the new standards Spring: ELA Reps from each secondary school in CSD meet to work on curriculum and instruction implementation plans Spring: Teachers begin planning units around the district established scope & sequence Summer: USOE Utah Core Summer Training August: CSD Utah Core Trainings for all ELA teachers Ongoing: CBM for reading conducted at middle schools and HHS; Skills-based Reading Cohort PD September: HYPE Sessions begin, teachers begin curriculum and instructional changes required by the core January: Text Complexity Workshop February: Assessment Workshop Spring: My Access argumentative prompts align with the core Spring: First Cohort of “HYPE” Certified Teachers Graduate Spring: Mapping Teams meet to create common themes, essential questions, and key terms within the established scope and sequence June: Continued professional development for ELA teachers; Common Themes and focus on text complexity August: Continued professional development for ELA teachers; Common Themes and focus on writing instruction Fall: begin district and school Common Formative Assessments September—April: Study Sessions for collaboration and unit design September—April: Continued HYPE Sessions Reconfiguration—6th grade moves to middle school, 9th grade moves to high school Refine Curriculum Maps as needed Pilot new performance-based testing (replacing the Utah CRTs for English and math) Refine district and school Common Formative Assessments Begin new performance-based testing (replacing the Utah CRTs for English and math) Fine tune Common Formative Assessments and maps as needed


2012-2013 High School Assessment Calendar 2012-2013 Month

Dates

Test

Who

AUGUST

Aug 27

School Starts

All students

SEPTEMBER

Sept 5

Scholastic Reading Inventory (SRI)

Sept 17 – 22

Reading CBM for Intervention

Grade 10 All students (11 & 12 new students only) Students Below Basic on SRI

Oct 9 – 25

PLAN

Grade 10

DECEMBER

Dec 6 – 19


Grade 10 All students (11 & 12 new students only)

JANUARY

Jan 2 - 8

Secondary CBM for Intervention

Students Below Basic on SRI

Mar 4 – May 3

Utah Academic Language Proficiency Assessment (UALPA)

Grades 10 – 12

OCTOBER NOVEMBER

FEBRUARY MARCH

Mar 5 Mar 19 APRIL

ACT Test ACT Makeup Date

Grade 11 Grade 11

Apr 8 – 19


Apr 22 – June 3

Core CRT Test

Grade 10 All students (11 & 12 new students only) Grades 10 – 12

Apr 29 – May 3

Reading CBM for Intervention

Students Below Basic on SRI

June 7

School Ends

All Students

MAY JUNE


Assessment Acronym Glossary for Secondary Teachers ACT: The ACT was designed to measure academic skills required for success in college and university settings. College and universities commonly use results to help determine which students to admit. There are four college readiness benchmark areas: 1) English, 2) Mathematics, 3) Reading, and 4) Science. Student’s reaching ACT benchmarks have a 75% or better chance of getting a “C” or higher and a 50% chance or better of getting a “B” or higher in a college course in that subject. The ACT is administered to all 11th graders in the Canyons School District in the spring.

AIMSweb:

A data management system which allows for

progress monitoring for Curriculum Based Measurement (CBM).

Benchmarking: Measuring the level of an academic skill in order to compare it to a specific standard that represents an important level of mastery. Frequently benchmarking involves a universal screening procedure in which all students are tested or somehow evaluated. SRI serves as a universal screener and benchmarking tool for reading in the middle and high schools in Canyons School District (CSD).

BLT: Building leadership teams are charged with facilitating student achievement by judicious use of data (quantitative and qualitative), through designing and implementing effective school structures, professional development plans, and decision-making procedures and policies. This team also communicates school

needs to other groups, and customizes implementation of district initiatives.

CBM:

Curriculum-Based Measurement – a brief standardized

measurement procedure designed to ascertain a student’s overall academic performance in a basic subject area: e.g. reading, math, spelling, or writing. CBMs were designed to help teachers monitor academic growth over time, so that instruction could be modified and learning rates accelerated. They are also appropriately used as screening tools to find those students who are at-risk for future academic difficulties. In fact, they are used as screening tools in all CSD elementary schools. (Only secondary students who are at risk for reading difficulties, based on SRI scores, are tested using CBM.)

CFA:

Common Formative Assessment – An assessment

typically created collaboratively by a team of teachers responsible for the same grade level or course, in order to improve instruction with a current group of students. Common formative assessments are frequently administered throughout the year to identify:

1. Individual students who need additional time and support for learning 2. The teaching strategies most effective in helping students acquire the intended knowledge and skills 3. Program concerns – areas in which students generally are having difficulty achieving the intended standard, and


4. Improvement goals for individual teachers and the team *Dufour (2004). Learning by Doing, p. 214

CSA:

Common Summative Assessment – An assessment

typically created collaboratively by a team of teachers responsible for the same grade level or course in order to evaluate whether or not students reached common standards at the completion of an instruction cycle.

Lexile Scores: Lexiles can be a measure of text difficulty or of reading proficiency. They range from 0 to 1700. The next column is a list of descriptors of Lexile scores by grade level. Students reading in the Proficient and Advanced levels are on track to graduate college and career ready.

ELA-CRT: English Language Arts- Criterion Referenced Tests are constructed to reflect the content of Utah’s state core curriculum. Cut scores (pass—3 or 4, no-pass—1 or 2) were drawn to reflect an expert panel’s view of what students at a given grade should know and be able to do. As such CRTs represent an overall measure of the degree to which students have met Utah state standards.

EXPLORE: The EXPLORE test is designed by ACT to measure academic skills that predict success in college and to provide schools and students with information to plan for future teaching and learning that lead toward college and career readiness. There are four college readiness benchmark areas: 1) English, 2) Mathematics, 3) Reading, and 4) Science. Scores are comparable to scores on the ACT. It is a comprehensive guidance resource that helps students measure their academic development and start to make plans for college. It also includes a student interest survey and is administered to all CSD 8th graders.

Maze: Also known as multiple-choice cloze, and CBM-silent reading. This is a three-minute CBM measure of reading comprehension that results in a score representing the number of correct replacements within that 3-minute administration. Results from this test can get muddy when students engage in rapid guessing. Consequently it is important to also look at the error rate when interpreting scores. Probes are available for free through AIMSweb.

My Access:

A computer scored writing assessment that

measures the six traits of writing on a five-point scale. It is a useful tool to quickly score many of essays at once, but it does not evaluate essay content. Human scoring is recommended when more detailed information concerning content and style is desired.


PLAN: The PLAN test is designed by ACT to measure academic skills that predict success in college and to provide schools and students with information to plan for future teaching and learning that lead toward college and career readiness. There are four college readiness benchmark areas: 1) English, 2) Mathematics, 3) Reading, and 4) Science. Scores are comparable to scores on the ACT. It is a comprehensive guidance resource that helps students measure their academic development and make plans for the remaining years of high school. It also includes a student interest survey and is administered to all CSD 10th graders.

Progress Monitoring: A procedure that involves frequent measurement of student performance for the purpose of evaluating a student’s growth toward a targeted objective. For example, the trajectory of reading growth can be measured with weekly administration of R-CBM.

difficulty. It measures both literal and inferential comprehension. It is a particularly good assessment for identifying advanced readers. It has a disadvantage of not being as sensitive to growth as are CBM measures, of being subject to student sloughing, and having limited reliability if administered a few number of times.

R-CBM:

Reading Curriculum-Based Measurement

Also known as Oral Reading Fluency (ORF) and CBM-Read Aloud, this is a one minute measure which results in two primary numerical scores: number of words read correctly per minute (or correct words per minute, CWPM), and percentage of correctly read words (accuracy rate). This measure is highly correlated with reading comprehension in elementary school but outlives its usefulness once students read at the same rate at which they speak. Maze has been identified as a more appropriate CBM once students are reading grade-level texts at rates above 130 words read correctly per minute, with greater than 97% accuracy.

Reliability: SEM:

Standard error of measurement is one standard

deviation of error around a student’s true score.

SRI:

Scholastic Reading Inventory is a computer administered

reading test that measures inferential and literal reading comprehension skills. Scores are reported in a numeric Lexile scores. Percentile ranks are also available. SRI was designed primarily to match students with books of an appropriate level of

The degree to which a measure is free of error.

All tests contain error and it results from characteristics of the test (such as poorly designed questions), characteristics of the test taker (bad day, lack of sleep, misreading questions, anxiety, and lack of effort), and characteristics of the environment (distracting noises, room temperature, and distracting odors).

RtI: “Response to Intervention” is the practice of (1) providing high-quality instruction/intervention matched to student needs


and (2) using learning rate over time and level of performance to (3) make important educational decisions.” (Batsche et al, 2007)

commonly tied together into one practice and are commonly thought of as synonymous.

Universal Screening:

Validity:

A procedure in which all students

are evaluated for the purpose of identifying those students who need more intensive interventions. For example, reading is a critical and foundational academic skill, for which CSD screens in middle school with the SRI. Universal screening and benchmarking are

The degree to which a test measures what it is

intended to measure. Establishing the validity of a measurement procedure involves empirical study of item content, accurate prediction, and alignment with theories about what is being measured.


