Powerful Words, Powerful Images
Meredith Buchbinder
Spring 2013
CIEP 475 Workshop-Teaching with Primary Sources Course
Unit Introduction Page
Essential Questions:
When do I choose to take action? How do others influence me? How can I think critically about
the messages around me?
Background:
In this unit, students will be studying how people see situations differently and choose
to take action, or not to take action, based on what they know and based on emotional reactions.
By studying propaganda, students will understand that there is power in words and images and
that bias is an important factor in history.
Students will be at the end of a unit in Humanities on World War II and the Holocaust.
They will have studied the timeline of events leading up to the war and during the war. Students
will be familiar with the dictators in the Axis Nations as well as the leaders of the Allied Nations.
Students will have studied vocabulary related to World War II and the Holocaust such as:
persecution, genocide, propaganda, anti-Semitism, democracy, fascism, communism, civilian,
ghetto, Gestapo, Aryan race, and Third Reich. We will have covered details about the causes and
events of the Holocaust, concentration camps, work camps in both Reading and Humanities.
Students will have read one of the following books on the Holocaust: Maus by Art Spiegelman,
Night by Elie Wiesel, or The Book Thief by Markus Zusak. Right before the unit we will take the
students to the Illinois Holocaust Museum & Education Center where they will listen to a
survivor talk about his or her experiences.
During the unit students will be learning how to think and write critically about the role
propaganda posters played during World War II in the United States and abroad. They will
analyze posters in-depth and reflect on the impact propaganda had on history. The final project
for the unit will be a writing assignment in which they need to write a speech explaining how
propaganda changed history. They will choose a role of someone who lived during World War II
(a member of the Nazi party, an American or German who made propaganda poster for the war,
a member of the Nazi Youth, or someone who lived through the concentration camps. The goal
will be to convince a group of students that there is power in words and images that can change
history. They will create a poster to promote their speech as well.
This mini-unit will be at the beginning of this larger unit to prepare the students for the
final project. Throughout these three lessons, students will learn about the role propaganda
played in history during WWII and how Germans and Americans used symbols and images to
make the propaganda more powerful. In the mini-unit they will be asked to write an informative
essay about a poster they are studying and will learn how to formulate claims and counter claims
using evidence from primary sources. The end goal is for students to come to an understanding
of why so many people fed into the propaganda during WWII.
2
Table of Contents
•
•
•
Lesson 1: Words as Warfare: The Power of Wartime Propaganda
Page 4
o LOC Source Title: Don’t tell him what you know about …
Page 8
o LOC Source Title: Stamp out the Axis
Page 9
o LOC Source Title: Hitler wants us to believe that…
Page 10
o Anti-Semitic poster stating “Behind the Enemy Powers: the Jew
Page 11
o Out with the Jewish Haggling Mind
Page 12
o This Blow Must Hit Home!”
Page 13
Lesson 2: A Picture’s Worth A Thousand Words
Page 14
o U.S. Holocaust Memorial Museum: History of the Swastika
Page 18
o LOC Source Title: Stamp out the Axis
Page 20
o Close Read Graphic Organizer
Page 21
o Rubric for Informative Essay
Page 23
Lesson 3: What’s the Point? Why Propaganda?
o LOC Source Title: Studenten seid Propagandisten des Führers
Page 27
Page 30
o LOC Source Title: Jugend dient dem Führer--Alle Zehnjährigen... Page 31
o Graphic Organizer: Analyzing Primary Sources
Page 32
3
Lesson Plan- 1
1. Title: Words as Warfare: The Power of Wartime Propaganda
2. Overview
Students will have a silent conversation using WWI and WWII propaganda posters from the U.S.
and abroad. They will make connections about the purpose of propaganda and compare and contrast
the use of propaganda in different countries. They will complete a close read of one of the posters
and reflect on it in a journal exercise.
