Curriculum Correlation Chart
Viewpoints 12 and Reference Points
English Language Arts 30-1
(Program of Studies for Senior High School English Language Arts)
© 2002 Pearson Education Canada Inc.
Viewpoints 12
Teacher Resource
Reference
Points
ELA 30-1 Outcomes
General Outcome 1 – Students will listen, speak, read, write, view and represent to explore thoughts, ideas, feelings and
experiences.
1.1 Discover possibilities
1.1.1 Form tentative understandings, interpretations and positions
pp. 5–40;
Twisted Roots, #4; A Devoted Son, #1;
Was It a Dream? p. 153, #1; Chameleons
1.1.1.1
49–60
Windows, #1; Easter at My Aunt’s, #1,
and Codas, p. 228, #1; Guy Lafleur, p. 250,
draw from a repertoire of effective
#2; Peace and War, #1; The Spirit of
#1; My Mother’s Blue Bowl, p. 255, #1;
strategies to form tentative understandings,
Haida Gwaii, #3; A Place to Stand On,
Migrant Mother, p. 256, #1; Paradise, a
interpretations and positions
#3; Chameleons and Codas, #1; Elegy in
Poet, and Promised Land, p. 330, #1;
Buying Your Next Synthesizer, p. 348, #1;
Shower at Ohashi Bridge, p. 368, #1; The
Poetry of Earth and Sky, p. 370, #1;
Evening, p. 484, #1; vancouver–courtenay–
calgary, p. 491, #1; Progress, p. 526, #1;
The River, p. 544, #1; Sonnet 116, p. 571,
#1; Because I Could Not Stop for
Death—, #1; Set Design for The Foreigner,
p. 634, #1; Shakespeare: Activities, p. 700,
#1
1.1.1.2
affirm and strengthen, or modify tentative
interpretations of works of literature and
tentative positions on issues communicated
by texts, by weighing and assessing the
validity of own and others’ ideas,
observations and opinions
The Rocking-Horse Winner, p. 34, #1;
Calgary from Sunnyside, p. 46, #1; Twisted
Roots, p. 60, #1; A Devoted Son, p. 86, #1;
The Winner, p. 108, #1; Peace and War,
p. 141, #2, #3; Was It a Dream? p. 153, #1;
Chameleons and Codas, p. 228, #1; Guy
Lafleur, p. 250, #1; Migrant Mother,
p. 256, #1; Why I Write, p. 263, #3; Get
Beyond Babel, p. 299, #2; Ours by Design,
p. 362, #1; Shower at Ohashi Bridge,
p. 368, #1; Evening, p. 484, #1; Birch Bark,
p. 488, #1; vancouver–courtenay–calgary,
p. 491, #1; The River, p. 544, #1; Dover
Beach, p. 607, #2; Because I Could Not
Stop for Death—, p. 610, #1
1.1.2 Experiment with language, image and structure
Why I Write, p. 271, #3; The Not-So1.1.2.1
Deadly Sin, p. 278, #3; The Rime of the
explain how experiments with language,
Ancient Mariner, p. 600, #2
image and structure improve personal craft
and increase effectiveness as a text creator
Stone, #1; Of Youth and Age, #5; Get
Beyond Babel, #2; Wanderers by Choice,
#2; Peace, Technology, and the Role of
Ordinary People, #1; Landscape with the
Fall of Icarus, #2; The Monkey’s Paw,
#1; Engineers’ Corner, #1; Is the Pathetic
Fallacy True? #1, #4; Fern Hill, #2;
Musée des Beaux Arts, #1; People on the
Bridge, #1; grammar poem, #2; Mu-lan,
#1; From The Canterbury Tales, #2; The
Rime of the Ancient Mariner, #2;
Because I Could Not Stop for Death—,
#1, #2, #3; Stop! #1; Invisible Genius,
#1; The Shakespearean Tragic Hero, #1
The Rocking-Horse Winner, #2; Write
Me Sometime, #1; Calgary from
Sunnyside, #1; Twisted Roots, #4; A
Devoted Son, #5; Magpies, #3; The
Winner, #2; Easter at My Aunt’s, #1, #2;
Peace and War, #1, #2; The Spirit of
Haida Gwaii, #3; Was It a Dream? #1;
From No Great Mischief, #1, #5; A Place
to Stand On, #3; Elegy in Stone, #1; Of
Youth and Age, #5; Call of the Weird,
#2; A Modest Proposal, #4; Get Beyond
Babel, #2; Wanderers by Choice, #2;
Peace, Technology, and the Role of
Ordinary People, #1; Landscape with the
Fall of Icarus, #2; Shower at Ohashi
Bridge, #2; The Monkey’s Paw, #2;
Learning Without Lectures, #1; Is the
Pathetic Fallacy True? #4; Fern Hill, #2;
The Heroes You Had as a Girl, #1, #2;
Musée des Beaux Arts, #1; People on the
Bridge, #1; Progress, #4; grammar poem,
#3; From The Canterbury Tales, #1, #2;
Sonnet 116, #1; The Rime of the Ancient
Mariner, #2; Because I Could Not Stop
for Death—, #1, #2, #3; Dead Parrot, #1;
Invisible Genius, #1
A Devoted Son, #3; War, #1; Peace and
War, #5; The Death of the Moth, #5; Guy
Lafleur, #1; Of Youth and Age, #3, #4;
Why I Write, #4; The Not-So-Deadly
Sin, #3, #4; Buying Your Next
Synthesizer, #1; The Heroes You Had as
a Girl, #2; Sonnet 116, #3; A Marriage
Proposal, #1
pp. 6–7; 51–57
pp. 103–104;
163–174;
181–187
2
ELA 30-1 Outcomes
1.1.2.2
use a variety of internal and external
resources to explore ideas, observations,
opinions, experiences and emotions [for
example, stream-of-consciousness writing
and open discussion]
1.2 Extend awareness
1.2.1 Consider new perspectives
1.2.1.1
reflect on and describe personal responses
to new perspectives; appraise whether such
responses contribute to or inhibit personal
awareness and understanding, and identify
influences that have contributed to such
responses; select appropriate strategies to
extend awareness and understanding, and
monitor their effectiveness; and modify
selected strategies as needed
Viewpoints 12
Teacher Resource
Reference
Points
Easter at My Aunt’s, p. 118, #1; Peace and
War, p. 141, #1; The Spirit of Haida Gwaii,
p. 142, #1; Short Fiction Wrap-Up, p. 163,
#2, #3; The Death of the Moth, p. 241, #2;
Why I Write, p. 271, #3; Call of the Weird,
p. 282, #3; Essays, Articles, and Media
Wrap-Up, p. 429, #3; Evening, p. 484, #1;
Birch Bark, p. 488, #1, #2; The Committee
to Upgrade Celestial Signs, p. 502, #1; The
Rime of the Ancient Mariner, p. 600, #1;
Set Design for The Foreigner, p. 634, #2;
Stop! p. 649, #1; Shakespeare: Activities,
p. 700, #1
Calgary from Sunnyside, #1; Outside
Edges, #1; Twisted Roots, #1; The
Shining Houses, #1, #2; The Winner, #2,
#3; Easter at My Aunt’s, #2, #4; War, #1;
Peace and War, #5; Mazes, #2; From No
Great Mischief, #1; Ode to the West
Wind, #1; Ka-Ching! #1; Afternoon of
an American Boy, #1; A Place to Stand
On, #1, #4; Chameleons and Codas, #1;
Elegy in Stone, #1, #4; The Death of the
Moth, #1, #2, #5; Guy Lafleur, #1, #5;
Of Youth and Age, #1; Why I Write, #1,
#4; The Not-So-Deadly Sin, #3, #4; Call
of the Weird, #1; Get Beyond Babel, #1;
The Death of History Is Bunk, #1;
Wanderers by Choice, #1; Peace,
Technology, and the Role of Ordinary
People, #1, #2; Paradise, a Poet, and
Promised Land, #1; Buying Your Next
Synthesizer, #1; Shower at Ohashi
Bridge, #1, #4; The Poetry of Earth and
Sky, #1, #2; Morty Mania, #3, #5; almost
visible, #1, #2; Let’s Stop Being
Hysterical, #1; Evening, #2; Birch Bark,
#1; vancouver–courtenay–calgary, #1;
Fern Hill, #1; Amiri Baraka, #1; to you
who would wage war against me, #3, #4;
Progress, #1; Summer Night, #1;
The Love Song of J. Alfred Prufrock, #1;
Afternoons & Coffeespoons, #1; The
River, #1; grammar poem, #1; From
Beowulf, #1; From The Canterbury
Tales, #1, #2; Sonnet 116, #1; O Can
You Leave Your Native Land? #1;
Dover Beach, #1; Because I Could Not
Stop for Death—, #2; Set Design for The
Foreigner, #1; From Acoose: Man
Standing Above Ground, #1; Film
Location for Random Passage, #2; From
Strong Women Prevail in Shakespeare’s
Comedies, #1
pp. 54–55; 104–
105
A Devoted Son, p. 86, #1; Short Fiction
Wrap-Up, p. 163, #2; Universal Themes and
Patterns: Activities, p. 193, #2; Elegy in
Stone, p. 235, #1; My Mother’s Blue Bowl,
p. 255, #2; A Modest Proposal,
p. 293, #1; Hockey Night in Port
Hawkesbury, p. 335, #1; The Monkey’s
Paw, p. 404, #1; Restoring Life on the
Edge, p. 421, #1; Progress, p. 526, #2
Twisted Roots, #2; The Shining Houses,
#2; A Devoted Son, #1; The Winner, #2;
Windows, #1; Easter at My Aunt’s, #4;
From No Great Mischief, #5; From The
Archetypes of Literature, #3; Utopian
Dreams, #1; Elegy in Stone, #1; A
Modest Proposal, #4; Get Beyond Babel,
#2; Peace, Technology, and the Role of
Ordinary People, #2; Ours by Design, #4;
Aphorisms, #1; Fern Hill, #2; People on
the Bridge, #1; O Can You Leave Your
Native Land? #1, #2; Because I Could
Not Stop for Death—, #3; From Acoose:
Man Standing Above Ground, #5
pp. 14; 51–57;
213–215;
225–231
3
ELA 30-1 Outcomes
1.2.1.2
recognize and assess the strengths and
limitations of various perspectives on a
theme, issue or topic; and identify aspects
for further consideration when exploring
and responding to a text
1.2.1.3
analyze and evaluate how various topics and
themes, text forms, text types and text
creators influence own and others’
understandings, attitudes and aspirations
Viewpoints 12
Teacher Resource
Short Fiction Wrap-Up, p. 163, #2; Of
Youth and Age, p. 261, #1; A Modest
Proposal, p. 293, #1; Get Beyond Babel,
p. 299, #3; Ours by Design, p. 362, #2; The
Monkey’s Paw, p. 404, #1, #3; Restoring
Life on the Edge, p. 421, #1; Poetry
Wrap-Up, p. 611, #2; Shakespeare
Activities, p. 700, #1
Calgary from Sunnyside, #5; Twisted
Roots, #2, #4; A Devoted Son, #1; The
Winner, #2; Easter at My Aunt’s, #4;
From No Great Mischief, #5; Ode to the
West Wind, #2; Utopian Dreams, #1;
Elegy in Stone, #1; My Mother’s Blue
Bowl, #3; Migrant Mother, #2; Get
Beyond Babel, #2; Ours by Design, #1,
#4; The Poetry of Earth and Sky, #2; The
Monkey’s Paw, #2; Aphorisms, #1;
Effective Persuasion, #3; Evening, #1;
vancouver–courtenay–calgary, #1; to you
who would wage war against me, #1;
The Rime of the Ancient Mariner, #2;
O Can You Leave Your Native Land?