Ninth Grade: ELA Core Standards Overview Ø Understanding more from and making fuller use of written materials, including using a wider range of evidence to support an analysis Ø Making more connections about how complex ideas interact and develop within a book, essay, or article Ø Evaluating arguments and specific claims; assessing whether the reasoning is valid and the evidence is sufficient; and as appropriate, detecting inconsistencies and ambiguities Ø Analyzing the meaning of foundational U.S. documents (the Declaration of Independence, the Preamble to the Constitution, the Bill of Rights) Ø Making an argument that is logical, well-reasoned, and supported by evidence Ø Writing a literary analysis, report, or summary that develops a central idea and a coherent focus and is well supported with relevant examples, facts, and details Ø Conducting several research projects that address different aspects of the same topic, using more complex books, articles, and other sources 15 Ø Responding thoughtfully to diverse perspectives; synthesizing comments, claims, and evidence made on all sides of an issue; and resolving contradictions when possible Ø Sharing research, findings, and evidence clearly and concisely Ø Making strategic use of digital media (e.g., animations, video, websites, podcasts) to enhance understanding of findings and to add interest Ø Determining or clarifying the meaning of words and phrases, choosing flexibly from multiple strategies, such as using context, Greek and Latin roots (e.g., bene as in benefactor or benevolent), patterns of words (conceive, conception, conceivable), and consulting specialized reference materials (e.g., dictionaries, glossaries, thesauruses) Ø Interpreting figures of speech (e.g., hyperbole, paradox) in context and analyzing their role in the written materials National PTA, 1250 N Pitt Street, Alexandria, VA 22314, PTA.org • [email protected] © 2011 PTA All rights reserved.


Ninth Grade English Language Arts Year at a Glance 2012-13 AUG 27 – OCT 5

OCT 6 – NOV 20

NOV 21 – JAN 17

JAN 18 – MAR 1

MAR 2 – APR 19

APR 20 – MAY 31

Unit Theme

Human Ingenuity

Influence

Patterns

Honor

Heroism

Fate

Essential Question

What function does story serve in our lives?

What is influence and what are its effects?

How do patterns help us make sense of our

What is the nature of honor?

What makes a hero?

What is the role of fate in human experience?

Narrative

Argument

Do heroes have similar characteristics from different world cultures?

Where are events happening that have global impact? How do global events affect the lives of individuals?

world? Writing Focus

Social Studies Connections

Science Connections

Key Terms

Argument How do folktales, oral and written histories, traditional music and dance shape the cultural traditions of people?

How do advancements in Physics shape our modern world?

Character; Characterization; Figurative Language; Hyperbole; Irony; Narrative; Narrator; Plot; Point of view; Imagery; Setting; Style; Symbolism; Theme; Tone

Informative/ Explanatory What influences shape the What are the patterns cultural characteristics of a of human settlement? person, a group of people, Why do people settle or a society? where they do?

Informative/ Explanatory What role does honor play in the governance of people? Do different forms of governance encourage or discourage honorable behavior in people?

How can we present scientific findings?

What are the ethical concerns and issues are found in science?

Antagonist; Characterization; Characters; Conflict; Extended Metaphor; Motif; Plots; Protagonist; Setting; Theme

Allusion; Archetype; Chronological Order; Epic Poetry; Epithet; Hero; Hero’s Journey; Iambic Pentameter; Invocation; Oral Tradition

Argument

What are the scientific patterns found in vortices, motion of objects, and beauty in nature? Abstract/Universal Essay; Alliteration; Analogy; Argument; Autobiography; Assonance; Ballad; Chronological Order; Blank Verse; Classification and Division; Consonance; Couplet; Compare-‐and-‐Contrast Diction; Dramatic Essay; Ethos, Pathos, Poetry; Figurative Logos; Evidence; Language Free Verse; Exemplification; Extended Haiku; Imagery; Lyric Metaphor; Memoir; Poetry; Meter; Objective/Factual Essay; Personal/Autobiographical Narrative Poetry; Octet; Ode; Rhyme; Rhyme essay; Repetition; Satire; Scheme; Rhythm Thesis Statement

Aside; Blank Verse; Dialogue; Dramatic Irony; Dramatic Structure; Foil; Chorus; Hubris; Iambic Pentameter; Monologue; Protagonist; Shakespearean Sonnet; Soliloquy; Tragedy; Tragic Hero


Ninth Grade Unit 1 Theme: Human Ingenuity In this unit students will examine the reasons that people share stories and how those stories explore the human experience. Essential Question What function does story serve in our lives?

Supporting Questions • • • • •

Key Terms

Character (protagonist/ What do our stories tell us about being antagonist); Characterization; Figurative Language; human? Hyperbole; Irony (dramatic, How do stories help us understand the situational, verbal); Narrative; Narrator; Plot (i.e., exposition, world around us? rising action, crisis/climax, How do stories define our culture? falling action, resolution/ What stories are universal across denouement); Point of view; Imagery; Setting; Style; Symbol, cultures? symbolism; Theme; Tone Why do we create stories?

Writing Focus Narrative

Science Connections How do advancements in Physics shape our modern world?

Social Studies Connections How do folktales, oral and written histories, traditional music and dance shape the cultural traditions of people?

ELA Core Standards • • • RI.9-‐10.6: Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose.

ELA Core Standards

WRITING

READING

RL 9-‐10.1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

Student Learning Targets

W 9-‐10.3: Write narratives to develop real or imagined experiences or events using effective technique, well-‐chosen details, and well-‐structured event sequences. a. Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.

• •

I can recognize the difference between what the author states directly and what he/she implies in the text. I can determine if there is sufficient evidence to support what the text says. I can determine the quality of the evidence used to support what the text says. I can determine an author’s point of view of purpose in a text. I can analyze how an author uses rhetoric to develop his/her point of view or purpose.

Student Learning Targets •

I can write a well-‐structured, detailed narrative about real or imagined events or experiences.

• •

I can hook the reader by introducing a problem, situation, or observation. I can hook the reader by setting up one or more points of view and introducing a narrator and/or characters. I can write events and experiences that progress smoothly and logically.

•


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. 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.

• • •

ELA Core Standards • • •

a. Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.

•

b. Analyze nuances in the meaning of words with similar denotations.

•

ELA Core Standards L.7.4: Determine or clarify the meaning of unknown and multiple-‐meaning words and phrases based on grade 6 reading and content, choosing flexibly from a range of strategies. L.7.4 (a): Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase. L.7.4 (c): Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning or its part of speech.

I can write narrative using techniques such as dialogue, timing, description, reflection, and more than one plot line. I can arrange the events in my story in various ways and still be clear. I can use precise words, details, and sensory language to create a mental picture in my narrative. I can conclude my story by reflecting on what is experienced, observed, or resolved.


L 9-‐10.5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

LANGUAGE

SPEAKING & LISTENING

•

I can identify examples of figurative language. I can recognize how words relate to each other. I can recognize the slight differences in word meanings based on how they are used. I can identify figures of speech like euphemism and oxymoron and explain their intended meanings and why they are used. I can explain the slight differences between words with similar definitions.


I can use a variety of strategies to determine what a word or phrase means.

•

I can determine the meaning of a word through context clues or by the way it is used in a sentence.

•

I can use reference materials to find the pronunciation and meaning of unfamiliar words.


Unit 1 Text Resources Literary

Informational

Short Stories Drinking Coffee Elsewhere: Stories, ZZ Packer

O’ Henry: Texas State Historical Society (1010 L) http://www.tshaonline.org/handbook/online/articles/fpo20

“Everyday Use,” Alice Walker (1090L) “How Much Land Does a Man Need?”, Leo Tolstoy (940L)*

Resurrection Mary (1200 L)

Points of View: An Anthology of Short Stories, James Moffett and Kenneth L.

Biography (1000 L)

McElheny, eds., 1968 edition

http://www.kirjasto.sci.fi/ohenry.htm

“The Black Cat,” Edgar Allan Poe (1160L) “The Cask of Amontillado,” Edgar Allan Poe (980L)*

Edgar Allen Poe:

“The Gift of the Magi,” O. Henry (1030L)*

Edgar Allen Poe Society of Baltimore

“The Ransom of Red Chief,” O. Henry (930L)*

http://www.eapoe.org/

“The Kitchen Boy,” Alaa Al Aswany (1300L) “The Minister's Black Veil,” Nathaniel Hawthorne (1270L)

“The Most Dangerous Game,” Richard Connell (700L)*

Knowing Poe http://knowingpoe.thinkport.org/default_flash.asp

“The Overcoat,” Nikolai Gogol (1200L)

“The Scarlet Ibis,” James Hurst (1230L) “The Secret Life of Walter Mitty,” James Thurber (610L)*

http://www.prairieghosts.com/resurcem.html

“The Tell-‐Tale Heart,” Edgar Allan Poe (910)* Uprising by Margaret Peterson Haddix (790 L)* Fever 1793 by Laurie Halse Anderson (580 L)*

Richard E. Connell: India Legalizes “The Most Dangerous Game” Last Breath: Cautionary Tales From The Limits of Human Endurance by Peter Stark Human Ingenuity: A 100,000-‐Year-‐Old Story (1220L)(Forbes Magazi “Why Do We Tell Stories?” Rachelle Gardner (860L)

“Can Science Explain Why We Tell Stories?” Adam Gopnik, The New Yorker

CAUTION -‐ * Indicates that the Lexile level of the text is below the recommended Lexile range for that grade level.

(1340L)


Key Term Character

Ninth Grade Unit 1 Glossary of Key Terms Definition

Characterization

A person represented in a story. • Major character: A character who plays a major role in a story but is not the protagonist. • Minor character: A character who appears in a story but does not play a major role. The representation of individuals in literary works. This may include direct methods like the attribution of qualities in description or commentary, and indirect methods inviting readers to infer qualities from characters’ actions, speech, or appearance. A flat character is one that remains undeveloped. A round character is one that is fully developed. A character who does not undergo change is referred to as static. A character that undergoes some transformation is called dynamic.