3. Objectives
• Students will be able to think and write critically about the role propaganda posters played
during WWII in the U.S. and abroad
• Students will be able to analyze one propaganda poster in-depth
• Students will be able to reflect on the impact that propaganda had on history
4. Standards (State and Common Core)
CCSS.ELA-Literacy.RI.8.7 Evaluate the advantages and disadvantages of using different
mediums (e.g., print or digital text, video, multimedia) to present a particular topic or idea.
CCSS.ELA-Literacy.WHST.6-8.1b Support claim(s) with logical reasoning and relevant,
accurate data and evidence that demonstrate an understanding of the topic or text, using credible
sources.
CCSS.ELA-Literacy.WHST.6-8.4 Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience
CCSS.ELA-Literacy.WHST.6-8.9 Draw evidence from informational texts to support analysis
reflection, and research
CCSS.ELA-Literacy.WHST.6-8.10 Write routinely over extended time frames (time for
reflection and revision) and shorter time frames (a single sitting or a day or two) for a range of
discipline-specific tasks, purposes, and audiences.
5. Time Required
One 55-minute class period
6. Recommended Grade Range
8th Grade
7. Subject/Topic
Writing
PREPARATION
• Students should have background knowledge about WWI and WWII before beginning
the lesson (it would be helpful if each student had a timeline of when major events in
WWI and WWII occurred with them to refer to during this lesson)
• Place post-it papers on the walls or on desks around the classroom with the different
propaganda images in the center (make sure to include tombstone information)
• Prepare a note card for each student that has information they need to write about for the
first poster they look at
4
• Prepare a set of 3 of the same color markers for each group of 3 students
• Place the assignment steps and journal prompt on an overhead or SMART board
8. Materials Used
• SMART board pages with step-by-step directions for the activity, a copy of a propaganda
poster used for modeling, and the journal reflection prompt.
• Large Post-it paper
• Note cards
• Markers
• Analysis sheet
• Propaganda posters
Posters from:
• Bachrach, Susan D., Edward J. Phillips, and Steven Luckert. State of Deception: The
Power of Nazi Propaganda. Washington, D.C.: United States Holocaust Memorial
Museum, 2009. Print.
o (p. 43) Antisemitic campaign poster “This Blow Must Hit Home!” by artist
Philipp Rupprecht (“Fips”). 1928. Hessisches Landesmuseum Darmstadt
o (p. 68) “Out with the Jewish Haggling Mind,” by artist Hans Schweitzer
(“Mjolnir”), promoting the “Aryanization” of German businesses, ca. 1936-37.
USHMM
o (p. 102) Antisemitic poster stating “Behind the Enemy Powers: the Jew, “ by
artist Bruno Hanisch, ca. 1942. USHMM, gift of Helmut Eschwege
9. Resources Used
Library of Congress items:
Title: Dont tell him what you know about .... troop concentrations, departures .... arrivals
http://www.loc.gov/pictures/collection/wpapos/item/98518059/
Creator(s): Kraus, Russell W., artist
Date Created/Published: [Missouri] : MO WPA Art Project, [between 1941 and 1943]
Title: Stamp Out the Axis
Creator(s): Von Phul, Phil, artist
Date Created/Published: [Seattle, Wash.] : Thirteenth Naval District, United States Navy W.P.A.,
1941.
Title: Hitler wants us to believe that: democracy is dying; our armed forces are weak ...
http://www.loc.gov/pictures/item/96507434/
Date Created/Published: [Washington, D.C.] : Government Printing Office, 1942.
1942
PROCEDURE
5
10. Description of Procedure
1. Review vocabulary words (socialist, nationalism, anti-Semitism, democracy, civilian,
propaganda)
2. Explain procedures for the silent conversation activity
a. Students are to be silent and communicate through writing on the Post-it paper
b. They can ask questions, make comments, respond to each other’s writing and use
lines to connect thoughts.
c. Let students know that they will be given a list of criteria that they will need to
write about on the first poster. Then, students can write what they are thinking
about while looking at the other posters.
d. They will have 10 minutes at the first poster and 5 minutes at the remaining 5
posters
e. All students are expected to write something on each poster and they should be
writing for the majority of the time at each station (participation grades can be
given for this portion of the lesson)
3. Using one of the images, model the process of using the note card to analyze the image
out loud. Each group can talk out what they are thinking about each question on the note
card. Have a discussion about what other thoughts and questions come to mind when
looking at the image. Have students from different groups come up to the SMART board
to write questions, thoughts, and answers to each other’s questions. This will help
students understand what is expected of them once they get into their groups, but it
should be made clear that ALL conversation needs to happen in writing on the Post-it
paper.