#2; Because I Could Not Stop for
Death—, #3
Calgary from Sunnyside, #5; A Devoted
Son, #1; The Winner, #4; Was It a
Dream? #5; Ode to the West Wind, #2;
The Not-So-Deadly Sin, #1; Ours by
Design, #1, #4; The Poetry of Earth and
Sky, #1, #2; The Monkey’s Paw, #2;
Aphorisms, #1; The Heroes You Had as
a Girl, #3; foremother, #5; I, Icarus, #1;
Shakespeare in the Cinema, #3
pp. 14–15;
33–36;
213–218;
219–221
Calgary from Sunnyside, #2; Easter at
My Aunt’s, #1; From No Great Mischief,
#5; Portrait of the Essay as a Warm
Body, #3; The Not-So-Deadly Sin, #1;
The Poetry of Earth and Sky, #5;
Evening, #1; Amiri Baraka, #4; I, Icarus,
#5; From The Canterbury Tales, #3;
Dover Beach, #4; Film Location for
Random Passage, #1
pp. 55; 145
Calgary from Sunnyside, #2; Twisted
Roots, #5; Windows, #5; The Spirit of
Haida Gwaii, #5; Mazes, #1; Was It a
Dream? #5; From No Great Mischief,
#5; Afternoon of an American Boy, #5;
Call of the Weird, #4; The Poetry of
Earth and Sky, #5; Engineers’ Corner,
#4; Is the Pathetic Fallacy True? #1;
Evening, #1; Summer Night, #5; From
The Canterbury Tales, #3; O Can You
Leave Your Native Land? #5
pp. 121–136;
182–187;
188–189;
221–272
Twisted Roots, #4; Magpies, #5; The
Spirit of Haida Gwaii, #3; A Modest
Proposal, #5; Peace, Technology, and the
Role of Ordinary People, #4; Aphorisms,
#3; Evening, #4; Sonnet 116, #5; A
Marriage Proposal, #5; Shakespeare in
the Cinema, #3
pp. 61–62; 273–
276;
342–372
Outside Edges, #1; Twisted Roots, #4;
Magpies, #5; The Spirit of Haida Gwaii,
#3; A Modest Proposal, #5; Peace,
Technology, and the Role of Ordinary
People, #4; Evening, #4; Sonnet 116, #5
pp. 7–16;
273–325
Short Fiction Wrap-Up, p. 163, #3; Elegy in
Stone, p. 235, #1; A Modest Proposal,
p. 293, #1; Hockey Night in Port
Hawkesbury, p. 335, #1; The Sixth Flight,
p. 344, #1; Ours by Design, p. 362, #2;
Unzipped, p. 389, #1; Morty Mania, p. 394,
#1; Restoring Life on the Edge, p. 421, #1
1.2.2 Express preferences, and expand interests
The Winner, p. 108, #1; Short Fiction
1.2.2.1
Wrap-Up, p. 163, #3; Dead Parrot, p. 654,
reflect on and describe personal text
#1
preferences, and identify influences that
have contributed to the formation of these
preferences; identify and describe strategies
that may be used to expand interests in texts
and text creators; select appropriate
strategies to expand such interests, and
monitor their effectiveness;
modify selected strategies as needed
The Winner, p. 108, #1, #3; Short Fiction
1.2.2.2
Wrap-Up, p. 163, #3; Universal Themes and
cultivate appreciation for a variety of
Patterns: Activities, p. 193, #1, #4
genres, texts and text creators
1.2.3 Set personal goals for language growth
Mazes, p. 149, #1
1.2.3.1
appraise own strengths and weaknesses as a
language user; select appropriate strategies
to increase strengths and address
weaknesses; monitor the effectiveness of
selected strategies; and modify selected
strategies as needed to optimize growth as a
language user
Mazes, p. 149, #1
1.2.3.2
set goals, and draw from a repertoire of
effective strategies for language growth in
relation to aspirations for the future [such as
post-secondary learning and potential
careers]
Reference
Points
pp. 15–39
4
Viewpoints 12
Teacher Resource
Reference
Points
ELA 30-1 Outcomes
General Outcome 2 – Students will listen, speak, read, write, view and represent to comprehend literature and other texts in
oral, print, visual and multimedia forms, and respond personally, critically and creatively.
2.1 Construct meaning from text and context
2.1.1 Discern and analyze content
pp. 2–3; 64;
Utopian Dreams, #2, #3; Afternoon of an
The Rocking-Horse Winner, p. 35, #3; A
2.1.1.1
204–205; 214;
American Boy, #5; Chameleons and
Devoted Son, p. 86, #2; Peace and War,
explain the text creator’s purpose, including
235; 239–245;
Codas, #2, #3; The Death of the Moth,
p. 141, #2; Short Fiction Wrap-Up, p. 163,
implicit purpose when applicable, and
321–322
#2; Migrant Mother, #5; Call of the
#3; Ka-Ching! p. 208, #1, #2; Chameleons
explain the suitability of the text to the
Weird, #2; A Modest Proposal, #5; Get
and Codas, p. 228, #1; A Modest Proposal,
Beyond Babel, #4; The Death of History
p. 293, #2; Hockey Night in Port
target audience
Hawkesbury, p. 335, #2; The Humpback of
Notre Dame, p. 392, #1; Morty Mania,
p. 394, #1; Argument and Persuasion:
Activities, p. 475, #2; Engineers’ Corner,
p. 480, #2; Fern Hill, p. 497, #1; Afternoons
& Coffeespoons, p. 541, #1; The River, p.
544, #1; From The Canterbury Tales, p.
569, #1, #2; Dover Beach, p. 607, #1; A
Marriage Proposal, p. 633, #3; From
Acoose: Man Standing Above Ground, p.
639, #1; Dead Parrot, p. 654, #3;
Shakespeare: Activities, p. 700, #1
2.1.1.2
analyze aspects of a text that suggest the
nature of the communication situation
within which the text has been created [for
example, elements that suggest whether a
text creator is communicating as an
individual or as a representative of a
particular group], and analyze the milieu
from which the text arose
2.1.1.3
assess and explain the interplay between a
text and its context, and appreciate the
effects of this interplay [for example, the
effects of societal and historical forces on
the perspectives presented by a text creator
and the style, vocabulary and idiom chosen]
The Rocking-Horse Winner, p. 35, #2;
Magpies, p. 95, #1; Windows, p. 117, #1;
Universal Themes and Patterns: Activities,
p. 193, #4; Portrait of the Essay as a Warm
Body, p. 204, #1; Afternoon of an American
Boy, p. 215, #1; Get Beyond Babel, p. 299,
#1; Hockey Night in Port Hawkesbury, p.
335, #2; A Chat with Al Purdy, p. 353, #2;
Media on Media: Activities, p. 451, #2;
Argument and Persuasion: Activities, p.
475, #2; The Heroes You Had as a Girl, p.
506, #1; From Acoose: Man Standing
Above Ground,
p. 639, #1
Magpies, p. 95, #1; Universal Themes and
Patterns: Activities, p. 193, #4; Afternoon
of an American Boy, p. 215, #1; A Place to
Stand On, p. 223, #3; Elegy in Stone,
p. 235, #2; Get Beyond Babel, p. 299, #1;
Hockey Night in Port Hawkesbury, p. 335,
#2; The Sixth Flight, p. 344, #3; A Chat
with Al Purdy, p. 353, #2; Media on Media:
Activities, p. 451, #2; Musée des Beaux
Arts, p. 520, #1; From Beowulf, p. 559, #1;
O Can You Leave Your Native Land?
p. 603, #2; A Marriage Proposal, p. 633, #3;
Dead Parrot, p. 654, #3; Shakespeare:
Activities, p. 700, #1
Is Bunk, #3; Wanderers by Choice, #3;
Slide to Entropy, #1; Paradise, a Poet,
and Promised Land, #2; The Sixth Flight,
#3; Look What I Found, #2; Landscape
with the Fall of Icarus, #3; Unzipped, #2,
#3; The Humpback of Notre Dame, #1;
Restoring Life on the Edge, #2; King
Zog’s Birthday, #3; Giant Database Is
Ripe for Abuse, #1; Prairie Flight, #2;
Amiri Baraka, #3; Musée des Beaux
Arts, #4; People on the Bridge, #5; The
River, #5; Because I Could Not Stop for
Death—, #5; From Acoose: Man
Standing Above Ground, #2; Saloonio,
#1
Magpies, #2, #3; The Spirit of Haida
Gwaii, #1, #5; Was It a Dream? #1;
Chameleons and Codas, #2; Migrant
Mother, #5; Why I Write, #1; Call of the
Weird, #2; A Modest Proposal, #5; Get
Beyond Babel, #4; Wanderers by Choice,
#3; Peace, Technology, and the Role of
Ordinary People, #5; Landscape with the
Fall of Icarus, #3; Amiri Baraka, #3; to
you who would wage war against me, #2;
Musée des Beaux Arts, #5; People on the
Bridge, #5; Summer Night, #5; The
River, #5; Mu-lan, #3; From Acoose:
Man Standing Above Ground, #5
Magpies, #2, #3, #5; The Spirit of Haida
Gwaii, #1, #5; Was It a Dream? #1; The
Hero’s Adventure, #2; Ode to the West
Wind, #3; Araby from Dubliners, #3;
Utopian Dreams, #2; Portrait of the
Essay as a Warm Body, #5; Migrant
Mother, #5; Of Youth and Age, #1; Why
I Write, #1; Call of the Weird, #2; A
Modest Proposal, #5; Get Beyond Babel,
#4; Wanderers by Choice, #3; Peace,
Technology, and the Role of Ordinary
People, #5; Landscape with the Fall of
Icarus, #3; Unzipped, #2; Engineers’
Corner, #2; The Committee to Upgrade
Celestial Signs, #3; foremother, #5;
Musée des Beaux Arts, #4, #5; Progress,
#4; Summer Night, #5; The River, #4,
#5; grammar poem, #3; Mu-lan, #2;
From The Canterbury Tales, #3; O Can
You Leave Your Native Land? #4;
Dover Beach, #4, #5; From Acoose: Man
Standing Above Ground, #2; Stop! #2
pp. 46–47; 124;
260–264
pp. 46–47; 124;
260–264
5
ELA 30-1 Outcomes
2.1.2 Understand and interpret content
2.1.2.1
experiment with a variety of appropriate
comprehension strategies [such as reading
passages out loud, forming questions,
making predictions, using context to
determine the connotative meanings of
words, using graphic organizers and making
annotations]
Viewpoints 12
Teacher Resource
Ka-Ching! p. 208, #1; Guy Lafleur, p. 250,
#2; Of Youth and Age, p. 261, #1; Why I
Write, p. 271, #1; Paradise, a Poet, and
Promised Land, p. 330, #1; Look What I
Found, p. 364, #1; Media on Media:
Activities, p. 451, #3; Is the Pathetic Fallacy
True? p. 483, #1; Fern Hill, p. 497, #2; The
Committee to Upgrade Celestial Signs, p.