Climax

The high point (of the “rising action”) in a story; the crisis or turning point.

Denouement

The final part of a play, movie, or narrative in which the strands of the plot are drawn together and matters are explained or resolved.

Figurative Language Hyperbole

Language that deviates from a standard significance or sequence of words in order to achieve a special meaning or effect (e.g., similes and metaphors).

Imagery

The use of language to create sensory impressions; the “mental pictures” experienced by readers while listening to or to or reading a story or poem.

Irony

A literary term referring to the discrepancy between the appearance and reality of a thing, which are often exact opposites. There are many types of irony; the three most common types are dramatic irony, situational irony, and verbal irony. ● Dramatic irony: A situation in a play or narrative in which the audience shares with the author knowledge of which a character is ignorant. ● Situational irony: A situation when a character laughs at a misfortunate of another when unbeknownst to him the same misfortunate is happening to him. ● Verbal irony: A situation when either the speaker means something totally different than what he is saying. Verbal irony also occurs when a character says something in jest that, in actuality, is true.

Narrator

The narrator is the person who relates an account or story dealing with sequences of events and experiences, though not necessarily in strict order. The narrator can be a character in the story or a voice outside the action.

Plot

The structure of the actions in a dramatic or narrative work, ordered and rendered toward achieving particular emotional and artistic effects. The most basic elements in a plot line are: (a) exposition, (b) rising action, (c) climax, crisis, or turning point, (d) falling action, and

An intentional exaggeration for emphasis or comic effect.


(e) resolution or denouement.

Point of view

The perspective or perspectives established by an author through which the reader is presented with the characters, actions, setting, and events that constitute the narrative in a work of fiction. There are multiple modes of point of view, including:

•

First-‐person narration: A narrative mode where a story is told by one character at a time, speaking for and about himself or herself. The narrator may be a minor character observing the action or the main protagonist of the story. A first-‐person narrator may be reliable or unreliable.

•

First-‐person perspective: The perspective implicit in first-‐person narration, intimate on the one hand and circumscribed on the other.

•

Third-‐person narration: A narrative mode in which a story is told by a narrator who relates all action in third person, using third-‐ person pronouns such as he or she.

•

Third-‐person omniscience: A method of storytelling in which the narrator knows the thoughts and feelings of all of the characters in the story, as opposed to third person limited, which adheres closely to the thoughts and feelings of a single character.

Protagonist

A protagonist (also known as the “hero” or “heroine”) is the main character or lead figure in a novel, play, story, or poem.

Resolution

Events forming the outcome of the climax of a play or story; also called falling action.

Setting

The time and place in which a narrative takes place; the physical and psychological background against which the action of a story takes place; the scenery and stage effects for a dramatic production.

• • •

Environment: The surrounding things, conditions, and influences in the narrative. Place: The physical location of the narrative. Time: The period or era in which the narrative takes place.

Style

The manner of linguistic expression in prose, verse, or speech, and distinguishing attributes of this expression; how a speaker or writer says whatever he or she says.

Symbol

The manner of linguistic expression in prose, verse, or speech, and distinguishing attributes of this expression; how a speaker or writer says whatever he or she says.

Symbolism

The use of a word or set of words to signify an object, event, or idea through the use of concrete images.

Theme

A topic of discussion or writing; a major idea or proposition broad enough to cover the entire scope of a literary or other work of art. A theme may be stated or implied, but clues about the theme may be found in the ideas that are given special prominence or tend to recur in a work.

Tone

The author or narrator’s attitude reflected in the style of the text. Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning 19

Unit 1 Planning and Notes


Ninth Grade Unit 1 Common Formative Assessment The Cask of Amontillado Prompt: After reading The Cask of Amontillado, rewrite the story from the point of view of Fortunato. Include dialogue, description, and pacing to introduce the characters from his view, establish the situation and describe events. Article #1 The Cask of Amontillado by Edgar Allan Poe THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. AT LENGTH I would be avenged; this was a point definitively settled -‐-‐ but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued as was my wont, to smile in his face, and he did not perceive that my smile NOW was at the thought of his immolation. He had a weak point -‐-‐ this Fortunato -‐-‐ although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity to practise imposture upon the British and Austrian MILLIONAIRES. In painting and gemmary, Fortunato, like his countrymen , was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; I was skilful in the Italian vintages myself, and bought largely whenever I could. It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-‐fitting parti-‐striped dress and his head was surmounted by the conical cap and bells. I was so pleased to see him, that I thought I should never have done wringing his hand. I said to him -‐-‐ "My dear Fortunato, you are luckily met. How remarkably well you are looking to-‐day! But I have received a pipe of what passes for Amontillado, and I have my doubts." "How?" said he, "Amontillado? A pipe? Impossible ? And in the middle of the carnival?" "I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain." "Amontillado!" "I have my doubts." "Amontillado!" Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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"And I must satisfy them." "Amontillado!" "As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He will tell me" -‐-‐ "Luchesi cannot tell Amontillado from Sherry." "And yet some fools will have it that his taste is a match for your own." "Come let us go." "Whither?" "To your vaults." "My friend, no; I will not impose upon your good nature. I perceive you have an engagement Luchesi" -‐-‐ "I have no engagement; come." "My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted . The vaults are insufferably damp. They are encrusted with nitre." "Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon; and as for Luchesi, he cannot distinguish Sherry from Amontillado." Thus speaking, Fortunato possessed himself of my arm. Putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo. There were no attendants at home; they had absconded to make merry in honour of the time. I had told them that I should not return until the morning and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance , one and all, as soon as my back was turned. I took from their sconces two flambeaux, and giving one to Fortunato bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together on the damp ground of the catacombs of the Montresors. The gait of my friend was unsteady, and the bells upon his cap jingled as he strode. "The pipe," said he. "It is farther on," said I; "but observe the white webwork which gleams from these cavern walls." He turned towards me and looked into my eyes with two filmy orbs that distilled the rheum of intoxication . "Nitre?" he asked, at length "Nitre," I replied. "How long have you had that cough!" "Ugh! ugh! ugh! -‐-‐ ugh! ugh! ugh! -‐-‐ ugh! ugh! ugh! -‐-‐ ugh! ugh! ugh! -‐-‐ ugh! ugh! ugh! My poor friend found it impossible to reply for many minutes. "It is nothing," he said, at last. "Come," I said, with decision, we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill and I cannot be responsible. Besides, there is Luchesi" -‐-‐ "Enough," he said; "the cough is a mere nothing; it will not kill me. I shall not die of a cough."