Questions to put on note card:
i. What is the historical context of the poster? How do you know?
ii. What is the important information that will help you understand the
poster? (When was it created? Where was it created? Who was it created
by? Who is the intended audience? What is the source of the poster?)
iii. What do you see? Describe what you see on the poster (color, symbols,
lines, people, composition- point out any and all details that you think are
important)
iv. What is the purpose of the poster? (What emotions does the poster play
on? Remember to think about the audience and historical context! Is the
information accurate? Are there any stereotypes present? Are people being
caricaturized?)
v. What questions do you have about the poster?
4. Split the students up into groups of 3 and assign each group to a different poster
5. Give 5 minutes for the groups to analyze the poster by writing their thoughts directly on
the big paper
6. After the five minutes is up, let students respond to what the poster makes them think
about (if the students are not mentioning anything about the historical context, stop and
remind them to consider historical context when looking at the posters)
7. Move the groups to new posters every 3 minutes
6
8. After each group has had a chance to write about each poster, have the students return to
their desks
9. Have students write down what they thought the posters had in common and how they
were different
10. Discuss similarities and differences about the posters as a whole class making sure to
touch on the historical context, how images and words play on emotions, and the effect
these posters may have had on people
11. Have students write a reflection about how they think WWI and WWII may have been
different had propaganda not been a factor. Make sure they cite evidence from the poster
in their response. (Give sentence starters for a modification)
11. Extension Ideas
Read primary source quotes about people’s reactions to propaganda during WWI and WWII
Listen to radio propaganda
Watch movies that were used as propaganda for different countries
Talk about or look at propaganda that is in use today
EVALUATION
12. Students will be evaluated on how well they participate in the silent conversation as well as
their reflection answers.
CREDITS
13. Designer: Meredith Buchbinder
7
Title: Dont tell him what you know about .... troop concentrations, departures .... arrivals
http://www.loc.gov/pictures/collection/wpapos/item/98518059/
Creator(s): Kraus, Russell W., artist
Date Created/Published: [Missouri] : MO WPA Art Project, [between 1941 and 1943]
8
•
•
•
http://www.loc.gov/pictures/resource/ppmsca.31262/
Title: Stamp out the Axis / P.V.P.
Creator(s): Von Phul, Phil, artist
Date Created/Published: [Seattle, Wash.] : Thirteenth Naval District, United States Navy
W.P.A., 1941.
9
http://www.loc.gov/pictures/resource/cph.3g04437/
Title: Hitler wants us to believe that: democracy is dying; our armed forces are weak ...
http://www.loc.gov/pictures/item/96507434/
Date Created/Published: [Washington, D.C.] : Government Printing Office, 1942.
1942
10
Antisemitic poster stating “Behind the Enemy Powers: the Jew, “ by artist Bruno Hanisch, ca. 1942.
USHMM, gift of Helmut Eschwege
11
“Out with the Jewish Haggling Mind,” by artist Hans Schweitzer (“Mjolnir”), promoting the
“Aryanization” of German businesses, ca. 1936-37. USHMM
12
Antisemitic campaign poster “This Blow Must Hit Home!” by artist Philipp Rupprecht (“Fips”).
1928. Hessisches Landesmuseum Darmstadt
13
Lesson 2
1. Title –A Picture’s Worth A Thousand Words
2. Overview
Students will do a piece of writing about what propaganda is in an informative piece based off of a
primary source. They will also use a reading about the history of the swastika to talk about how
images can be powerful and why they are effective in propaganda.