502, #1; People on the Bridge,
p. 523, #1; grammar poem, p. 547, #1; The
Rime of the Ancient Mariner, p. 600, #1
The Rocking-Horse Winner, #1;
Magpies, #1; Easter at My Aunt’s, #2;
Peace and War, #1; Mazes, #2, #3; From
The Archetypes of Literature, #1;
Ka-Ching! #2; My Mother’s Blue Bowl,
#2; Get Beyond Babel, #1; Wanderers by
Choice, #2; The Sixth Flight, #1; Buying
Your Next Synthesizer, #5; The
Monkey’s Paw, #3; almost visible, #1;
Poetry, #1; Evening, #2; Fern Hill, #2;
The Committee to Upgrade Celestial
Signs, #1; The Heroes You Had as a Girl,
#2; Musée des Beaux Arts, #3; From The
Canterbury Tales, #2; Sonnet 116, #2,
#3; A Poison Tree, #3; The Rime of the
Ancient Mariner, #2; O Can You Leave
Your Native Land? #2; Dover Beach, #2;
Because I Could Not Stop for Death—,
#2; Set Design for The Foreigner, #2;
Shakespeare in the Cinema, #2;
Saloonio, #1
The Shining Houses, #2; Peace and War,
#1; Mazes, #3; From The Archetypes of
Literature, #1; Wanderers by Choice, #2;
Buying Your Next Synthesizer, #5; The
Monkey’s Paw, #1; Sonnet 116, #2; Set
Design for The Foreigner, #2; From
Hamlet, #1; Shakespeare in the Cinema,
#1
From The Archetypes of Literature, #2;
Ka-Ching! #2, #4; A Place to Stand On,
#2; The Death of the Moth, #3; Guy
Lafleur, #2; My Mother’s Blue Bowl, #3;
Migrant Mother, #4; A Modest Proposal,
#3; Peace, Technology, and the Role of
Ordinary People, #2, #4; Slide to
Entropy, #2; Paradise, a Poet, and
Promised Land, #1; Buying Your Next
Synthesizer, #1; A Chat with Al Purdy,
#3; Unzipped, #4; Morty Mania, #1; The
Monkey’s Paw, #1, #3; Restoring Life on
the Edge, #3, #4; Effective Persuasion,
#1; Giant Database Is Ripe for Abuse,
#1; Our Water Sovereignty Is at Risk, #1;
From Water, #1; Poetry, #1, #3; Birch
Bark, #2; vancouver–courtenay–calgary,
#2; Prairie Flight, #1; Fern Hill, #2;
Musée des Beaux Arts, #2; The Love
Song of J. Alfred Prufrock, #2;
Afternoons & Coffeespoons, #1, #2; The
River, #2; From Beowulf, #2; From The
Canterbury Tales, #2; The Rime of the
Ancient Mariner, #2; Dover Beach, #2;
Because I Could Not Stop for Death—,
#3; From Acoose: Man Standing Above
Ground, #2; From Hamlet, #2; Saloonio,
#1
A Devoted Son, #3; War, #2; From
Beowulf, #4; Because I Could Not Stop
for Death—, #3
2.1.2.2
select appropriate comprehension strategies
from a broad repertoire of developed
strategies
Media on Media: Activities, p. 451, #3;
Argument and Persuasion: Activities,
p. 475, #2
2.1.2.3
explain how controlling ideas, supporting
ideas and supporting details are related in a
broad variety of texts
Write Me Sometime, p. 45, #1; Outside
Edges, p. 58, #1; The Shining Houses,
p. 73, #1; A Devoted Son, p. 86, #2;
Magpies, p. 95, #1; Short Fiction Wrap-Up,
p. 163, #1; Universal Themes and Patterns:
Activities, p. 193, #1, #2; Ka-Ching!
p. 208, #1; A Place to Stand On, p. 223, #2,
#3; Why I Write, p. 271, #2; The Not-SoDeadly Sin, p. 278, #2; A Modest Proposal,
p. 293, #1; Get Beyond Babel, p. 299, #2;
Slide to Entropy, p. 326, #2, #3; Hockey
Night in Port Hawkesbury, p. 335, #1;
Buying Your Next Synthesizer, p. 348, #2;
A Chat with Al Purdy, p. 353, #1; Ours by
Design, p. 362, #1; Landscape with the Fall
of Icarus, p. 366, #1; The Humpback of
Notre Dame, p. 392, #1; Argument and
Persuasion: Activities, p. 475, #2; Is the
Pathetic Fallacy True? p. 483, #1; I, Icarus,
p. 517, #1; People on the Bridge, p. 523, #1;
From The Canterbury Tales, p. 569, #1;
Sonnet 116, p. 571, #1; O Can You Leave
Your Native Land? p. 603, #1; Dover
Beach, p. 607, #1; Film Location for
Random Passage, p. 640, #1
2.1.2.4
assess the contributions of setting, plot,
character and atmosphere to the
development of theme when studying a
narrative
The Rocking-Horse Winner, p. 35, #2;
Write Me Sometime, p. 45, #3; Outside
Edges, p. 58, #1; The Shining Houses,
p. 73, #2; Short Fiction Wrap-Up, p. 163,
#3; Ka-Ching! p. 208, #1; Drama Wrap-Up,
p. 655, #3; Shakespeare: Activities, p. 700,
#2
Reference
Points
pp. 15–40;
50–51
pp. 15–40
pp. 28–29;
33–36; 57
pp. 111;
139–150;
192–194
6
ELA 30-1 Outcomes
2.1.2.5
analyze and explain the personality traits,
roles, relationships, motivations, attitudes
and values of characters developed/persons
presented in literature and other texts
2.1.2.6
explain how archetypal qualities of
characters contribute to the development of
other textual elements [such as theme]
2.1.2.7
relate a text creator’s tone and register to the
moral and ethical stance explicitly or
implicitly communicated by a text, when
appropriate
2.1.2.8
assess the contributions of figurative
language, symbol and allusion to the
meaning and significance of texts
2.1.2.9
assess the contribution of imagery to the
meaning and significance of texts
2.1.2.10
assess the contributions that visual and aural
elements make to the meaning of texts
Viewpoints 12
Teacher Resource
The Rocking-Horse Winner, p. 34, #1;
Write Me Sometime, p. 45, #1; Outside
Edges, p. 58, #1; The Shining Houses,
p. 73, #2; Magpies, p. 95, #2; War, p. 136,
#1; Mazes, p. 149, #2; Short Fiction WrapUp, p. 163, #3, #4; The Death of History Is
Bunk, p. 305, #1; A Chat with Al Purdy,
p. 353, #1; Unzipped, p. 389, #2; to you
who would wage war against me, p. 514,
#1; The Love Song of J. Alfred Prufrock,
p. 538, #1; From Beowulf, p. 559, #1; A
Marriage Proposal, p. 633, #2; Stop! p. 649,
#2; Drama Wrap-Up, p. 655, #2
Magpies, p. 95, #1; Landscape with the Fall
of Icarus, p. 366, #1; From The Canterbury
Tales, p. 569, #2
The Shining Houses, #2, #3; A Devoted
Son, #4; The Winner, #3; Windows, #4;
War, #2; Peace and War, #4; Was It a
Dream? #4, #5; Ka-Ching! #4; A Place to
Stand On, #2; Chameleons and Codas,
#3; Elegy in Stone, #5; The Not-SoDeadly Sin, #2; A Modest Proposal, #3;
The Sixth Flight, #2; Ours by Design, #3;
foremother, #2; The Shakespearean
Tragic Hero, #2; From Strong Women
Prevail in Shakespeare’s Comedies, #3
pp. 111; 138;
146–148;
193–194
The Spirit of Haida Gwaii, #5; Was It a
Dream? #5; Get Beyond Babel, #4;
Mu-lan, #2; From Beowulf, #4; The
Shakespearean Tragic Hero, #2
pp. 138;
146–148;
193–194
Peace and War, #2; The Spirit of Haida
Gwaii, #5; Chameleons and Codas, #3,
#4; Migrant Mother, #2, #5; Why I
Write, #1; Call of the Weird, #3; A
Modest Proposal, #2, #3; Slide to
Entropy, #2; Giant Database Is Ripe for
Abuse, #2; Let’s Stop Being Hysterical,
#2
A Devoted Son, #2; War, #3; Araby from
Dubliners, #2; The Death of the Moth,
#4; Guy Lafleur, #3; Why I Write, #3;
The Not-So-Deadly Sin, #2; Get Beyond
Babel, #1; Slide to Entropy, #3; King
Zog’s Birthday, #1; Prairie Flight, #3;
Fern Hill, #5; Progress, #2; The Love
Song of J. Alfred Prufrock, #3; The
River, #2; A Poison Tree, #2; The Rime
of the Ancient Mariner, #3; Because I
Could Not Stop for Death—, #3
pp. 139;
157–158; 163
The Shining Houses, p. 73, #2; A Devoted
Son, p. 86, #2; Mazes, p. 149, #2; Short
Fiction Wrap-Up, p. 163, #3; A Modest
Proposal, p. 293, #2; Slide to Entropy,
p. 326, #2; Argument and Persuasion:
Activities, p. 475, #2; Engineers’ Corner,
p. 480, #1
The Rocking-Horse Winner, p. 35, #2;
Short Fiction Wrap-Up, p. 163, #3;
Universal Themes and Patterns: Activities,
p. 193, #2; Portrait of the Essay as a Warm
Body, p. 204, #1; Chameleons and Codas,
p. 228, #2; Of Youth and Age, p. 262, #3;
Call of the Weird, p. 282, #1; Is the Pathetic
Fallacy True? p. 483, #2; Birch Bark, p.