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"True -‐-‐ true," I replied; "and, indeed, I had no intention of alarming you unnecessarily -‐-‐ but you should use all proper caution. A draught of this Medoc will defend us from the damps." Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould. "Drink," I said, presenting him the wine. He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled. "I drink," he said, "to the buried that repose around us." "And I to your long life." He again took my arm and we proceeded. "These vaults," he said, are extensive." "The Montresors," I replied, "were a great numerous family." "I forget your arms." "A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel." "And the motto?" "Nemo me impune lacessit." "Good!" he said. The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through walls of piled bones, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow. "The nitre!" I said: see it increases. It hangs like moss upon the vaults. We are below the river's bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough" -‐-‐ "It is nothing" he said; "let us go on. But first, another draught of the Medoc." I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand. I looked at him in surprise. He repeated the movement -‐-‐ a grotesque one. "You do not comprehend?" he said. "Not I," I replied. "Then you are not of the brotherhood." "How?" "You are not of the masons." "Yes, yes," I said "yes! yes." "You? Impossible! A mason?" "A mason," I replied. "A sign," he said. "It is this," I answered, producing a trowel from beneath the folds of my roquelaire. "You jest," he exclaimed, recoiling a few paces. "But let us proceed to the Amontillado." "Be it so," I said, replacing the tool beneath the cloak, and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame. Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains piled to the vault overhead , in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use in itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite. It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depths of the recess. Its termination the feeble light did not enable us to see. "Proceed," I said; "herein is the Amontillado. As for Luchesi" -‐-‐ "He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered . A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain. from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist . Withdrawing the key I stepped back from the recess. "Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed it is VERY damp. Once more let me IMPLORE you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power." "The Amontillado!" ejaculated my friend, not yet recovered from his astonishment. "True," I replied; "the Amontillado." As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche. I had scarcely laid the first tier of my masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was NOT the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-‐work, threw a few feeble rays upon the figure within. A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated -‐-‐ I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs , and felt satisfied. I reapproached the wall. I replied to the yells of him who clamoured. I reechoed -‐-‐ I aided -‐-‐ I surpassed them in volume and in strength. I did this, and the clamourer grew still. Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth, and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognising as that of the noble Fortunato. The voice said -‐-‐ "Ha! ha! ha! -‐-‐ he! he! -‐-‐ a very good joke indeed -‐-‐ an excellent jest. We will have many a rich laugh about it at the palazzo -‐-‐ he! he! he! -‐-‐ over our wine -‐-‐ he! he! he!" "The Amontillado!" I said. "He! he! he! -‐-‐ he! he! he! -‐-‐ yes, the Amontillado . But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone." "Yes," I said "let us be gone." "FOR THE LOVE OF GOD, MONTRESOR!" "Yes," I said, "for the love of God!" But to these words I hearkened in vain for a reply. I grew impatient. I called aloud -‐-‐ "Fortunato!" No answer. I called again -‐-‐ "Fortunato!" No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick -‐-‐ on account of the dampness of the catacombs. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I reerected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat! Poe, Edgar. Cask of Amontillado Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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Article # 2 (Optional: May be used to scaffold learning prior to reading the short story) Paris Catacombs The cab glides through Saturday morning. The great avenues are quiet, the shops closed. From a bakery comes the scent of fresh bread. At a stoplight a blur of movement draws my attention. A man in blue coveralls is emerging from a hole in the sidewalk. His hair falls in dreadlocks, and there is a lamp on his head. Now a young woman emerges, holding a lantern. She has long, slender legs and wears very short shorts. Both wear rubber boots, both are smeared with beige mud, like a tribal decoration. The man shoves the iron cover back over the hole and takes the woman's hand, and together they run grinning down the street. Paris has a deeper and stranger connection to its underground than almost any city, and that underground is one of the richest. The arteries and intestines of Paris, the hundreds of miles of tunnels that make up some of the oldest and densest subway and sewer networks in the world, are just the start of it. Under Paris there are spaces of all kinds: canals and reservoirs, crypts and bank vaults, wine cellars transformed into nightclubs and galleries. Most surprising of all are the carrières—the old limestone quarries that fan out in a deep and intricate web under many neighborhoods, mostly in the southern part of the metropolis. Into the 19th century those caverns and tunnels were mined for building stone. After that farmers raised mushrooms in them, at one point producing hundreds of tons a year. During World War II, French Resistance fighters—the underground—hid in them. Today the tunnels are roamed by a different clandestine group, a loose and leaderless community whose members sometimes spend days and nights below the city. They're called cataphiles, people who love the Paris underground. Entering the quarries has been illegal since 1955, so cataphiles tend to be young people fleeing the surface world and its rules. Some cataphiles discovered they could walk into the quarries through forgotten doorways in their school basements, then crawl onward into tunnels filled with bones—the famous catacombs. The young couple I saw climbing out of a manhole that morning were cataphiles. Maybe they had been on a date; some of the men I've explored the quarries with met their future wives in the tunnels, trading phone numbers by flashlight. Cataphiles make some of the best guides to the Paris underworld. Most Parisians are only dimly aware of its extent, even though, as they ride the Métro, they may be hurtling above the bones of their ancestors. Cataphiles Some cataphiles go underground only occasionally and stick to well-‐known routes. The hard core go oftener and farther. I find my next guides, two dark-‐haired young men in blue coveralls, lounging in sunlight on a park bench in a quiet neighborhood, with a scuba tank and other dive gear beside them. Mothers pushing strollers eye them uneasily. Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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Dominique is a repairman; Yopie—he'll only give his cataphile nickname—is a computer graphics designer, father of two, and an accomplished cave diver. We gather the gear and head beneath a bridge, where cool air sighs up from their secret entrance. As we approach, a mud-‐covered man climbs out like a spider. He's just been setting up a bachelor party, he says. We spend several more hours wandering through crypts full of moldering bones and galleries of immense, bright murals. Yopie takes us to a room that isn't on any map. He and friends spent years lugging in cement and rearranging limestone blocks to build benches, a table, a sleeping platform. The room is comfortable and clean. Niches for candles are carved into the walls. The beige stone glows warmly. I ask Yopie what draws him underground. "No boss, no master," he says. "Many people come down here to party, some people to paint. Some people to destroy or to create or to explore. We do what we want here. We don't have rules. He waves his hand and smiles. Lights a cigarette. "We say, 'To be happy, stay hidden.'" Sewers In Les Misérables Victor Hugo called the Paris sewers the "conscience of the city," because from them all humans look equal. In a small van full of sewer workers about to begin their shift, Pascal Quignon, a 20-‐year veteran, is talking of more concrete things—the pockets of explosive gas, the diseases, the monstrous rats rumored to dwell under Chinatown. His father worked in the égouts before him, his grandfather too. Beside a bookshop in a narrow street we zip into white Tyvek bodysuits and pull on hip waders, whitish rubber gloves, and white helmets. Warm, thick air fountains up from the open manhole. "Ready?" he asks. In the vaguely egg-‐shaped tunnel, an endless stream of wastewater burbles along a channel in the floor. On both sides run large water pipes. One carries drinking water to houses and apartments, the other nonpotable water for cleaning streets and sprinkling parks. Some of the tunnels here date to 1859, when Hugo was finishing Les Misérables. I splash along trying not to think of the dark current at my feet, trying not to get anything, anything, on my notebook. Quignon and his partner, Christophe Rollot, shine flashlights into crevices and record the locations of leaking pipes on a handheld computer. Rollot scrapes his boot through the water and slides it up the wall. "If you look, you can find a lot of stuff," he says. Sewer workers say they have found jewelry, wallets, guns, a human torso. Once Quignon found a diamond. Under the Rue Maurice Ripoche, I feel a jet of water wash over my foot. It came from one of the descending pipes. Someone has just flushed onto my boot. Treasure Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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Beneath the Opéra Garnier, the old opera house, is a space that many Parisians dismiss as a rumor. As the foundation was laid in the 1860s, engineers struggling to drain water from the sodden earth ended up simply impounding it in a reservoir 60 yards long and 12 feet deep. Not far from the opera, in the 1920s, an army of laborers working around the clock created another singular subterranean space. More than 120 feet below the Banque de France, and behind doors heavier than Apollo space capsules, they built a vault that today holds France's gold reserves, some 2,600 tons. Photographer Stephen Alvarez and I stand in that vault one day. In all directions the halls are stacked with gold in tall steel cages. Dust settles over the bars like a slow, fine snow. I'm reminded of the catacombs: Like each skeleton, each gold bar has a story, possibly several. Gold has always been coveted, stolen, melted down. A single bar here might contain bits of a pharaoh's goblet and a conquistador's ingot. Last March thieves tunneled into a bank vault not far from here. They tied up a guard, cracked open some 200 safety deposit boxes, and set a fire as they left. Here in the central bank, officials assure me, the vault is not connected to any other part of the Parisian underground. I ask if anyone has ever tried a robbery. One of the men laughs. "It would be impossible!" he says. We leave through the steel doors and head up the ten-‐story elevator, past the retinal scanner, and through glass chambers with sliding doors that seem like air locks on a spaceship. We walk. Not far off I notice a manhole. It must open onto a tunnel. The tunnel may parallel the street, or it may dive toward the vault. My mind moves along that passage, imagining its path and its many branches. Cataphiles tell me this sort of thing is perfectly normal when you return to the surface; you can't help it, they say. You picture the cool, still freedom of the underground, with all its possibilities. Shea, Neil. “Paris Catacombs.” National Geographic February 2011. Pre-‐writing Activity (Graphic Organizer): see below


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Plot Plan

Theme: Setting:

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Introduction or Exposition

2007 The Florida Center for Reading Research

Conflict:

Name

Climax or Turning Point:

4-5 Student Center Activities: Comprehension

1

3 3

2 4

Solution or Resolution

2

1 5

C.006.SS2

Author: Title:

Ninth Grade Unit 2 Theme: Influence In this unit students will analyze influence and its effects through analysis of author’s craft, word choice and rhetoric. Essential Question What is influence and what are its effects?

Supporting Questions • •

To what extent can one person influence the world? How can our words influence others?

Key Terms Abstract/Universal Essay; Argument (Claim, Warrant); Autobiography; Chronological Order; Classification and Division; Compare-‐and-‐Contrast Essay; Ethos, Pathos, Logos; Evidence; Exemplification; Extended Metaphor; Memoir; Objective/Factual Essay; Personal/Autobiographical essay; Repetition; Satire; Thesis Statement

Writing Focus Argument

Science Connections How can we present scientific findings?

Social Studies Connections How do claims & evidence influence the world around us? What influences shape the cultural characteristics of a person, a group of people, or a society?

READING

ELA Core Standards


RL.9-‐10.4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of several word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

• • •

RI.9-‐10.3: Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.

• • • •

RI 9-‐10.9: Analyze seminal U.S. documents of historical and literary significance (e.g., Washington’s Farewell Address, the Gettysburg Address, Roosevelt’s Four Freedoms speech, King’s “Letter from Birmingham Jail”), including how they address related themes and concepts.

• •

• •

I can identify several types of figurative language in a text. I can identify connotative meanings of certain words in a text. I can identify how multiple words and phrases influence the meaning of a text. I can identify how multiple words and phrases influence the tone of a text. I can identify and show support for the author's tone through multiple words and phrases in the text. I can explain how an author outlines an analysis in a text. I can explain how an author outlines a series of ideas or events in a text. I can determine the order in which the author's points are made in a text. I can determine how the author's points are introduced and developed in a text. I can determine how the author's key points in a text are connected. I can compare historic U.S. documents and identify related themes and concepts.

RI 9-‐10.9: Analyze seminal U.S. documents of historical and literary • I can compare historic U.S. documents and identify related themes and Canyons School District English Language Arts (ELA) maps createdAby CSD ELA teachers and published by the CSD Office of Evidence-Based Learning significance (e.g., Washington’s Farewell Address, the Gare ettysburg ddress, concepts. 30 Roosevelt’s Four Freedoms speech, King’s “Letter from Birmingham Jail”), including how they address related themes and concepts.

ELA Core Standards W 9-‐10.1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

a. Introduce precise claim(s), distinguish the claims from alternate or opposing claims and create an organization that establishes clear relationships among claims, counterclaims, reasons, and evidence.

WRITING

b. Develop claims and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience's knowledge level and concerns. c. Use words, phrases, and clauses to link the major sections of the text, create cohesion, and clarify the relationships between claims and reasons between reasons and evidence and between claims and counterclaims.