3. Objectives
• Analyze a primary source by doing a close read
• Think and write critically about the role propaganda posters played during WWII in the U.S.
and abroad
• Analyze one propaganda poster in-depth
•
o
o
o
o
o
o
4. Standards (State and Common Core)
CCSS.ELA-Literacy.W.8.2 Write informative/explanatory texts to examine a topic and convey
ideas, concepts, and information through the selection, organization, and analysis of relevant
content.
CCSS.ELA-Literacy.W.8.2a Introduce a topic clearly, previewing what is to follow; organize
ideas, concepts, and information into broader categories; include formatting (e.g., headings),
graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.
CCSS.ELA-Literacy.W.8.2b Develop the topic with relevant, well-chosen facts, definitions,
concrete details, quotations, or other information and examples.
CCSS.ELA-Literacy.W.8.2c Use appropriate and varied transitions to create cohesion and clarify
the relationships among ideas and concepts.
CCSS.ELA-Literacy.W.8.2d Use precise language and domain-specific vocabulary to inform
about or explain the topic.
CCSS.ELA-Literacy.W.8.2e Establish and maintain a formal style.
CCSS.ELA-Literacy.W.8.2f Provide a concluding statement or section that follows from and
supports the information or explanation presented.
• CCSS.ELA-Literacy.W.8.10 Write routinely over extended time frames (time for
research, reflection, and revision) and shorter time frames (a single sitting or a day or
two) for a range of discipline-specific tasks, purposes, and audiences.
• CCSS.ELA-Literacy.RI.8.1 Cite the textual evidence that most strongly supports an
analysis of what the text says explicitly as well as inferences drawn from the text.
• CCSS.ELA-Literacy.RI.8.2 Determine a central idea of a text and analyze its
development over the course of the text, including its relationship to supporting ideas;
provide an objective summary of the text.
• CCSS.ELA-Literacy.RI.8.3 Analyze how a text makes connections among and
distinctions between individuals, ideas, or events (e.g., through comparisons, analogies,
or categories).
5. Time Required
Two 65-minute class periods
6. Recommended Grade Range
14
8th Grade
7. Subject/Topic
Writing (with information that links to Humanities curriculum)
PREPARATION
8. Materials Used
• Handout to analyze primary source using a Close Read adapted from the Terra Foundation
for American Art
• Reading on the history of the swastika
• Primary source from the Library of Congress
United States Holocaust Memorial Museum. “The Holocaust.” Holocaust
Encyclopedia.http://www.ushmm.org/wlc/en/?ModuleId=10005143. Accessed on {March 30,
2013}.
http://www.ushmm.org/wlc/en/article.php?ModuleId=10007453
Graphic Organizer for the Close Read: Adapted from the Terra Foundation for American Art’s
Teacher Lab Close Read by Jenny Siegnthaler, Terra Foundation, with Sarah Alvarez, Art
Institute Chicago, and Barbara Radner, Depaul University
Siegnthaler, Jenny, Sarah Alvarez, and Barbara Radner. "Look, Learn, Connect: How to Interpret
Art through the “Close
Read”."Http://teacher.depaul.edu/Documents/HowtoInterpretArtThroughaCloseRead.pdf. Terra
Teacher Lab: Foundation for American Art/ Art Institute Chicago, n.d. Web. 30 Mar. 2013.
15
9. Resources Used
Library of Congress item
• Title: Stamp out the Axis / P.V.P.
• Creator(s): Von Phul, Phil, artist
• Date Created/Published: [Seattle, Wash.] : Thirteenth Naval District, United States Navy
W.P.A., 1941.
http://www.loc.gov/pictures/item/2010648603/
PROCEDURE
10.
1. Prepare for this lesson by having students read the History of the Swastika from the
United States Holocaust Memorial Museum website (recommendation-have students text
code or annotate the text)
Open the lesson with a journal response. For a journal response, I have my students respond to a
quote, question, or passage. They should write about whatever comes to mind. It is a way for
them to interact with the text before discussing it. This quote would be on the SMART board
when they came into the room: Draw images that have meaning to you. Why are images
important for people?