488, #2; I, Icarus, p. 517, #2; Musée des
Beaux Arts, p. 520, #2; The Love Song of J.
Alfred Prufrock, p. 538, #2; Afternoons &
Coffeespoons, p. 541, #1; grammar poem,
p. 547, #2; From The Canterbury Tales, p.
569, #1; Poetry Wrap-Up, p. 611, #2
The Rocking-Horse Winner, p. 35, #2;
Write Me Sometime, p. 45, #1; Peace and
War, p. 141, #3; Short Fiction Wrap-Up,
p. 163, #3; Universal Themes and Patterns:
Activities, p. 193, #2; Paradise, a Poet, and
Promised Land, p. 330, #1; Birch Bark,
p. 488, #2; Fern Hill, p. 497, #2; I, Icarus, p.
517, #1; Summer Night, p. 529, #1; O Can
You Leave Your Native Land? p. 603, #1;
Poetry Wrap-Up, p. 611, #2
Twisted Roots, p. 60, #2; The Spirit of
Haida Gwaii, p. 142, #2; Universal Themes
and Patterns: Activities, p. 193, #3; Migrant
Mother, p. 256, #2; The Sixth Flight,
p. 344, #2; Landscape with the Fall of
Icarus, p. 366, #2; Shower at Ohashi
Bridge, p. 368, #1; The Poetry of Earth and
Sky, p. 370, #2; Canada: A Virtual History,
p. 380, #1, #2; The Humpback of Notre
Dame, p. 392, #1, #2; Argument and
Persuasion: Activities, p. 475, #2; Summer
Night, p. 529, #2; Poetry Wrap-Up, p. 611,
#2; Dead Parrot, p. 654, #2; Shakespeare:
Activities, p. 700, #2
A Devoted Son, #3; Windows, #3; From
No Great Mischief, #3; Araby from
Dubliners, #2; The Death of the Moth,
#4; Why I Write, #3; The Not-So-Deadly
Sin, #2; Is the Pathetic Fallacy True? #2,
#3; Birch Bark, #4; Fern Hill, #5;
Progress, #3; Afternoons &
Coffeespoons, #3; From Beowulf, #4; A
Poison Tree, #2; The Rime of the
Ancient Mariner, #3; Dover Beach, #2
Twisted Roots, #3; Easter at My Aunt’s,
#3; Migrant Mother, #5; A Chat with Al
Purdy, #2; Look What I Found, #1, #2;
Landscape with the Fall of Icarus, #4;
Shower at Ohashi Bridge, #1, #4, #5;
Canada: A Virtual History, #4, #5; The
Humpback of Notre Dame, #3, #5; Morty
Mania, #1; Is the Pathetic Fallacy True?
#4; Evening, #4; Amiri Baraka, #2; The
Heroes You Had as a Girl, #2; The River,
#3; Mu-lan, #4; Film Location for
Random Passage, #1
Reference
Points
pp. 112; 129;
136–137;
163–168; 249
pp. 36–39; 163–
166; 169; 171–
173
pp. 36–39; 176–
183;
239–250;
255–268; 323
7
ELA 30-1 Outcomes
2.1.2.11
assess the relationship between the content
of a presentation and the performance of the
presenter, and explain how the quality of the
performance affects the credibility and
audience acceptance of the content and
message
2.1.3 Engage prior knowledge
2.1.3.1
reflect on and describe strategies used to
engage prior knowledge as a means of
assisting comprehension of new text; select
appropriate strategies to engage prior
knowledge, and monitor their effectiveness;
and modify selected strategies as needed
2.1.3.2
assess the contribution of prior knowledge
of contexts, content and text forms to new
understandings
2.1.3.3
relate prior understandings of rhetorical
devices used in previously studied texts and
of textual elements and structures developed
to understandings of rhetorical devices used
and textual elements and structures
employed or developed in new texts
2.1.3.4
classify the genre of new texts according to
attributes of genres previously studied
Viewpoints 12
Teacher Resource
The Heroes You Had as a Girl, p. 506, #2;
Dead Parrot, p. 654, #2
Unzipped, #4; Evening, #5; The
Committee to Upgrade Celestial Signs,
#5; People on the Bridge, #5; Sonnet
116, #5; A Poison Tree, #4
pp. 4; 321–325
Short Fiction Wrap-Up, p. 163, #3; Media
on Media: Activities, p. 451, #3, #4; People
on the Bridge, p. 523, #1; A Poison Tree,
p. 572, #1
Magpies, #1; From No Great Mischief,
#2; The Sixth Flight, #1; Unzipped, #1;
The Humpback of Notre Dame, #1; Birch
Bark, #1
pp. 18–19; 21
The Death of the Moth, p. 241, #1; My
Mother’s Blue Bowl, p. 255, #1; Migrant
Mother, p. 256, #1; The Humpback of Notre
Dame, p. 392, #1; Media on Media:
Activities, p. 451, #3, #4; Musée des Beaux
Arts, p. 520, #1; People on the Bridge,
p. 523, #1; A Poison Tree, p. 572, #1;
Shakespeare: Activities, p. 700, #1
Short Fiction Wrap-Up, p. 163, #3; The
Death of History Is Bunk, p. 305, #2; Slide
to Entropy, p. 326, #2; Morty Mania,
p. 394, #1; People on the Bridge, p. 523, #1;
A Poison Tree, p. 572, #1
Magpies, #1, #3; Peace and War, #1;
Was It a Dream? #5; Prairie Flight, #5;
foremother, #1; The Rime of the Ancient
Mariner, #1
pp. 18–19
The Spirit of Haida Gwaii, #1; Was It a
Dream? #5; Portrait of the Essay as a
Warm Body, #1; Afternoon of an
American Boy, #2; A Modest Proposal,
#1; A Chat with Al Purdy, #2; The
Humpback of Notre Dame, #1; Poetry,
#3; Prairie Flight, #5; From The
Canterbury Tales, #5; A Poison Tree, #1;
The Rime of the Ancient Mariner, #1; Set
Design for The Foreigner, #2;
Shakespeare in the Cinema, #1; From
Strong Women Prevail in Shakespeare’s
Comedies, #1
Windows, #5; Was It a Dream? #5;
Utopian Dreams, #3; Portrait of the
Essay as a Warm Body, #1; The Sixth
Flight, #2; The Humpback of Notre
Dame, #1; Poetry, #3; Engineers’ Corner,
#4; From The Canterbury Tales, #5;
From Strong Women Prevail in
Shakespeare’s Comedies, #1
pp. 113–116;
139–142
Was It a Dream? p. 154, Another Viewpoint
2.1.4 Use reference strategies and reference technologies
Magpies, p. 95, #2; Short Fiction Wrap-Up,
2.1.4.1
p. 163, #3; Universal Themes and Patterns:
identify and use a variety of appropriate
Activities, p. 193, #1, #3, #4; Chameleons
reference strategies [such as formulating
and Codas, p. 228, #3; Get Beyond Babel,
and refining questions, and exploring works p. 299, #3; Restoring Life on the Edge,
p. 421, #2; I, Icarus, p. 517, #2; People on
cited in other references] and reference
technologies [such as library catalogues and the Bridge, p. 523, #2; From Beowulf,
p. 559, #2; Poetry Wrap-Up, p. 611, #2;
Internet search engines] to aid
Drama Wrap-Up, p. 655, #1
understanding
2.1.4.2
create and use own reference materials
[such as a personalized dictionary/glossary
and a personalized URL address list] to aid
understanding
Poetry Wrap-Up, p. 611, #4
The Spirit of Haida Gwaii, #5; Mazes,
#1; Portrait of the Essay as a Warm
Body, #5; Why I Write, #5; Look What I
Found, #5; Landscape with the Fall of
Icarus, #1, #3; Unzipped, #1; The
Monkey’s Paw, #1; Restoring Life on the
Edge, #4; Giant Database Is Ripe for
Abuse, #3; Our Water Sovereignty Is at
Risk, #2; From Water, #3; vancouver–
courtenay–calgary, #5; Amiri Baraka, #3;
The River, #5; From Beowulf, #3; A
Poison Tree, #4; Film Location for
Random Passage, #3; The Shakespearean
Tragic Hero, #3
The Monkey’s Paw, #3; Restoring Life
on the Edge, #3; From Beowulf, #3; The
Shakespearean Tragic Hero, #3
Reference
Points
pp. 49; 112;
182–187;
256–266
pp. 9–14;
60–61; 75–76;
88–91;
309–310
pp. 46; 317
8
Viewpoints 12
ELA 30-1 Outcomes
2.2 Understand and appreciate textual forms, elements and techniques
2.2.1 Relate form, structure and medium to purpose, audience and content
Twisted Roots, p. 60, #2; Easter at My
2.2.1.1
Aunt’s, p. 118, #2; War, p. 137, #2, #3;
analyze a variety of text forms, explain the
Universal Themes and Patterns: Activities,
relationships of form to purpose and
p. 193, #3; Of Youth and Age, p. 262, #2;
content, and assess the effects of these
Why I Write, p. 271, #1; The Not-SoDeadly Sin, p. 278, #1; The Sixth Flight,
relationships on audience
2.2.1.2
assess the potential influence of various
audience factors on a text creator’s choice
of form and medium
2.2.1.3
apply knowledge of a variety of
organizational patterns and structural
features to understand purpose and to
confirm meaning of content
2.2.1.4
assess the effectiveness of a text’s
organizational structure
p. 344, #2; Buying Your Next Synthesizer,
p. 348, #2; Media on Media: Activities,
p. 451, #2; Argument and Persuasion:
Activities, p. 475, #2; Prairie Flight, p. 493,
#1; foremother, p. 510, #2; People on the
Bridge, p. 523, #2; Progress, p. 526, #2;
Summer Night, p. 529, #1, #2; From