Student Learning Targets • • • • • • • • • • •

• •

e. Provide a concluding statement or section that follows from and supports the argument presented. W.9-‐10.6: Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display information flexibly and dynamically.

•

ELA Core Standards

S & L

d. Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.

SL.9-‐10.3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.

ELA Core Standards

LANGUAGE

L.9-‐10.1: Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. a. Use parallel structure.

• •

• •

I can write arguments to support claims in an analysis of substantive topics or texts. I can use valid reasoning to support claims. I can use relevant and sufficient evidence to support claims. I can introduce precise claims. I can distinguish my claim from alternate or opposing claims. I can create an organization that establishes clear relationships among claims, counterclaims, reasons, and evidence. I can develop claims and counterclaims fairly. I can supply evidence for claims and counterclaims while pointing out the strengths and limitations of both. I can anticipate audience knowledge level and concerns. I can use words, phrases, and clauses to link major sections of text. I can use words, phrases, and clauses to create cohesion and clarify the relationships between claims and reasons, reasons and evidence, claims and counterclaims. I can establish and maintain a formal style and objective tone. I can attend to the norms and conventions of the discipline in which I am writing. I can provide a concluding statement or section that follows form and supports the argument presented. I can use technology including the Internet to produce, publish, and update individual writing. I can use technology including the Internet to produce, publish, and update shared writing products.

Student Learning Targets I can evaluate a speaker's position on an issue. I can evaluate whether or not a speaker's reasoning, evidence, and language is exaggerated or false.


I can use language correctly when writing or speaking.

•

I can define parallel structure and use it correctly.

b. Use various types of phrases (noun, verb, adjectival, adverbial, participial, • prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or presentations.

I can use various types of phrases and clauses to write or present ideas in an interesting way.


Unit 2 Text Resources Literary

Informational

Memoirs

Speeches

One Writer's Beginnings (Eudora Welty) (1200L)

“Second Inaugural Address” (E) and/or “The Gettysburg Address” (Abraham Lincoln) (E) “Address at the March on Washington” and/or “Letter from a Birmingham Jail” (Martin Luther King, Jr.) (E)(1080L) Nobel Prize in Literature Acceptance Speech 1949 (William Faulkner) (EA) “Sinews of Peace Address” (Winston Churchill)(1290L) and/or “Brandenburg Gate Address” (Ronald Reagan)(1010L)* Essays

A Childhood: The Biography of a Place (Harry E. Crews) Running in the Family (Michael Ondaatje) “A Four Hundred Year Old Woman” (Bharati Mukherjee) //In Search of Our Mothers’ Gardens// (Alice Walker) (EA)(L1160)* The Woman Warrior: Memoirs of a Girlhood Among Ghosts (Maxine Hong Kingston) “Learning to Read and Write” (Frederick Douglass) (EA) Notes of a Native Son (James Baldwin) “A Sketch of the Past” (Virginia Woolf) NIght (Elie Wiesel) Three Cups of Tea (Greg Mortenson)(1220L, 910L* Young readers edition) Geronimo, The Story of My Life (Geronimo) Essay Excerpts from //Life on the Mississippi// (Mark Twain) (EA) “Shooting an Elephant” (George Orwell) The Souls of Black Folk (1280L) (W.E.B. Dubois): “Of the Meaning of Progress”

“Politics and the English Language” (George Orwell) (E)(1440L) “The Lost Childhood” (Graham Greene) Excerpts from The 100 Most Influential Books Ever Written: The History of Thought from Ancient Times to Today (Martin Seymour-‐Smith) “Lear, Tolstoy, and The Fool” (George Orwell)(1380L) “Avant-‐Garde and Kitsch” (Clement Greenberg)(1370) “Preface to Lyrical Ballads” (William Wordsworth)(1320)



Ninth Grade Unit 2 Glossary of Key Terms Key Term

Definition

Argument (-‐ation)

A type of discourse in speech or writing that debates or simply develops a topic in a logical way.

Autobiography Chronological Order

An account of a person’s life written by that person. The order of events according to their occurrence in time

Claim Classification Division

States your position on the issue you have chosen to write about Classification is the act of sorting individual items into categories; Division is the process of breaking a whole into parts.

Compare-‐and-‐Contrast Essay

To examine and appraise characteristics or qualities in order to discover similarities. To examine and appraise characteristics or qualities in order to discover differences

Ethos, Pathos, Logos

In Aristotle’s Rhetoric, a speaker appeals to any of these three in order to persuade the audience: emotion (pathos), logic and language (logos), credibility or authority (ethos). Each of these terms has broader meanings in other contexts.

Exemplification

An illustration or example; the act of illustrating an idea through example

Extended Metaphor

A metaphor that is extended through a stanza or entire poem, often by multiple comparisons of unlike objects or ideas. (See also Metaphor.)

Memoir

A narrative account of one’s personal experiences and observations, sometimes focused on a singular event or memory; autobiography.

Objective/Factual Essay

An essay using facts and evidence outside of personal experience or opinion

Personal/Autobiographical Essay

An essay structure using personal experiences and detail.

Repetition

The repeated use of sounds, particular syllables, words, phrases, stanzas, metrical patterns, ideas, allusions, and shapes in nearly all poetry and many works of prose. Refrain, assonance, rhyme, internal rhyme, alliteration, and onomatopoeia appear frequently in pieces of writing that use a repetitive form.

Satire

A literary art of diminishing a subject by making it ridiculous and evoking attitudes of amusement, contempt, indignation or scorn. It differs from comedy in that comedy evokes laughter as an end in itself. Satire uses laughter as a weapon against a subject existing outside the work itself; for example, social satire mocks existing social mores and conventions in order to draw attention to their limitations or hypocrisy.

Warrant

Interprets the data and shows how it supports your claim. In other words, the warrant explains why and how the data proves the claim.




Ninth Grade Unit 3 Theme: Patterns In this unit students will examine the patterns as they determine meaning of words, establish how details shape main ideas and synthesize multiple sources in their writing. Essential Question Supporting Questions Key Terms Writing Science Social Studies Focus Connections Connections How do patterns

Alliteration; Analogy; Assonance; Ballad; Blank Verse; Consonance; Couplet; Diction; Dramatic Poetry; Figurative Language (Metaphor, Simile, Personification, Onomatopoeia, Anthropomorphism); Free Verse; Haiku; Imagery; Lyric Poetry; Meter; Narrative Poetry; Octet; Ode; Rhyme; Rhyme Scheme; Rhythm

help us make sense of our world?

Informative/ Explanatory

What are the scientific patterns found in vortices, motion of objects, and beauty in nature?

What are the patterns of human settlement? Why do people settle where they do?

READING

ELA Core Standards


RL.9-‐10.4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of several word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

• • •

RI.9-‐10.2: Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. RI.9-‐10.4. Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language of a court opinion differs from that of a newspaper).

• • • • •

RI.9-‐10.5. Analyze in detail how an author’s ideas or claims are developed

and refined by particular sentences, paragraphs, or larger portions of a text (e.g., a section or chapter).

• •

• • • • •

I can identify several types of figurative language in a text. I can identify connotative meanings of certain words in a text. I can identify how multiple words and phrases influence the meaning of a text. I can identify how multiple words and phrases influence the tone of a text. I can identify and show support for the author's tone through multiple words and phrases in the text. I can find a central idea in a text. I can explain how specific details develop the central idea. I can explain how specific details reveal and define the central idea. I can summarize a text. I can determine the meaning of words and phrases as they are used in text. I can determine figurative, connotative, and technical meanings. I can analyze the cumulative impact of specific word choices on meaning and tone. I can analyze how word choice changes depending on purpose. I can analyze in detail how an author's ideas or claims are developed by particular sentences. I can analyze in detail how an author's claims are developed and refined by paragraphs or larger portions of text.


WRITING

ELA Core Standards


W.9-‐10.2: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

•

a) Introduce a topic; organize complex ideas, concepts, and information to make important connections and distinctions; include formatting, graphics, and multimedia when useful to aiding comprehension.

• • • •

b) Develop the topic with well-‐chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience's knowledge of the topic. c) Use appropriate and varied transitions to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts. d) Use precise language and domain-‐specific vocabulary to manage the complexity of the topic.

• •

e) Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are

•

W.9-‐10.8: Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the usefulness of each source in answering the research question; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and following a standard format for citation.

•

•

•

•

•

• • •

S & L

LANGUAGE

ELA Core Standards SL.9-‐10.5: Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

I can write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately. I can effectively select organize and analyze content. I can introduce a topic. I can organize complex ideas, concepts, and information. I can make important connections and distinctions I can use formatting, graphics, and multimedia when useful to aid in comprehension. I can develop the topic with well-‐chosen, relevant, and sufficient facts I can use extended definitions, concrete details, quotations, or other information and examples appropriate to the audience's knowledge of the topic. I can use appropriate and varied transitions to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts. I can use precise language and domain-‐specific vocabulary to manage the complexity of the topic. I can establish and maintain a formal style and objective tone. I can attend to the norms and conventions of the discipline in which I am writing. I can conduct an advanced search to gather relevant information from reliable print and digital sources. I can determine if a source is useful for answering a particular research question. I can include information from sources that supports my ideas without plagiarizing others' words and ideas. I can correctly cite my sources in the text or at the end of my paper.


ELA Core Standards

I can give a presentation where I purposely use digital media to support the understanding of my research.


L.9-‐10.3: Apply knowledge of language to understand how language functions • in different contexts, to make effective choices for meaning or style, and to • comprehend more fully when reading or listening. •

I can identify how language works in different situations. I can identify ways that language choices influence meaning or style. I can identify ways that language choices help me understand what I read and hear.

a. Write and edit work so that it conforms to the guidelines in a style manual (e.g., MLA Handbook, Turabian’s Manual for Writers) appropriate for the discipline and writing type.