2. Then, I would put an image of a swastika on the board. I would ask them to respond to
the prompt again after seeing this image
3. Review the reading in a think-pair-share activity and explain how it relates to propaganda
and to the opening quote
4. Do a close read of the primary source Stamp Out the Axis-Use a graphic organizer to keep
track of the information
a. The students should spend time observing
b. Students should discuss the information about the historical period (look at the
date), information about the artist (why was this piece produced), social context,
and the artwork itself
i. Make sure to talk about American symbols and German symbols and the
similarities and differences in the use of the symbols
5. Have the students write an informative essay using the information they got from the
close read
11. Extension Ideas
Have students present essays to the class
Use another image for the students to do a close read of by themselves
Have students create a propaganda poster
EVALUATION
16
12. Evaluation
The students will be evaluated by class participation, completion of the graphic organizer and a
rubric will be used to grade the informative piece
CREDITS
13. Meredith Buchbinder
17
HISTORY OF THE SWASTIKA
A Maypole topped with a swastika is raised
for a May Day parade in the Lustgarten in
Berlin. The May holiday became an
important celebration in the Nazi calendar.
Germany, April 26, 1939.
— National Archives and Records
Administration, College Park, Md.
The
swastika has an extensive history. It was used at least 5,000 years before Adolf Hitler designed
the Nazi flag. The word swastika comes from the Sanskritsvastika, which means “good fortune”
or “well-being." The motif (a hooked cross) appears to have first been used in Neolithic Eurasia,
perhaps representing the movement of the sun through the sky. To this day it is a sacred
symbol in Hinduism, Buddhism, Jainism, and Odinism. It is a common sight on temples or
houses in India or Indonesia. Swastikas also have an ancient history in Europe, appearing on
artifacts from pre-Christian European cultures.
The symbol experienced a resurgence in the late nineteenth century, following extensive
archeological work such as that of the famous archeologist Heinrich Schliemann. Schliemann
discovered the hooked cross on the site of ancient Troy. He connected it with similar shapes
found on pottery in Germany and speculated that it was a “significant religious symbol of our
remote ancestors.”
In the beginning of the twentieth century the swastika was widely used in Europe. It had
numerous meanings, the most common being a symbol of good luck and auspiciousness.
18
However, the work of Schliemann soon was taken up by völkisch movements, for whom the
swastika was a symbol of “Aryan identity” and German nationalist pride
This conjecture of Aryan cultural descent of the German people is likely one of the main reasons
why the Nazi party formally adopted the swastika or Hakenkreuz (Ger., hooked cross) as its
symbol in 1920.
The Nazi party, however, was not the only party to use the swastika in Germany. After World
War I, a number of far-right nationalist movements adopted the swastika. As a symbol, it
became associated with the idea of a racially “pure” state. By the time the Nazis gained control
of Germany, the connotations of the swastika had forever changed.
In Mein Kampf, Adolf Hitler wrote: “I myself, meanwhile, after innumerable attempts, had laid
down a final form; a flag with a red background, a white disk, and a black swastika in the middle.
After long trials I also found a definite proportion between the size of the flag and the size of the
white disk, as well as the shape and thickness of the swastika.”
The swastika would become the most recognizable icon of Nazi propaganda, appearing on the
flag referred to by Hitler inMein Kampf as well as on election posters, arm bands, medallions,
and badges for military and other organizations. A potent symbol intended to elicit pride among
Aryans, the swastika also struck terror into Jews and others deemed enemies of Nazi Germany.
Despite its origins, the swastika has become so widely associated with Nazi Germany that
contemporary uses frequently incite controversy.
United States Holocaust Memorial Museum. “The Holocaust.” Holocaust Encyclopedia.http://www.ushmm.org/wlc/en/?ModuleId=10005143. Accessed
on {insert today's date}.
19
•
•
•
http://www.loc.gov/pictures/resource/ppmsca.31262/
Title: Stamp out the Axis / P.V.P.