Beowulf, p. 559, #2; A Poison Tree, p. 572,
#2; The Rime of the Ancient Mariner,
p. 600, #2; Dover Beach, p. 607, #2; Drama
Wrap-Up, p. 655, #4
War, p. 137, #2; Guy Lafleur, p. 250, #3;
Media on Media: Activities, p. 451, #2;
Argument and Persuasion: Activities,
p. 475, #2; From Beowulf, p. 559, #2; A
Marriage Proposal, p. 633, #3
Mazes, p. 149, #2; A Place to Stand On,
p. 223, #2; The Death of the Moth, p. 241,
#2; Guy Lafleur, p. 250, #2; Of Youth and
Age, p. 262, #2; A Modest Proposal,
p. 293, #2; Media on Media: Activities,
p. 451, #2; Argument and Persuasion:
Activities, p. 475, #2; Mu-lan, p. 552, #2;
From Acoose: Man Standing Above
Ground, p. 639, #2
The Winner, p. 108, #2; War, p. 137, #3; A
Place to Stand On, p. 223, #2; The Death of
the Moth, p. 241, #2; Guy Lafleur, p. 250,
#2; Why I Write, p. 271, #2; A Modest
Proposal, p. 293, #2; Get Beyond Babel,
p. 299, #2; Argument and Persuasion:
Activities, p. 475, #2; From Acoose: Man
Standing Above Ground, p. 639, #2
Argument and Persuasion: Activities,
p. 475, #2
2.2.1.5
assess the medium of a presentation [such as
the use of unamplified voice, printed
handouts and computer-generated slides] in
terms of its appropriateness to purpose and
content and its effect on audience
2.2.2 Relate elements, devices and techniques to created effects
Twisted Roots, p. 60, #2; Universal Themes
2.2.2.1
and Patterns: Activities, p. 193, #3; Portrait
assess the contributions of rhetorical
of the Essay as a Warm Body, p. 204, #2;
devices and stylistic techniques to the
Get Beyond Babel, p. 299, #2; The Death of
clarity and coherence of print and nonprint
History Is Bunk, p. 305, #2; Wanderers by
Choice, p. 312, #2; Peace, Technology, and
texts, and assess the various means by
the Role of Ordinary People, p. 322, #2;
which devices and techniques are used to
Slide to Entropy, p. 326, #2; Canada: A
emphasize aspects or portions of a text
Virtual History, p. 380, #2; The Humpback
of Notre Dame, p. 392, #2; Argument and
Persuasion: Activities, p. 475, #2
Teacher Resource
Reference
Points
Magpies, #3; Windows, #2; Portrait of
the Essay as a Warm Body, #1, #4; Elegy
in Stone, #2, #3; My Mother’s Blue
Bowl, #2; The Sixth Flight, #3; Buying
Your Next Synthesizer, #4; Canada: A
Virtual History, #4; Unzipped, #2, #5;
The Humpback of Notre Dame, #1, #4;
Morty Mania, #3; The News, #1; King
Zog’s Birthday, #3; Poetry, #2;
foremother, #3; Progress, #4; grammar
poem, #3; Mu-lan, #5; Sonnet 116, #2;
The Rime of the Ancient Mariner, #4;
From Acoose: Man Standing Above
Ground, #4; From Hamlet, #2
pp. 33–35; 50;
204–205; 214;
300–301;
303–307
Magpies, #3; From The Archetypes of
Literature, #1; Afternoon of an American
Boy, #5; My Mother’s Blue Bowl, #2;
The Death of History Is Bunk, #3; The
Sixth Flight, #3; Unzipped, #2; The
Humpback of Notre Dame, #1, #5; Morty
Mania, #3, #5; The News, #1; King
Zog’s Birthday, #3; From Acoose: Man
Standing Above Ground, #4
Windows, #2; From The Archetypes of
Literature, #2; Portrait of the Essay as a
Warm Body, #2; My Mother’s Blue
Bowl, #2; Peace, Technology, and the
Role of Ordinary People, #3; Paradise, a
Poet, and Promised Land, #3; Poetry, #2;
Birch Bark, #2, #3; The Committee to
Upgrade Celestial Signs, #2; foremother,
#3; I, Icarus, #3; grammar poem, #4
Windows, #2; Portrait of the Essay as a
Warm Body, #2, #4; Elegy in Stone, #2,
#3; Peace, Technology, and the Role of
Ordinary People, #3; Paradise, a Poet,
and Promised Land, #3; Birch Bark, #3;
I, Icarus, #3; grammar poem, #4; The
Rime of the Ancient Mariner, #4
pp. 201–204;
214; 241–258;
321–322
A Place to Stand On, #4; The Humpback
of Notre Dame, #1, #4; The News, #1;
People on the Bridge, #5
pp. 213–215;
222–224;
233–235;
242–244;
248; 255; 260
The Rocking-Horse Winner, #4; Twisted
Roots, #3; Peace and War, #3; Was It a
Dream? #3; Ode to the West Wind, #2;
Portrait of the Essay as a Warm Body,
#4; Guy Lafleur, #4; My Mother’s Blue
Bowl, #2; Why I Write, #3; A Modest
Proposal, #2; The Death of History Is
Bunk, #2; Buying Your Next
Synthesizer, #2; Look What I Found, #1;
The Monkey’s Paw, #4; Learning
Without Lectures, #2; Let’s Stop Being
Hysterical, #2; From Water, #2; Poetry,
#2; vancouver–courtenay–calgary, #3;
Prairie Flight, #4; I, Icarus, #2
pp. 60–63; 326–
330;
349–372
pp. 33–35;
65–72;
182–187
pp. 65–72
9
ELA 30-1 Outcomes
2.2.2.2
assess the contributions of textual elements
and stylistic techniques to the creation of
atmosphere, tone and voice
2.2.2.3
assess the effects created by irony in a
variety of print and nonprint texts
2.2.2.4
identify and assess devices and techniques
used to create satire [such as irony,
exaggeration and caricature]
2.2.2.5
assess the use of musical devices and
figures of speech to create effects in a
variety of print and nonprint texts
2.2.2.6
explain how sensory details create imagery
in print and nonprint texts; and describe
how imagery, in turn, creates audience
effects [such as humour and pathos]
2.2.2.7
explain the contribution of motif and
symbol to controlling idea and theme
Viewpoints 12
Teacher Resource
Write Me Sometime, p. 45, #2; Twisted
Roots, p. 60, #2; A Devoted Son, p. 86, #2,
#3; Windows, p. 117, #3; War, p. 137, #2;
From No Great Mischief, p. 161, #1, #2;
Short Fiction Wrap-Up, p. 163, #3;
Universal Themes and Patterns: Activities,
p. 193, #3; Portrait of the Essay as a Warm
Body, p. 204, #2; Ka-Ching! p. 208, #2;
The Death of the Moth, p. 241, #3; My
Mother’s Blue Bowl, p. 255, #2; Why I
Write, p. 271, #2; The Death of History Is
Bunk, p. 305, #2; Slide to Entropy, p. 326,
#1; Paradise, a Poet, and Promised Land,
p. 330, #2; The Sixth Flight, p. 344, #2;
Argument and Persuasion: Activities,
p. 475, #2; Evening, p. 484, #2; vancouver–
courtenay–calgary, p. 491, #2; The
Committee to Upgrade Celestial Signs,
p. 502, #2; People on the Bridge, p. 523, #2;
Summer Night, p. 529, #1; The Love Song
of J. Alfred Prufrock, p. 538, #2;
Mu-lan, p. 552, #1; Sonnet 116, p. 571, #2;
Because I Could Not Stop for Death—,
p. 610, #2; Poetry Wrap-Up, p. 611, #2;
Stop! p. 649, #2
The Rocking-Horse Winner, #1; Write
Me Sometime, #2; Outside Edges, #3;
Windows, #3; Peace and War, #3; Was It
a Dream? #3; From No Great Mischief,
#3, #4; Portrait of the Essay as a Warm
Body, #4; Ka-Ching! #3, #4; Afternoon
of an American Boy, #1; Chameleons
and Codas, #4; Elegy in Stone, #2; The
Death of the Moth, #2, #3; The Not-SoDeadly Sin, #2; Call of the Weird, #3; A
Modest Proposal, #2, #3; The Death of
History Is Bunk, #2; Wanderers by
Choice, #4; Slide to Entropy, #5; Hockey
Night in Port Hawkesbury, #1; The Sixth
Flight, #4; Buying Your Next
Synthesizer, #3; Unzipped, #3; Restoring
Life on the Edge, #3; Learning Without
Lectures, #2; Giant Database Is Ripe for
Abuse, #2; Let’s Stop Being Hysterical,
#2; Engineers’ Corner, #3; vancouver–
courtenay–calgary, #3, #4; Prairie Flight,
#4; Fern Hill, #3, #4; I, Icarus, #4;
People on the Bridge, #3; Summer Night,
#2; From Beowulf, #3, #4; A Poison
Tree, #3; The Rime of the Ancient
Mariner, #3; Dover Beach, #2, #3; A
Marriage Proposal, #2; From Acoose:
Man Standing Above Ground, #3;
Invisible Genius, #2
Easter at My Aunt’s, #3; Peace and War,
#2, #3; Ka-Ching! #3; Elegy in Stone,
#2; A Modest Proposal, #1; Hockey
Night in Port Hawkesbury, #1
Write Me Sometime, p. 45, #2; A Devoted
Son, p. 86, #2; Mazes, p. 149, #2;
Ka-Ching! p. 208, #2; Call of the Weird, p.
282, #2; Engineers’ Corner, p. 480, #2; The
Love Song of J. Alfred Prufrock, p. 538, #2
The Rocking-Horse Winner, p. 35, #2;
Ka-Ching! p. 208, #2; A Modest Proposal,
p. 293, #1
A Devoted Son, p. 86, #3; Short Fiction
Wrap-Up, p. 163, #2; The Humpback of
Notre Dame, p. 392, #2; Is the Pathetic
Fallacy True? p. 483, #2; Birch Bark, p.
488, #2; The Committee to Upgrade
Celestial Signs, p. 502, #2; Summer Night,
p. 529, #2; Afternoons & Coffeespoons, p.