I can follow the guidelines of a specific style manual.

•


Unit 3 Text Resources Literary Poetry “A Lemon” (Pablo Neruda) (EA) "Bogland," "Digging," and/or "The Underground" (Seamus Heaney) “Campo di Fiori” (Czesław Miłosz) “Dream Variations” (Langston Hughes) (EA) “Elegy Written in A Country Churchyard” (Thomas Gray) Haiku selections “Homecoming” (Julia Alvarez) (EA) “I Ask My Mother to Sing” (Li-‐Young Lee) “I Wandered Lonely as a Cloud” (William Wordsworth) “Lord Randall” (Anonymous) “Love Is” (Nikki Giovanni) (EA) “Mending Wall” (Robert Frost) (E) “Morning Glory” (Naomi Shihab Nye) “Ode on a Grecian Urn” (John Keats) (E) “Ozymandias” (Percy Bysshe Shelley) (E) “Phantom Limbs” (Anne Michaels) “Poetry” (Marianne Moore) Psalm 96 (King James Bible) “Saturday’s Child” (Countee Cullen) (EA) “Sonnet 73” (William Shakespeare) (E) “The Darkling Thrush” (Thomas Hardy) “The Lady of Shalott” (Alfred, Lord Tennyson) “The Raven” (Edgar Allan Poe) (E) “The Reader,”“In Trackless Woods” (Richard Wilbur) “The Sound of the Sea” (Henry Wadsworth Longfellow) (EA) “Walking Distance” (Debra Allbery) “We Grow Accustomed to the Dark” (Emily Dickinson) (E)

Informational “Crediting Poetry,” the Nobel Prize Lecture, 1995 (Seamus Heaney) (excerpts) Faulkner in the University: Class Conferences at the University of Virginia 1957-‐1958 (William Faulkner, Frederick L. Gwynn, ed.) (excerpts)



Ninth Grade Unit 3 Glossary of Key Terms Key Term Alliteration Analogy

Definition The repetition of speech sounds, usually applied only to consonants, and only when the recurrent sound occurs in a conspicuous position at the beginning of a word or of a stressed syllable within a word. A resemblance in some particulars between things otherwise unlike; inference that if two or more things are alike in some respects, they will probably agree in others; a comparison based on such resemblance.

Anthropomorphism The process of attributing human characteristics to something non-‐human, in particular the gods or God. The term also refers to animals that are given human personalities. Assonance Ballad Blank Verse Consonance

The repetition in words of identical or similar vowel sounds followed by different consonant sounds. A narrative poem, frequently of unknown authorship, composed of short verses intended to be sung or recited. A type of poetry with regular meter (in English, usually iambic pentameter) and no rhyme. The repetition of a final consonant sound in words with different vowels.

Couplet

Two lines of rhyming iambic pentameter.

Diction

In writing, the careful choice of words based on their correctness, clarity, or effectiveness.

Dramatic Poetry

A poem in which there is one imaginary speaker addressing an imaginary audience; often found in the work of Tennyson and Browning.

Figurative Language

Language that deviates from a standard significance or sequence of words in order to achieve a special meaning or effect (e.g., similes and metaphors).

Free Verse

Verse that has neither regular rhyme nor regular meter.

Haiku

A poem of 17 syllables arranged in three lines. The first and third lines contain five syllables; the second line seven (5 7 5). The haiku is the shortest form of Japanese poetry. It frequently expresses delicate emotion or presents an image of a natural object or scene.

Imagery

The use of language to create sensory impressions; the “mental pictures” experienced by readers while listening to or reading a story or poem.

Lyric Poetry

Any non-‐narrative poem presenting a single speaker who expresses a state of mind or a process of thought and feeling.


Metaphor

A figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness between them; a figure of speech in which a comparison is implied by analogy, but is not stated directly.

Meter

The rhythmic pattern in verse, made up of stressed and unstressed syllables; a specific form of such a pattern, depending on the number and kind of feet (also called measures); for instance, iambic pentameter.

Narrative Poetry

A poem that tells a story. A narrative poem can come in many forms and styles, complex and simple, short or long, as long as it tells a story. A few examples of a narrative poem are epics, ballads, and metrical romances. The art of narrative poetry is difficult in that it requires the author to possess the skills of a fiction writer—the ability to draw characters and settings, to engage attention and to shape a plot—while calling for possessing all the skills of a poet as well.

Octet

A grouping of eight; in a sonnet, the first eight lines.

Ode

A long lyric poem, serious in subject, elevated in style, and elaborate in its stanzaic structure.

Onomatopoeia

The term used to describe words whose pronunciations suggest their meaning (e.g., meow, buzz).

Personification

A figure of speech that endows things or abstractions with life or human characteristics.

Rhyme

Identical or very similar recurring sounds in words within or—more often—at the ends of lines of verse.

Rhyme Scheme

The abstract pattern of end-‐rhymes in a stanza, usually notated with lower-‐case letters: the first line and all subsequent lines that rhyme with it are ‘a,’ the first line not to rhyme with ‘a’ (and all subsequent lines that rhyme with it) are ‘b,’ and so on.

Rhythm

The pattern of stressed and unstressed syllables in a line of poetry or prose. Poets use rhythm to bring out the musical quality of language, to emphasize ideas, to create mood, to unify a work, or to heighten emotional response. Rhythm differs from meter in that the latter is a fixed form, while the former comes from the words and phrases themselves as they occur in the work. See also Meter.

Simile

A figure of speech or other direct comparison of two things that are dissimilar, using the words like or as (or other words of comparison).




Ninth Grade Unit 3 Common Formative Assessment Patterns Prompt: After reading Frost’s Stopping by Woods on a Snowy Evening and Photographing Snowflakes write an essay that explains how patterns are essential to understanding nature and literature. Text #1 Title: Stopping By Woods On A Snowy Evening Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake. The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. Frost, Robert. “Stopping By Woods On A Snowy Evening.” New Hampshire. 1923.


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Article #2

Photographing Snowflakes

Every snowflake has an infinite beauty which is enhanced by knowledge that the investigator will, in all probability, never find another exactly like it. Consequently, photographing these transient forms of Nature gives to the worker something of the spirit of a discoverer. Besides combining her greatest skill and artistry in the production of snowflakes, Nature generously fashions the most beautiful specimens on a very thin plane so that they are specially adapted for photomicrographical study. The photographing of snowflakes, although quite delicate work, can hardly be called difficult, although some hardships attend it, because the work must all be done in a temperature below freezing, and under conditions of much physical exposure. The temperature at which photography is possible depends somewhat upon the thickness of the crystals; this varies greatly from time to time, and depends upon whether the temperature is rising from an intense degree of cold or falling from a point above freezing. If rising after a cold snap, photographing can often be continued until actual thawing commences. Of course, location is everything in this work, and no one except those living in arctic climates or in regions having long and severe winters, can accomplish much. Generally speaking, the western quadrants of widespread storms or blizzards furnish the most beautiful and perfect forms. At such times the wind is usually westerly or northerly, with the barometer standing at 29.6 to 29.9 in. and slowing rising. The percentage of perfect crystals is likely to be larger when the snowfall is not too thick and heavy, with the crystals medium to small in size rather than large. The character of the snowfall often undergoes quite abrupt changes as a storm progresses. The apparatus required for snowflake photography consists of a compound microscope, fitted with a joint that permits the instrument to be turned down horizontally, at right angles to its base, so that it can be coupled to a camera bellows by means of a light-‐tight connection. The microscope objectives are used alone, without the eyepiece. It is best to have several different objectives; 1/2, 3/4, and 3-‐in. combinations, which give magnifications of from 8 to 60 diameters (64 to 3,600 times), will serve well. Ordinary daylight, coming through a window, is used for illuminating the crystal after it has been placed on a microscope slide, a tiny beam of light entering through the small aperture in the substage of the instrument. The apparatus is placed indoors, near by and facing a window. The room, the apparatus, and its accessories should always be away from any source of artificial heat, and at a temperature approximately that of the outside air. The necessary accessories are an observation microscope, a pair of thick mittens, microscope slides, a sharp-‐ pointed wooden splint, a feather, and a turkey wing or similar duster; also, an extra focusing back for the camera, containing clear glass instead of the usual ground glass, with a magnifying lens attached; this is used for final focusing. A blackboard, about 1 ft. square, with stiff wire or metal handles at the ends, so that the hands will not touch and warm it, is used to collect the Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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specimens. As it is necessary to cover the end of the microscope objective with a strip of black card, that takes the place of the usual camera shutter which controls the duration of exposure, it is necessary to fit two vertical rods at each side of the microscope tube to hold the card. The snowflakes are caught on the blackboard as they fall, and examined by the naked eye or with the assistance of a hand magnifying glass. The feather duster is used to brush the board clean every few seconds, until two or more promising specimens alight upon it, when it is immediately removed indoors. From this point onward the photographer must work fast. The promising specimens are placed for a moment's observation under the observation microscope. The removal of the snowflake from the board to the microscope slide is accomplished with the sharp-‐pointed splint, which is pressed gently against the face of the crystal until the latter adheres to it, so that it can be picked up and placed on the glass slide. Usually several crystals are placed together on a single slide, a momentary glance being given to each, and care taken while doing this not to breathe on the crystals. The utmost haste must be used, for a snow crystal is often exceedingly tiny, and frequently not thicker than heavy paper. Furthermore, once these bits of pure beauty are isolated, evaporation (not melting) soon wears them away, so that, even in zero weather, they last but a very few minutes. When a desirable specimen is obtained, it is pressed flat against the glass with the edge of the feather and the slide inserted in the stage of the microscope on the camera stand, centered, roughly focused with the camera ground glass, then sharply focused with the clear-‐glass screen and magnifier, focusing on some tiny air tube near the center of the crystal. The plate holder is then inserted into the camera, the objective covered with the black card and the slide removed from the plate holder. The objective is then uncovered, and when the exposure, which may vary from 8 seconds to 100 or more, is deemed sufficient, the operation is reversed. Naturally enough, no rule for the length of exposure can be given, except that the greater the magnification, the longer the exposure should be. The frail, feathery flakes are the most difficult to photograph, and it is always best to place five or six other crystals around the specimen, as this greatly retards the evaporation of the central one. When working from the rear of the camera, and the bellows extension is such as to make it impossible to reach the focusing screw on the microscope, an arrangement similar to that shown in the page illustration can be used. This consists of a cord that runs over a wheel on each side of the camera and around the focusing screw. No lens is required in the camera, the microscope furnishing the optical equipment for projecting the images onto the sensitized plates. Having recorded the fleeting substance of the snowflakes on the photographic negative and brought out the image by development, the photographer discovers that the body of the snow crystal is so transparent, that it does not contrast enough with its background to make a print in which the form will stand out in relief. There is no purely photographic method for producing the white images against a dark background, and yet it is necessary to do so if the images are to be appreciated by most people, whose ideal of snow is that of immaculate whiteness. The only effective method of accomplishing this result is what is known among photographers as "blocking out." Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