Creator(s): Von Phul, Phil, artist
Date Created/Published: [Seattle, Wash.] : Thirteenth Naval District, United States Navy
W.P.A., 1941.
20
Close Read
Important information from the piece:
Title:
Date:
Published/created by:
Medium:
Formal Analysis (observe):
Adapted from the Terra Foundation for American Art’s Teacher Lab Close Read by Jenny
Siegnthaler, Terra Foundation, with Sarah Alvarez, Art Institute Chicago, and Barbara Radner,
Depaul University
21
Contextual Analysis (Reflect):
Time Period (historical context)
*What was happening in society, the economy or politically that the artist was probably responding
to?
*How does the artwork relate to what was happening at that time? Cite specific evidence when
making your point.
Artwork
*What is the subject? What does the artwork represent?
*Does the artwork represent a point of view-literally and figuratively?
*What visual strategies did the artist use to get his/her ideas across?
Artist
Synthesis- Remember to respond to the following questions in your informative essay on this piece:
How did this primary source use images? How are images used in propaganda? How can I think
critically about the messages around me?
Adapted from the Terra Foundation for American Art’s Teacher Lab Close Read by Jenny
Siegnthaler, Terra Foundation, with Sarah Alvarez, Art Institute Chicago, and Barbara Radner,
Depaul University
22
Leve
l
0
Criterion C-Style & Language Mechanics
1-2
3-4
Descriptors
Indicators
The student does not reach a standard described by any of the descriptors below. Has not reached a standard described by any of the indicators below. The student employs a very limited range of appropriate vocabulary, idiom and sentence structure. There are very frequent errors in grammar and syntax, which persistently hinder communication. There is little or no evidence of a register and style that serve the context and intention. There are very frequent errors in punctuation and spelling/writing, which persistently hinder communication. In oral/presentation work there is little or no competence in oratory technique. No hook or grabber.
The student employs a limited range of appropriate vocabulary, idiom and sentence structure. There are frequent errors in grammar and syntax, which hinder communication. There is some evidence of a register and style that serve the context and intention. There are frequent errors in punctuation and spelling/writing, which hinder communication. In oral/presentation work there is some competence in oratory technique. Focus statement is not present.
059%
6069%
My introduction does not include my
thesis.
I use few to no transitions I have little or no use of definitions,
concrete details, quotations, or other
information and examples
Less than 3 body paragraphs are
present
I use a very limited range of language and domain-­‐specific vocabulary to inform about or explain the topic.
Little or no evidence of a formal style
Part or no concluding paragraph is
present
Use of punctuation has very frequent errors which hinder communication.
In oral/presentation work there is a little or no competence in oratory technique.
Hook or grabber to get the reader’s attention is ineffective.
Focus statement is incomplete or inadequate to introduce the topic.
7079%
My introduction includes my thesis. My thesis attempts at summing up what I have discovered about the topic.
I use transitions but they do not create cohesion and clarify the relationships
Develop the topic with limited definitions, concrete details, quotations, or other information and examples.
3 body paragraphs are present.
I use a limited range of language and domain-­‐specific vocabulary to inform about or explain the topic.
Some evidence is present that
shows I was trying to establish and maintain a formal style.
Provide a concluding paragraph that is ineffective
23
5-6
Use of punctuation has frequent errors which hinder communication.
In oral/presentation work there is a some competence in oratory technique.
I have attempted a hook or grabber to get the reader’s attention.
I have attempted a focus statement that includes a short summary and introduces the topic.
My introduction includes my thesis. My thesis sums up what I have discovered about the topic.
Use transitions to create cohesion and clarify the relationships
Develop the topic with some definitions, concrete details, quotations, or other information and examples.
3 body paragraphs are present.
The student employs a limited range of appropriate vocabulary, idiom and sentence structure. There are frequent errors in grammar and syntax, which hinder communication. There is some evidence of a register and style that serve the context and intention. There are frequent errors in punctuation and spelling/writing, which hinder communication. In oral/presentation work there is some competence in oratory technique. 8089%
Use some language and domain-­‐
specific vocabulary to inform about or explain the topic.