541, #2; Poetry Wrap-Up, p. 611, #2
The Rocking-Horse Winner, p. 35, #2;
Twisted Roots, p. 60, #1, #2; A Devoted
Son, p. 86, #3; Easter at My Aunt’s, p. 118,
#2; Peace and War, p. 141, #3; From No
Great Mischief, p. 161, #1; Paradise, a Poet,
and Promised Land, p. 330, #1, #2; The
Humpback of Notre Dame, p. 392, #2;
Morty Mania, p. 394, #1; Birch Bark,
p. 488, #2; foremother, p. 510, #2; to you
who would wage war against me, p. 514,
#2; Summer Night, p. 529, #1; Poetry
Wrap-Up, p. 611, #2
The Rocking-Horse Winner, p. 35, #2;
Write Me Sometime, p. 45, #2; Windows, p.
117, #2; From No Great Mischief,
p. 161, #1; Short Fiction Wrap-Up, p. 163,
#2; Universal Themes and Patterns:
Activities, p. 193, #2; Poetry Wrap-Up,
p. 611, #2
Reference
Points
pp. 139;
157–159; 163;
170–171
pp. 158–160;
249–250
Afternoon of an American Boy, #1; A
Modest Proposal, #1, #2, #5; Slide to
Entropy, #2
pp. 158–160;
204; 249–250
Calgary from Sunnyside, #3; Guy
Lafleur, #3; The Not-So-Deadly Sin, #2;
Prairie Flight, #3; Progress, #2; From
Beowulf, #3; The Rime of the Ancient
Mariner, #3; O Can You Leave Your
Native Land? #3
pp. 112;
176–182
Outside Edges, #3; The Shining Houses,
#4; A Devoted Son, #3; Windows, #3;
Easter at My Aunt’s, #3; From No Great
Mischief, #3; Ode to the West Wind, #2;
A Place to Stand On, #4; The Death of
the Moth, #4; The Not-So-Deadly Sin,
#2; A Modest Proposal, #2; Fern Hill,
#4; The Heroes You Had as a Girl, #2;
Progress, #3; Afternoons &
Coffeespoons, #3; Mu-lan, #4; From
Beowulf, #3; The Rime of the Ancient
Mariner, #3; Dover Beach, #2, #3; A
Marriage Proposal, #2
Outside Edges, #3; A Devoted Son, #2;
War, #3; Araby from Dubliners, #2; The
Death of the Moth, #4; The River, #2; A
Poison Tree, #2
pp. 112;
163–166; 169;
171–172
pp. 139;
166–168
10
ELA 30-1 Outcomes
2.2.2.8
analyze the various elements of effective
presentation, and assess the effects created
2.2.2.9
assess the use of persuasive techniques and
their effects on audience [for example,
assess the use of commercial endorsements
and negative advertisement campaigns,
which may convince or offend]
Viewpoints 12
Teacher Resource
The Sixth Flight, p. 344, #2; The Humpback
of Notre Dame, p. 392, #2; The Heroes You
Had as a Girl, p. 506, #2; Poetry Wrap-Up,
p. 611, #2; Drama Wrap-Up, p. 655, #2
Why I Write, p. 271, #2; Get Beyond Babel,
p. 299, #2; The Death of History Is Bunk, p.
305, #2; Peace, Technology, and the Role of
Ordinary People, p. 322, #2; Slide to
Entropy, p. 326, #2; Morty Mania,
p. 394, #1, #2; Argument and Persuasion:
Activities, p. 475, #2
Unzipped, #5; Shakespeare in the
Cinema, #3
pp. 7–8;
321–324;
326–330
Portrait of the Essay as a Warm Body,
#4; A Modest Proposal, #2; Slide to
Entropy, #5; Ours by Design, #4;
Unzipped, #5; The Humpback of Notre
Dame, #2; Morty Mania, #2; Effective
Persuasion, #1, #3; Giant Database Is
Ripe for Abuse, #2; Let’s Stop Being
Hysterical, #2, #3; From Water, #1, #2
pp. 36–39; 67;
215; 235–238;
242–244;
286–295;
306–307
The Rocking-Horse Winner, #3; Was It a
Dream? #2; Migrant Mother, #1;
Paradise, a Poet, and Promised Land, #1;
Ours by Design, #4; The Monkey’s Paw,
#1, #2; Effective Persuasion, #3; Summer
Night, #5; Stop! #2
pp. 51–57; 124–
127;
135–136;
215; 271–272
The Rocking-Horse Winner, #3; A
Devoted Son, #1; Was It a Dream? #2;
The Hero’s Adventure, #1; Migrant
Mother, #1; A Modest Proposal, #3;
Wanderers by Choice, #2; Slide to
Entropy, #2; Ours by Design, #4; Morty
Mania, #4, #5; The Monkey’s Paw, #2;
Aphorisms, #2; Effective Persuasion, #3
The Rocking-Horse Winner, #3;
Magpies, #2; Was It a Dream? #1, #2;
Ka-Ching! #2; A Place to Stand On, #3;
My Mother’s Blue Bowl, #1; Of Youth
and Age, #2; Why I Write, #2; A Modest
Proposal, #3, #5; The Death of History Is
Bunk, #4; Wanderers by Choice, #2;
Slide to Entropy, #5; Hockey Night in
Port Hawkesbury, #4; Unzipped, #5; The
Monkey’s Paw, #1, #2; Aphorisms, #2;
almost visible, #1; Effective Persuasion,
#1; Poetry, #1; Birch Bark, #1; Fern Hill,
#1; Amiri Baraka, #1; Summer Night, #5;
From The Canterbury Tales, #5; Sonnet
116, #5; O Can You Leave Your Native
Land? #4; Dover Beach, #4
The Rocking-Horse Winner, #3; Outside
Edges, #4; The Shining Houses, #3; A
Devoted Son, #4; Peace and War, #4;
Was It a Dream? #1, #2, #4; Ka-Ching!
#2, #5; The Death of History Is Bunk,
#4; Paradise, a Poet, and Promised Land,
#1; Hockey Night in Port Hawkesbury,
#2, #4; Ours by Design, #4; From The
Canterbury Tales, #2, #5; O Can You
Leave Your Native Land? #2
pp. 6–7; 51–57;
73–76
2.3 Respond to a variety of print and nonprint texts
2.3.1 Connect self, text, culture and milieu
Windows, p. 117, #1; Mazes, p. 149, #1;
2.3.1.1
Was It a Dream? p. 153, #2; Guy Lafleur,
identify and consider personal moral and
p. 250, #1; Get Beyond Babel, p. 299, #1;
ethical perspectives, as well as cultural
Media on Media: Activities, p. 451, #3
perspectives, when studying literature and
other texts; and reflect on and monitor how
perspectives change as a result of
interpretation and discussion
Mazes, p. 149, #1; Was It a Dream? p. 153,
2.3.1.2
form positions on issues that arise from text #2; Guy Lafleur, p. 250, #1; Why I Write, p.
271, #1; Wanderers by Choice, p. 312, #1;
study
Peace, Technology, and the Role of
Ordinary People, p. 321, #1; Media on
Media: Activities, p. 451, #3; to you who
would wage war against me, p. 514, #2
2.3.1.3
assess the ideas, information, arguments,
emotions, experiences, values and beliefs
expressed in works of literature and other
texts in light of issues that are personally
meaningful and culturally significant
2.3.1.4
assess the choices and motives of characters
and persons portrayed in texts in light of the
choices and motives of self and others
The Rocking-Horse Winner, p. 34, #1; A
Devoted Son, p. 86, #1; Windows, p. 117,
#1; Mazes, p. 149, #1; Was It a Dream?
p. 153, #2; Universal Themes and Patterns:
Activities, p. 193, #2; A Place to Stand On,
p. 222, #1; Elegy in Stone, p. 235, #1; The
Death of the Moth, p. 241, #1; Guy Lafleur,
p. 250, #1; My Mother’s Blue Bowl,
p. 255, #1; Why I Write, p. 271, #1; Get
Beyond Babel, p. 299, #1; Wanderers by
Choice, p. 312, #1; Peace, Technology, and
the Role of Ordinary People, p. 321, #1;
Landscape with the Fall of Icarus, p. 366,
#1, #2; Media on Media: Activities, p. 451,
#2; Engineers’ Corner, p. 480, #1; Fern
Hill, p. 497, #1; Dover Beach, p. 607, #1
The Rocking-Horse Winner, p. 34, #1; A
Devoted Son, p. 86, #1; Magpies, p. 95, #2;
Short Fiction Wrap-Up, p. 163, #4;
Afternoon of an American Boy, p. 215, #3;
A Place to Stand On, p. 222, #1; Elegy in
Stone, p. 235, #1; Unzipped, p. 389, #2;
Poetry Wrap-Up, p. 611, #1; A Marriage
Proposal, p. 633, #1
Reference
Points
pp. 51–53
pp. 111;
146–148;
193–194
11
ELA 30-1 Outcomes
2.3.1.5
examine and respond personally and
critically to the ways in which cultural and
societal influences are reflected in a variety
of Canadian and international texts
Viewpoints 12
Teacher Resource
The Rocking-Horse Winner, p. 35, #3;
Mazes, p. 149, #1; Short Fiction Wrap-Up,
p. 163, #1; Universal Themes and Patterns:
Activities, p. 193, #2; Afternoon of an
American Boy, p. 215, #1, #3; Hockey
Night in Port Hawkesbury, p. 335, #1; The
Sixth Flight, p. 344, #3; Unzipped, p. 389,
#2; Media on Media: Activities, p. 451, #2;
A Marriage Proposal, p. 633, #3
Outside Edges, #4; Magpies, #2; The
Spirit of Haida Gwaii, #1, #5; The
Hero’s Adventure, #2; Araby from
Dubliners, #3; Portrait of the Essay as a
Warm Body, #5; Of Youth and Age, #2;
Call of the Weird, #2; A Modest
Proposal, #5; Get Beyond Babel, #4;
Wanderers by Choice, #3; Hockey Night
in Port Hawkesbury, #2, #4; Ours by
Design, #4; Landscape with the Fall of
Icarus, #3; Unzipped, #5; Morty Mania,
#1; Summer Night, #5; O Can You
Leave Your Native Land? #4; Dover
Beach, #4, #5
2.3.2 Evaluate the verisimilitude, appropriateness and significance of print and nonprint texts
Universal Themes and Patterns: Activities,
The Rocking-Horse Winner, #3; Of
2.3.2.1
p. 193, #3; Peace, Technology, and the Role Youth and Age, #5; Why I Write, #1;
identify and describe critical thinking
of Ordinary People, p. 321, #1; Ours by
The Death of History Is Bunk, #3;
strategies and skills that may be used to
Design, p. 362, #2; Media on Media:
Canada: A Virtual History, #2;
evaluate text; select appropriate strategies,
Activities, p. 451, #3; Argument and
Unzipped, #5; Morty Mania, #2, #4, #5;