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The negative is supported on an ordinary retoucher's desk, which may be merely a piece of glass, arranged to hold the negative so that the image is illuminated by transmitted light. Then, with an etching knife or other fine, sharp-‐pointed tool, the operator proceeds to scrape away the emulsion around the outline of the crystal to leave it standing alone against a background of clear glass. This requires considerable patience, and often considerable time as well. In order to avoid irreparably spoiling the original negative, it is best not to alter it in any way, but to make a copy negative on which the actual blocking out is done. After the negative has been thus prepared, prints or lantern slides are made in the usual manner. Blocking out the negatives is done indoors, instead of outdoors as shown by the photograph, which was thus taken to get sufficient light to allow the exposure to be made. (The website issue of the Popular Mechanics Magazine article does not include the images presented in the original.)

Bentley, Wilson. “Photographing Snowflakes” Popular Mechanics Magazine, Vol. 37, pp 309-‐ 312. 1922.

Pre-‐writing Activity (Graphic Organizer):

Students will complete the Synthesizing Information graphic organizer below.


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Name:_____________________________

My Inferences or Conclusions

è

è

è

è

è


Synthesizing Information Topic: Patterns in Nature & Literature Evidence from Stopping by Woods

Evidence from Photographing Snowflakes


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Evidence from class discussion and my personal experiences


Synthesis: Compose a paragraph combining the evidence with your inferences.


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Ninth Grade Unit 4 Theme: Honor In this unit students will examine the nature of honor as it applies to multiple characters and complex plots. Supporting Questions Key Terms Writing Science Focus Connections

Essential Question What is the nature of honor?

• • • • •

Is honor tied to action? What role does honor have in the human condition? What is the relationship between honor, values, and ethics? What place does honor have in society? Is honor inherent or bestowed?

Antagonist; Informative/ Characterization; Explanatory Characters (Major and Minor); Conflict; Extended Metaphor; Motif; Plots (Aristotelian /Non-‐Linear, Parallel, Sub); Protagonist; Setting; Theme

ELA Core Standards

READING

RL 9-‐10.2: Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. RL 9-‐10.3: Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

What role does honor play in the governance of people? Do different forms of governance encourage or discourage honorable behavior in people?

Student Learning Targets • • •

I can identify the theme(s) or central idea(s) of a text. I can explain how a theme is developed by specific details. I can summarize a text.

• •

I can explain how characters can have multiple or conflicting motivations. I can identify how characters change or develop over the course of a story. I can analyze the interactions of characters. I can explain how characters advance the plot or develop the theme. I can explain how an author outlines an analysis in a text. I can explain how an author outlines a series of ideas or events in a text. I can determine the order in which the author's points are made in a text. I can determine how the author's points are introduced and developed in a text. I can determine how the author's key points in a text are connected. I can break down an author's argument into claims, evidence, and reasoning. I can assess whether the reasoning is valid. I can assess whether the evidence is relevant and sufficient. I can identify false statements and fallacious reasoning.

• • RI 9-‐10.3: Analyze how the author unfolds an analysis or series of ideas or • • events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them. • • RI.9-‐10.8. Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning.

What are the ethical concerns and issues found in science? How do we determine the validity of scientific discoveries, and how they influence the world?

Social Studies Connections

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WRITING

ELA Core Standards W 9-‐10.2: Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. a. Introduce a topic; organize complex ideas, concepts, and information to make important connections and distinctions; include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension. b. Develop the topic with well-‐chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic. c. Use appropriate and varied transitions to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts. d. Use precise language and domain-‐specific vocabulary to manage the complexity of the topic. e. Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing. f. Provide a concluding statement or section that follows from and supports the information or explanation presented (e.g., articulating implications or the significance of the topic). W.9-‐10.7. 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.

Student Learning Targets • • • •

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S&L

ELA Core Standards SL.9-‐10.2: Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally), evaluating the credibility and accuracy of each source.

LANGUAGE

L 9-‐10.4: Determine or clarify the meaning of unknown and multiple-‐ meaning words and phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word

I can develop my paper using enough facts, well-‐explained definitions and details, quotations, and examples that are appropriate to my audience’s knowledge. I can use a variety of appropriate transitions to link major ideas of my paper and show connections between ideas and concepts. I can use appropriate vocabulary and language that is specific to my topic to manage the difficulty of the subject. I can write a formal paper with an objective tone that uses the correct conventions for my subject area. I can write a conclusion that shows the importance of the information presented in my paper. I can conduct short research projects to answer a question or solve a problem. I can conduct more sustained research projects to answer a question or solve a problem. I can narrow or broaden the inquiry when appropriate. I can synthesize multiple sources on my subject. I can demonstrate understanding of the subject I investigate.


ELA Core Standards L.9-‐10.2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

I can write a paper that conveys complex ideas and information. I can organize my information by choosing and studying my content carefully. I can organize complex ideas using a clear introduction. I can use concepts and information to make important connections and distinctions in my paper.

I can examine sources of information presented visually, orally, or in numbers and evaluate the credibility and accuracy of each source.

Student Learning Targets • • • •

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I can demonstrate a command of the conventions of Standard English capitalization when I write. I can demonstrate a command of the conventions of Standard English punctuation when I write. I can demonstrate a command of spelling when I write. I can use a variety of strategies to determine what a word or phrase means. I can determine the meaning of a word through context clues or by the


or phrase.

way it is used in a sentence or text.

b. Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., analyze, analysis, analytical; advocate, advocacy).

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c. Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, or its etymology. d. Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).

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I can use reference materials to find the pronunciation, the meaning, and the origin of unfamiliar words.

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I can guess at the meaning of a word and then double check to see if I am right by using a dictionary.

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I can identify how altering parts of words can change their meanings and functions. I can correctly use alternate word endings to change the meanings of similar words.

Unit 4 Text Resources Literary All Quiet on the Western Front, Erich Maria Remarque (830L)* Black Boy (Richard Wright) (950L)* Of Mice and Men (John Steinbeck) (630L)* The Color Purple (Alice Walker) (670L)* The Killer Angels (Michael Shaara) (610 L)* Animal Farm (George Orwell) (1370 L) Three Cups of Tea (Greg Mortensen) (910 L)* Fahrenheit 451 (Ray Bradbury) (890 L)* CAUTION -‐ * Indicates that the Lexile level of the text is below the recommended Lexile range for that grade level.

Informational • Brother, Can You Spare a Dime? The Great Depression of 1929 -‐ 1933 (Milton Melzer) • Only Yesterday (Frederick Lewis Allen) (excerpts, e.g., chapters XII-‐XIV) • “In Search of Our Mothers’ Gardens” (Alice Walker) (EA) (to accompany The Color Purple (1160 L) First Inaugural Speech, March 4, 1933 (Franklin D. Roosevelt) (1050 L)* • In Killer Angels, What did Armistead Hope to do While at Gettysburg? www.enotes.com >...> Killer Angels Questions • How Government Affects Us All (970) http://archives.midweek.com/content/columns/ace_article/how_gover nment_affects_us_all/ • CIA Government Types (2020 L) https://www.cia.gov/library/publications/the-‐world-‐ factbook/fields/2128.html • Japan’s Code of Honor (1330 L) http://www.buddhistchannel.tv/index.php?id=8,10004,0,0,1,0 • Excerpt from What is Honor: A Question of Moral Imperatives, Alexander Welsh (1330L) • “What is an Honor Student?” Erica Ryan (1340L) • “What is Honor?”, Somik Rhama (830L) Media • Exploring Honor As A Theme In Literature


Ninth Grade Unit 4 Glossary of Key Terms Definition

Key Term Antagonist Characterization

Character

A character in a story or poem who deceives, frustrates, or works again the main character, or protagonist, in some way. The antagonist need not be a person; it could be death, the devil, an illness, or any challenge that prevents the main character from attaining his or her goals. The representation of individuals in literary works. This may include direct methods like the attribution of qualities in description or commentary, and indirect methods inviting readers to infer qualities from characters’ actions, speech, or appearance. A flat character is one that remains undeveloped. A round character is one that is fully developed. A character who does not undergo change is referred to as static. A character that undergoes some transformation is called dynamic. A person represented in a story.