Attempts to establish and maintain a formal style.
Provide a concluding paragraph
7-­‐8 The student employs a range of appropriate vocabulary, idiom and sentence structure. Grammar and syntax are accurate; occasional errors rarely hinder communication. The student consistently uses a register and style that serve the context and intention. Punctuation and spelling/writing are accurate; occasional errors rarely hinder communication. In oral/presentation work there is a good level of competence in oratory technique. Use of punctuation has frequent errors In oral/presentation work there is a some competence in oratory technique.
I have a hook or grabber to get the reader’s attention. I have a focus statement that includes a short summary and introduces the topic. My introduction includes my thesis. My thesis is clear and sums up what I have discovered about the topic. Use appropriate transitions to create cohesion and clarify the relationships Develop the topic with relevant, definitions, concrete details, quotations, or other information and examples. 3 body paragraphs are well developed with a topic sentence and details that link back to the thesis. Use language and domain-­‐specific vocabulary to inform about or explain the topic. Establish and maintain a formal 90-­‐
100% 24
9-­‐10 The student employs a wide and effective range of appropriate vocabulary, idiom and sentence structure. Grammar and syntax are accurate; very infrequent errors do not hinder communication. The student demonstrates mastery of a register and style that serve the context and intention. (C.C.: Introduce a topic with relevant, well-­‐chosen facts, definitions, concrete details, quotations, or other information and examples.) Punctuation and spelling/writing are accurate; very infrequent errors do not hinder communication. In oral/presentation work there is a high level of competence in oratory technique. style. Provide a concluding paragraph that supports the information or explanation presented. Use punctuation correctly (comma, ellipsis, dash) to indicate a pause or break for the most part. Words are spelled correctly. Occasional errors rarely hinder communication. In oral/presentation work there is a good level of competence in oratory technique. I have a creative hook that uses a literary device or writing technique to get the reader’s attention. I have a focus statement that includes a comprehensive summary and introduces the topic. My introduction includes my thesis. My thesis is a thoughtful and clear and which sums up what I have discovered about the topic. Use appropriate and varied transitions to create cohesion and clarify the relationships Develop the topic with relevant, well-­‐chosen facts, definitions, concrete details, quotations, or other information and examples. 3 body paragraphs are well developed with a topic sentence and details that clearly link back to the thesis. Use precise language and domain-­‐
specific vocabulary to inform about or explain the topic. Establish and maintain a formal style. Provide a concluding statement or section that ties together the piece and supports the information or explanation presented. Use punctuation correctly at all times (comma, ellipsis, dash) to indicate a pause or break. Words are spelled correctly at all times. In oral/presentation work there is a high level of competence in oratory technique. 25
Your score Comments 26
Lesson Plan 3
1. Title: What’s the Point? Why Propaganda?
2. Overview
• Students will look at two propaganda posters and generate questions about what the
purpose of the propaganda was and how they convinced so many people to believe the
messages they were putting out.
3. Objectives
Students will be able to develop and answer questions about the purpose of propaganda
Students will be able to look at propaganda through someone else’s perspective
Students will be able to formulate claims based on evidence and interpretation of evidence
4. Standards (State and Common Core)
CCSS.ELA-Literacy.WHST.6-8.1 Write arguments focused on discipline-specific content.
CCSS.ELA-Literacy.WHST.6-8.1b Support claim(s) with logical reasoning and relevant,
accurate data and evidence that demonstrate an understanding of the topic or text, using credible
sources.
5. Time Required
Two 65 minute class periods
6. Recommended Grade Range
• 7-8
7. Subject/Topic
Language Arts/Argumentative Writing
PREPARATION
Have copies of posters for each student or each group
Have poster paper for groups to write out questions
Have graphic organizers printed for students to keep track of evidence
Have Library of Congress Graphic Analysis tool printed
8. Materials Used
• Library of Congress Analysis tool
• Graphic organizer for claims
• And Graphic organizer for looking at sources (adapted from “Building Success Program”)
• Propaganda posters listed below
27
•
9. Resources Used
Library of Congress items
http://www.loc.gov/pictures/item/2008678846/
• Title: Studenten seid Propagandisten des Führers Hoch-u. Fachschulen bekennen sich am 29.