and monitor their effectiveness; and modify Persuasion: Activities, p. 475, #2; Evening, The Monkey’s Paw, #1, #4; Restoring
p. 484, #1; Because I Could Not Stop for
Life on the Edge, #2; Aphorisms, #2;
selected strategies as needed
Death—, p. 610, #1
2.3.2.2
assess the truth and significance of a text’s
theme or controlling idea, and the adequacy,
relevance and effectiveness of its content
[for example, the effectiveness of
supporting details, examples or illustrations]
The Rocking-Horse Winner, p. 34, #1;
Magpies, p. 95, #1; Mazes, p. 149, #1; Was
It a Dream? p. 153, #2; Short Fiction WrapUp, p. 163, #1; Universal Themes and
Patterns: Activities, p. 193, #3, #4;
Afternoon of an American Boy, p. 215, #1;
Guy Lafleur, p. 250, #1, #3; The Death of
History Is Bunk, p. 305, #1; Ours by
Design, p. 362, #2; Canada: A Virtual
History, p. 380, #2; Media on Media:
Activities, p. 451, #3; Fern Hill, p. 497, #2;
Drama Wrap-Up, p. 655, #1
2.3.2.3
assess the appropriateness of own and
others’ understandings and interpretations
of works of literature and other texts, by
referring to the works and texts for
supporting or contradictory evidence
The Rocking-Horse Winner, p. 34, #1; The
Shining Houses, p. 73, #1, #2; Peace and
War, p. 141, #2; Was It a Dream? p. 153,
#1; Short Fiction Wrap-Up, p. 163, #1, #3;
Afternoon of an American Boy, p. 215, #1,
#2; A Place to Stand On, p. 223, #3; Elegy
in Stone, p. 235, #2; Guy Lafleur, p. 250,
#2; Migrant Mother, p. 256, #1; Landscape
with the Fall of Icarus, p. 366, #1, #2;
Canada: A Virtual History, p. 380, #2;
Unzipped, p. 389, #1; The Humpback of
Notre Dame, p. 392, #1; Media on Media:
Activities, p. 451, #2; Fern Hill, p. 497, #2;
The Committee to Upgrade Celestial Signs,
p. 502, #1; Poetry Wrap-Up, p. 611, #1;
Shakespeare: Activities, p. 700, #2
The Rocking-Horse Winner, p. 34, #1; Was
It a Dream? p. 153, #2; A Place to Stand
On, p. 223, #3; Drama Wrap-Up, p. 655, #1;
Shakespeare: Activities, p. 700, #2
2.3.2.4
analyze and assess settings and plots in
terms of created reality and plausibility [for
example, determine the authenticity of the
setting of a work of historical fiction]
The News, #1, #2; Learning Without
Lectures, #2; King Zog’s Birthday, #3;
Giant Database Is Ripe for Abuse, #1,
#2, #3; Poetry, #3; From The Canterbury
Tales, #5; Dead Parrot, #5
Was It a Dream? #2; Portrait of the Essay
as a Warm Body, #4; A Place to Stand
On, #3; Elegy in Stone, #2, #3; Guy
Lafleur, #2; Of Youth and Age, #2; Why
I Write, #2; The Death of History Is
Bunk, #4; Paradise, a Poet, and Promised
Land, #2; Ours by Design, #4; The
Monkey’s Paw, #4; Learning Without
Lectures, #2; Is the Pathetic Fallacy
True? #3; Prairie Flight, #5; The Heroes
You Had as a Girl, #5; From The
Canterbury Tales, #3; O Can You Leave
Your Native Land? #2, #3
The Rocking-Horse Winner, #3;
Magpies, #4; The Spirit of Haida Gwaii,
#5; Was It a Dream? #4, #5; Portrait of
the Essay as a Warm Body, #4;
Afternoon of an American Boy, #1;
Migrant Mother, #2, #4; Call of the
Weird, #3; Paradise, a Poet, and
Promised Land, #2; Restoring Life on the
Edge, #2; Prairie Flight, #5; Progress, #4;
The Love Song of J. Alfred Prufrock, #5;
From The Canterbury Tales, #5; From
Strong Women Prevail in Shakespeare’s
Comedies, #3
Windows, #2; War, #5; The Monkey’s
Paw, #4
Reference
Points
pp. 52–53; 124–
137;
205–212
pp. 57; 64; 82;
190; 232; 235;
241; 243; 245;
250; 259;
260–264; 268;
270; 286; 303;
310
pp. 55–57;
75–76; 84
pp. 54–57;
75–76
pp. 143–145;
148–149
12
ELA 30-1 Outcomes
2.3.2.5
analyze and assess character and
characterization in terms of consistency of
behaviour, motivation and plausibility, and
in terms of contribution to theme [for
example, determine the meanings suggested
by a change in a character’s behaviour or
values]
2.3.2.6
analyze and assess images in print and
nonprint texts in terms of created reality and
appropriateness to purpose and audience
Viewpoints 12
Teacher Resource
The Rocking-Horse Winner, p. 34, #1; The
Shining Houses, p. 73, #2; Magpies, p. 95,
#2; Easter at My Aunt’s, p. 118, #1; War, p.
136, #1; A Marriage Proposal, p. 633, #2;
From Acoose: Man Standing Above
Ground, p. 639, #1; Drama Wrap-Up,
p. 655, #1, #2
Write Me Sometime, #3; A Devoted Son,
#4; Magpies, #4; The Winner, #3;
Windows, #4; War, #2; Peace and War,
#4; Was It a Dream? #4; From No Great
Mischief, #2; Elegy in Stone, #5; Hockey
Night in Port Hawkesbury, #3;
Unzipped, #5; Effective Persuasion, #3;
foremother, #2; From Strong Women
Prevail in Shakespeare’s Comedies, #3
pp. 111; 138;
146–148;
193–194
Twisted Roots, p. 60, #2; Easter at My
Aunt’s, p. 118, #2; Migrant Mother, p. 256,
#2; Landscape with the Fall of Icarus,
p. 366, #2; The Poetry of Earth and Sky,
p. 370, #1; Unzipped, p. 389, #1; The
Humpback of Notre Dame, p. 392, #1;
Media on Media: Activities, p. 451, #2;
Drama Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #2
Easter at My Aunt’s, #3, #4; War, #5;
Migrant Mother, #2, #4, #5; Look What I
Found, #1, #2; Landscape with the Fall
of Icarus, #4; Canada: A Virtual History,
#4, #5; Morty Mania, #5; Learning
Without Lectures, #2; King Zog’s
Birthday, #3; Let’s Stop Being
Hysterical, #3; A Poison Tree, #2; The
Rime of the Ancient Mariner, #3; Film
Location for Random Passage, #5
pp. 36–39; 163–
168;
239–250;
255–268; 323
The Rocking-Horse Winner, #4; Outside
Edges, #2; Twisted Roots, #3; The Spirit
of Haida Gwaii, #4; Ode to the West
Wind, #3; Utopian Dreams, #2; Portrait
of the Essay as a Warm Body, #4;
Afternoon of an American Boy, #1;
Migrant Mother, #3, #5; The Sixth
Flight, #5; A Chat with Al Purdy, #2, #4;
Landscape with the Fall of Icarus, #4;
Shower at Ohashi Bridge, #4, #5;
Canada: A Virtual History, #1, #5; The
Humpback of Notre Dame, #3, #5; King
Zog’s Birthday, #3; Set Design for The
Foreigner, #3; Film Location for Random
Passage, #3, #5; Saloonio, #2
The Rocking-Horse Winner, #4; Calgary
from Sunnyside, #5; Outside Edges, #2;
Twisted Roots, #3; The Shining Houses,
#4; Windows, #3; Peace and War, #3;
The Spirit of Haida Gwaii, #4; From No
Great Mischief, #2, #3, #4; Portrait of the
Essay as a Warm Body, #4; Afternoon of
an American Boy, #1, #5; Guy Lafleur,
#4; Migrant Mother, #3, #5; Why I
Write, #3; The Not-So-Deadly Sin, #1; A
Chat with Al Purdy, #3; Look What I
Found, #2; Landscape with the Fall of
Icarus, #2, #4; Shower at Ohashi Bridge,
#4, #5; Canada: A Virtual History, #5;
The Humpback of Notre Dame, #3, #5;
Evening, #3; Fern Hill, #4; Amiri
Baraka, #4, #5; Afternoons &
Coffeespoons, #4; The River, #4; From
The Canterbury Tales, #2, #5; O Can
You Leave Your Native Land? #5;
Because I Could Not Stop for Death—,
#4; A Marriage Proposal, #3
pp. 50; 119;
150; 163; 181;
387–396
2.3.3 Appreciate the effectiveness and artistry of print and nonprint texts
Calgary from Sunnyside, p. 46, #2;
2.3.3.1
Windows, p. 117, #1; Easter at My Aunt’s,
develop appropriate terminology for
p. 118, #2; The Spirit of Haida Gwaii,
discussing the effectiveness and artistry of a p. 142, #1; Short Fiction Wrap-Up, p. 163,
broad variety of text forms, and use
#3; Universal Themes and Patterns:
Activities, p. 193, #2, #3; Afternoon of an
terminology appropriately
American Boy, p. 215, #2; Shower at
Ohashi Bridge, p. 368, #1; Canada: A
Virtual History, p. 380, #1; Evening,
p. 484, #2; Drama Wrap-Up, p. 655, #1
2.3.3.2
appreciate the craft of the text creator and
the shape and substance of works of
literature and other texts
Calgary from Sunnyside, p. 46, #2; Twisted
Roots, p. 60, #2; A Devoted Son, p. 86, #3;
The Winner, p. 108, #3; Windows, p. 117,
#1; Easter at My Aunt’s, p. 118, #2; War, p.
137, #3; The Spirit of Haida Gwaii,
p. 142, #2; From No Great Mischief,
p. 161, #1, #2; Short Fiction Wrap-Up,
p. 163, #2, #3; Universal Themes and
Patterns: Activities, p. 193, #3; A Place to
Stand On, p. 223, #2, #3; The Death of the
Moth, p. 241, #3; A Modest Proposal,
p. 293, #2; Landscape with the Fall of
Icarus, p. 366, #2; Shower at Ohashi
Bridge, p. 368, #1; The Poetry of Earth and
Sky, p. 370, #2; Canada: A Virtual History,
p. 380, #1; Morty Mania, p. 394, #2;
Evening, p. 484, #1, #2; Prairie Flight,
p. 493, #2; Amiri Baraka, p. 498, #2;
Summer Night, p. 529, #2; The River,
p. 544, #2; Mu-lan, p. 552, #2; The Rime of
the Ancient Mariner, p. 600, #2
Reference
Points
pp. 57; 75–76;
81–82; 84–86;
268–270
13
Viewpoints 12
Teacher Resource
Reference
Points
ELA 30-1 Outcomes
General Outcome 3 – Students will listen, speak, read, write, view and represent to manage ideas and information.