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Conflict

Extended Metaphor Motif

Major character: A character who plays a major role in a story but is not the protagonist.

Minor character: A character who appears in a story but does not play a major role. The opposition of persons or forces that gives rise to the dramatic action in drama or fiction. In addition to the conflict between individuals, there may be the conflict of a protagonist against fate, or against the circumstances that stand between him and goals he has set for himself. In some cases, the conflict may be between opposing desires or values within a character’s mind. A metaphor that is extended through a stanza or entire poem, often by multiple comparisons of unlike objects or ideas. (See also Metaphor.) A recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements, such as good and evil, in a work.

Plots

The structure of the actions in a dramatic or narrative work, ordered and rendered toward achieving particular emotional and artistic effects. The most basic elements in a plot line are: (a) exposition, (b) rising action, (c) climax, crisis, or turning point, (d) falling action, and (e) resolution or denouement.

Protagonist

A protagonist (also known as the “hero” or “heroine”) is the main character or lead figure in a novel, play, story, or poem.

Setting

The time and place in which a narrative takes place; the physical and psychological background against which the action of a story takes place; the scenery and stage effects for a dramatic production. ● Environment: The surrounding things, conditions, and influences in the narrative. ● Place: The physical location of the narrative. ● Time: The period or era in which the narrative takes place.

Theme

A topic of discussion or writing; a major idea or proposition broad enough to cover the entire scope of a literary or other work of art. A theme may be stated or implied, but clues about the theme may be found in the ideas that are given special prominence or tend to recur in a work.




Ninth Grade Unit 5 Theme: Heroism In this unit students will explore heroism through world literature, compare and contrast different mediums, and draw evidence from text to support their conclusions. Writing Science Social Studies Essential Question Supporting Questions Key Terms Focus Connections Connections What makes a hero? • What is heroism? Allusion; Archetype; Narrative Do heroes have similar Chronological O rder; characteristics from • What are the stages of the hero’s journey? Epic P oetry; E pithet; different world • What makes something epic? Hero; Hero’s Journey; cultures? • Are epic heroes brave, smart, or lucky? Iambic P entameter; • What is fate? Invocation; Oral Tradition ELA Core Standards Student Learning Targets RL.9-‐10.2: Determine a theme or central idea of a text and analyze in detail • I can identify the theme(s) or central idea(s) of a text.

READING

its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. RL 9-‐10.3: Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

RL.9-‐10.6. Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

RI.9-‐10.7: Analyze various accounts of a subject in different mediums (e.g., a person’s life story told in both print and multimedia), determining which details are emphasized in each account.

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I can explain how a theme is developed by specific details. I can summarize a text.

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I can explain how characters can have multiple or conflicting motivations. I can identify how characters change or develop over the course of a story. I can analyze the interactions of characters. I can explain how characters advance the plot or develop the theme. I can analyze a point of view reflected in a work of literature from outside the United States I can analyze a cultural experience reflected in a work of literature from outside the United States. I can draw on a wide reading of world literature. I can read a variety of texts such as books, movies, and electronic sources on one subject and identify how they are similar and how they are different. I can determine important details in several accounts on the same subject.

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ELA Core Standards

WRITING

W 9-‐10.3: Write narratives to develop real or imagined experiences or events using effective technique, well-‐chosen details, and well-‐structured event sequences. a. Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events. 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. 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. W.9-‐10.4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-‐specific expectations for writing types are defined in standards 1–3 above.) W 9-‐10.9: Draw evidence from literary or informational texts to support analysis, reflection, and research. a. Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]”). b. Apply grades 9–10 Reading standards to literary nonfiction (e.g., “Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning”).

ELA Core Standards SL.9-‐10.3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.

ELA Core Standards

LANGUAGE

S&L

L.9-‐10.1: Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. a. Use parallel structure.


I can write a well-‐structured, detailed narrative about real or imagined events or experiences.

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I can hook the reader by introducing a problem, situation, or observation. I can hook the reader by setting up one or more points of view and introducing a narrator and/or characters. I can write events and experiences that progress smoothly and logically. I can write narrative using techniques such as dialogue, timing, description, reflection, and more than one plot line. I can arrange the events in my story in various ways and still be clear.

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I can use precise words, details, and sensory language to create a mental picture in my narrative. I can conclude my story by reflecting on what is experienced, observed, or resolved. I can produce clear and logical writing. I can ensure the development, organization, and style of my writing is appropriate to the writing task, the purpose, and my audience.

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I can read literary or informational texts to find specific facts, examples, or details that support my own ideas. I can apply ninth grade reading standards to literature.

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I can apply ninth grade reading standards to literary nonfiction.

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Student Learning Targets I can evaluate a speaker's position on an issue. I can evaluate whether or not a speaker's reasoning, evidence, and language is exaggerated or false.


I can use language correctly when writing or speaking.

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I can define parallel structure and use it correctly.

b. Use various types of phrases (noun, verb, adjectival, adverbial, participial, • prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or presentations.

I can use various types of phrases and clauses to write or present ideas in an interesting way.


Unit 5 Text Resources Literary Stories Mythology, Edith Hamilton (1040L)* Heros, Gods, and Monsters of the Greek Myths, Bernard Evslin (800L) Poems The Odyssey, Homer* The Aeneid, Virgil (*No Lexile Available) “The Lotos-‐Eaters,” Alfred, Lord Tennyson (*No Lexile Available) Excerpts from “Endymion,” John Keats (*No Lexile Available) “The Song of Hiawatha,” Henry Wadsworth Longfellow (*No Lexile Available) Excerpts from the Ramayana, attributed to the Hindu sage Valmiki, (*No Lexile Available) CAUTION -‐ * Indicates that the Lexile level of the text is below the recommended Lexile range for that grade level. +More than ½ non-‐standard prose. (Lexile is based on prose analysis; therefore non-‐prose does not receive a Lexile measure).

Informational Excerpts from The Gold of Troy (Robert Payne) Excerpts from Odysseus in America: Combat Trauma and the Trials of Homecoming (Jonathan Shay) (1030L)* Excerpts from Goodbye, Darkness: A Memoir of the Pacific War, William Manchester (L) Soldier’s Heart: Reading Literature Through Peace and War at West Point, Elizabeth D. Samet (1400L) Operation Homecoming: Iraq, Afghanistan, and the Home Front in the Words of U.S. Troops and Their Families, Andrew Carroll, ed. (1070L)* The Hero with a Thousand Faces, Joseph Campbell (1330L) “Soldier Returns Home to Hero’s Welcome,” Ed Richter, Dayton Dailey News (1250L) “Dog Hero in Ghana Rescues Newborn Baby,” Stephanie Hanes, The Christian Science Monitor (1240L) The Philisophical Foundation of Heriosm, Dr. Andrew Bernstein (1370L) “What Really is a Hero Anyway?” Mike Dilbeck, Responsibility Project (930L)* Media Resources: Heroism: Stories and Biographies The Voyage of the Odyssey (film) PBS The Voyage of the Odyssey (website) The Clash of the Gods: Odysseus Curse of the Sea (film) History Channel The Clash of the Gods: Odysseus II Warrior’s Revenge (film) History Channel




Ninth Grade Unit 5 Common Formative Assessment What is a hero? Prompt: What is a hero? Explore this idea by writing a narrative with a real or imagined hero who is brave, strong, smart and/or lucky. Incorporate ideas from the folk tale and heroic characteristics from ”What Really is a Hero, Anyway?” to guide your writing.

Article #1 Title: The Instructor. A folk tale.

A young man wanted to learn the art of sword fighting. He went to the greatest instructor in the land and said, "Please give me admission and teach me sword fighting."

The instructor gladly accepted him a student and said, "Young man you can stay with me and learn this art."

In the days that followed the instructor gave him many odd chores to perform. The chores were sweeping the floors, cutting vegetables, cooking and the like. But there was no mention of the sword or the art of fighting with it.

The young man got desperate, approached the instructor and said, "Great teacher kindly begin my lessons." The instructor agreed.

The next day when the young man was cooking, the instructor came from behind and hit him with a wooden sword and vanished. The young man was taken by surprise. The next day too the same thing happened. The young man now started preparing himself mentally to counter any such surprise attack.

Next time when the instructor came to attack him, the young man was able to dodge the blow of the sword. He was very happy with his performance. He asked the instructor, "Now have I learnt the art of defending myself?" The instructor did not respond to his question and walked away.

Such surprise attacks became common and the young man got more and more skillful in countering the attacks well.

One day the young man saw the instructor engaged seriously in a task and a sudden desire Canyons School District English Language Arts (ELA) maps are created by CSD ELA teachers and published by the CSD Office of Evidence-Based Learning

56

crept into his head. He thought, "Now let me catch the instructor unawares and attack him."

He took the wooden sword and attacked the instructor without a sound from behind.

But lo! The instructor was fully prepared for it. He took a shield lying near, turned around and defended himself most skillfully.

Realization struck the young man that moment. He thought, "How great is this instructor. Today I have learnt the real secret of sword fighting. He has taught me that swinging the sword and learning the opponent's moves are not the essentials of sword fighting. What is important is to read what goes on in the opponent's mind and to counter his movement and his thoughts too."

The young man continued to take instructions in all humbleness and with newer insights trained well to become a great sword fighter of his country.

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