März zur Deutschen Freiheitsbewegung / / Ludwig Hohlwein, München.
• Creator(s): Hohlwein, Ludwig, 1874-1949, artist
• Date Created/Published: München : Chromo Lithographische Kunstanstalt A:G, 13
Schellingstr. 109, [ca. 1933]
http://www.loc.gov/pictures/item/93500159/
• Title: Jugend dient dem Führer--Alle Zehnjährigen in die HJ / HN.
• Related Names:
Rehse Archiv für Zeitgeschichte und Publizistik, DLC , former owner
• Date Created/Published: Berlin : Presse- und Propagandaamt der Reichsjugendführung,
[1941]
PROCEDURE
•
10.
o Students should be given time at the beginning of class to look at the posters and
ask questions about the images. Students should write the questions they came up
with about the images on poster paper in groups
o Students will do a journal response to the questions: How did the poster appeal to
youth? Why was it important to gain support from youth?
o Analyze the primary sources (posters) to come up with strategies were used
in the propaganda posters to persuade people to believe the information (and
talk about the intentionality of these strategies). For example, making Hitler
look younger, heroic, using bold colors, showing a message of hope.
§ The students should spend time observing
§ Have students first do a close read together as a large group:
• Students should discuss the information about the historical period
(look at the date),
• Information about the artist (why was this piece produced), social
context, and the artwork itself (symbols, elements (specifically
color, line, values) principles (emphasis, unity)
§ Use a graphic organizer “Analyzing Primary Sources to keep track of the
information
•
Taking sides- different students given the same posters but must interpret from different
perspectives
•
Start filling in charts to understand how to formulate claims better
28
Perspective: Evidence: Interpretation: Claim:
Source:
You are working to come up with posters. Answer the following questions explaining:
1. How did you guarantee youth support?
2. How did you use stereotypes to gain support?
3. Where did you put your information?
4.What choices did you have?
You are a child at the time. Answer the following questions explaining:
1.Why is it even more dangerous for you to be bombarded with propaganda?
2. Why is the propaganda appealing?
4. What choices did you have?
11. Extension Ideas
Art:
Create a poster using tactics but to gain support against the Nazi’s and Hitler. Use the elements
and principles that were used to make your poster effective.
EVALUATION
12. Formative assessment-walking around observing & filling in graphic organizers
CREDITS
13. Meredith Buchbinder
29
•
•
•
Title: Studenten seid Propagandisten des Führers Hoch-u. Fachschulen bekennen sich am
29. März zur Deutschen Freiheitsbewegung / / Ludwig Hohlwein, München.
Creator(s): Hohlwein, Ludwig, 1874-1949, artist
Date Created/Published: München : Chromo Lithographische Kunstanstalt A:G, 13
Schellingstr. 109, [ca. 1933]
30
•
•
•
Title: Jugend dient dem Führer--Alle Zehnjährigen in die HJ / HN.
Related Names:
Rehse Archiv für Zeitgeschichte und Publizistik, DLC , former owner
Date Created/Published: Berlin : Presse- und Propagandaamt der Reichsjugendführung,
[1941]
31
Analyzing Primary Sources
Citation
Source
(What
person or
group
created it?
Whose
perspective
is being
voiced?)
Occasion
(When and
where was
the evidence
created?
What
context or
situation
encouraged
the creation
of this
document?)
Audience
(Who
would be
expected to
see or read
this piece
of
evidence?)
Purpose
Emotions
(What was
this
document
intended to
accomplish?
What was
its creator’s
aim?
Details
Describe the
image in
detail (what
are the most
powerful
words/images
used? )
Adapted from “Building Success Program”: Participant’s Manual” New York, The College
Board, 1998. Reading and Thinking in the History Classroom, April 2002. Area 3 History &
Cultures Project, UC Davis http://historyproject.ucdavis.edu
32