3.1 Determine inquiry requirements
3.1.1 Focus on purpose and presentation form
Chameleons and Codas, p. 228, #3; Media
My Mother’s Blue Bowl, #4; Get Beyond
pp. 65−67;
3.1.1.1
on Media: Activities, p. 451, #1, #4;
Babel, #5; Ours by Design, #5; Set Design
81−86; 87–88
reflect on and describe strategies for
Argument and Persuasion: Activities,
for The Foreigner, #4
determining the depth and breadth of
p. 475, #4
inquiry and for identifying the purpose,
audience and potential forms of
presentation; select and monitor appropriate
strategies; modify selected strategies as
needed
Chameleons and Codas, p. 228, #3; Get
Chameleons and Codas, #5; My Mother’s
pp. 65−66;
3.1.1.2
Beyond Babel, p. 299, #3; Peace,
Blue Bowl, #4; A Modest Proposal, #4;
81−86; 88−89;
limit or expand the inquiry or research topic
Technology, and the Role of Ordinary
Get Beyond Babel, #5; Hockey Night in
308−311
as appropriate, refine the purpose of inquiry People, p. 322, #3; Media on Media:
Port Hawkesbury, #4; Ours by Design, #5;
or research, and sharpen perceptions of the
Activities, p. 451, #1, #4; Argument and
Set Design for The Foreigner, #4
Persuasion: Activities, p. 475, #4; Poetry
nature of the target audience and the
Wrap-Up, p. 611, #3; Shakespeare:
potential form for presentation
Activities, p. 700, #4
3.1.2 Plan inquiry or research, and identify information needs and sources
Poetry Wrap-Up, p. 611, #3
3.1.2.1
reflect on and describe strategies for
developing an inquiry or research plan that
will foster understanding; select and
monitor appropriate strategies; and modify
selected strategies as needed to plan inquiry
or research effectively
Buying Your Next Synthesizer, p. 348, #1;
3.1.2.2
Restoring Life on the Edge, p. 421, #2;
select from a repertoire of effective
Media on Media: Activities, p. 451, #1;
strategies to develop appropriate inquiry or
Argument and Persuasion: Activities,
research plans that will address the topic
p. 475, #4; Poetry Wrap-Up, p. 611, #3
and satisfy contextual requirements and
requirements of presentation form
Afternoon of an American Boy, p. 215, #3;
3.1.2.3
Restoring Life on the Edge, p. 421, #2;
determine breadth and depth of prior
Media on Media: Activities, p. 451, #1;
knowledge, and formulate and refine
Argument and Persuasion: Activities,
questions to determine and categorize
p. 475, #4; Poetry Wrap-Up, p. 611, #3;
Shakespeare: Activities, p. 700, #4
information needs and to guide the
collection of required information
3.1.2.4
identify and predict the usefulness of
information sources intended to fill gaps
between prior knowledge and required
information
Afternoon of an American Boy, p. 215, #3;
Buying Your Next Synthesizer, p. 348, #1;
Unzipped, p. 389, #1; Restoring Life on the
Edge, p. 421, #2; Media on Media:
Activities, p. 451, #1, #4; Argument and
Persuasion: Activities, p. 475, #4; Poetry
Wrap-Up, p. 611, #3
3.1.2.5
develop and draw from a repertoire of
effective strategies and technologies for
gathering, generating and recording
information
Universal Themes and Patterns: Activities,
p. 193, #4; Buying Your Next Synthesizer,
p. 348, #1; Unzipped, p. 389, #1; Restoring
Life on the Edge, p. 421, #2; Media on
Media: Activities, p. 451, #1, #4; Argument
and Persuasion: Activities, p. 475, #4
Chameleons and Codas, #5; Get Beyond
Babel, #5; Ours by Design, #5; Restoring
Life on the Edge, #1; grammar poem, #5;
Set Design for The Foreigner, #5; Dead
Parrot, #5
pp. 65−66;
88−89
Calgary from Sunnyside, #4; A Devoted
Son, #5; Chameleons and Codas, #5; A
Modest Proposal, #4; Get Beyond Babel,
#5; Ours by Design, #5; The Heroes You
Had as a Girl, #5; Summer Night, #4;
grammar poem, #5; Set Design for The
Foreigner, #5; Dead Parrot, #5
pp. 67; 312
Calgary from Sunnyside, #4; A Devoted
Son, #5; Easter at My Aunt’s, #5;
Chameleons and Codas, #5; My
Mother’s Blue Bowl, #4; Wanderers by
Choice, #5; Peace, Technology, and the
Role of Ordinary People, #5; Restoring
Life on the Edge, #1; The Heroes You
Had as a Girl, #5; grammar poem, #5; Set
Design for The Foreigner, #5; Dead
Parrot, #5
Calgary from Sunnyside, #3, #4; A
Devoted Son, #5; The Spirit of Haida
Gwaii, #5; Chameleons and Codas, #5;
Get Beyond Babel, #5; Ours by Design,
#5; Unzipped, #1; Restoring Life on the
Edge, #1; The Heroes You Had as a Girl,
#5; grammar poem, #5; Set Design for
The Foreigner, #5; Dead Parrot, #5; The
Shakespearean Tragic Hero, #3
Calgary from Sunnyside, #3, #4; A
Devoted Son, #5; Easter at My Aunt’s,
#5; Chameleons and Codas, #5; Get
Beyond Babel, #5; Peace, Technology,
and the Role of Ordinary People, #5;
Ours by Design, #5; Look What I Found,
#5; Unzipped, #1; Restoring Life on the
Edge, #1; Summer Night, #4; Set Design
for The Foreigner, #5; Dead Parrot, #5;
The Shakespearean Tragic Hero, #3
pp. 88−89;
309−311
pp. 89−90
pp. 89−90;
309−311
14
Viewpoints 12
ELA 30-1 Outcomes
3.2 Follow a plan of inquiry
3.2.1 Select, record and organize information
Write Me Sometime, p. 45, #3; Essays,
3.2.1.1
Articles, and Media Wrap-Up, p. 429, #1;
reflect on and describe strategies that may
Poetry Wrap-Up, p. 611, #3
be used to select, record and organize
information; select and monitor appropriate
strategies; and modify selected strategies as
needed
Short Fiction Wrap-Up, p. 163, #4;
3.2.1.2
Universal Themes and Patterns: Activities,
select information and other material
p. 193, #4; Ka-Ching! p. 208, #3; Essays,
appropriate to purpose from a variety of
Articles, and Media Wrap-Up, p. 429, #1;
print and nonprint sources
Media on Media: Activities, p. 451, #1;
Argument and Persuasion: Activities,
p. 475, #4; Poetry Wrap-Up, p. 611, #3;
Shakespeare: Activities, p. 700, #4
3.2.1.3
record information accurately and
completely; and use a consistent style to
document and reference sources, when
applicable
Write Me Sometime, p. 45, #3; Universal
Themes and Patterns: Activities, p. 193, #4;
Essays, Articles, and Media Wrap-Up,
p. 429, #1, #2; Media on Media: Activities,
p. 451, #1; Poetry Wrap-Up, p. 611, #3;
Shakespeare: Activities, p. 700, #4
3.2.1.4
organize information logically [such as by
question, by category, by chronology or by
cause and effect]
Universal Themes and Patterns: Activities,
p. 193, #4; Essays, Articles, and Media
Wrap-Up, p. 429, #1; Argument and
Persuasion: Activities, p. 475, #4; Poetry
Wrap-Up, p. 611, #3
3.2.2 Evaluate sources, and assess information
Get Beyond Babel, p. 299, #3; Peace,
3.2.2.1
Technology, and the Role of Ordinary
reflect on and describe strategies for
People, p. 322, #3; Essays, Articles, and
evaluating information sources and for
Media Wrap-Up, p. 429, #1
detecting bias; select and monitor
appropriate strategies; and modify selected
strategies as needed to evaluate sources and
detect bias
Get Beyond Babel, p. 299, #3; Peace,
3.2.2.2
Technology, and the Role of Ordinary
assess information sources for credibility
People, p. 322, #3; The Monkey’s Paw,
and for appropriateness to purpose,
p. 404, #3; Essays, Articles, and Media
audience and presentation form
Wrap-Up, p. 429, #1; Media on Media:
Teacher Resource
Reference
Points
War, #4; Why I Write, #5; Get Beyond
Babel, #5; to you who would wage war
against me, #5; Set Design for The
Foreigner, #4, #5; Dead Parrot, #5
pp. 33–35; 52;
88−89;
309−311
The Rocking-Horse Winner, #5; Write
Me Sometime, #5; Windows, #5; Easter
at My Aunt’s, #5; Peace and War, #3;
The Spirit of Haida Gwaii, #2; Portrait of
the Essay as a Warm Body, #5;
Chameleons and Codas, #5; Elegy in
Stone, #4; My Mother’s Blue Bowl, #5;
Get Beyond Babel, #5; Hockey Night in
Port Hawkesbury, #4; Birch Bark, #5;
The Heroes You Had as a Girl, #5; to
you who would wage war against me, #5;
grammar poem, #5; Set Design for The
Foreigner, #4; Dead Parrot, #5
The Rocking-Horse Winner, #3, #5;
Easter at My Aunt’s, #5; War, #3;
Portrait of the Essay as a Warm Body,
#5; Chameleons and Codas, #5; Elegy in
Stone, #4; My Mother’s Blue Bowl, #5;
Why I Write, #5; Get Beyond Babel, #5;
Hockey Night in Port Hawkesbury, #4;
Look What I Found, #5; Landscape with
the Fall of Icarus, #1; Birch Bark, #5;
The Heroes You Had as a Girl, #5; to
you who would wage war against me, #5;
grammar poem, #5; Dover Beach, #5; Set
Design for The Foreigner, #4, #5; Dead
Parrot, #5; The Shakespearean Tragic
Hero, #3
Easter at My Aunt’s, #5; War, #4; From
The Archetypes of Literature, #3; Portrait
of the Essay as a Warm Body, #5;
Chameleons and Codas, #5; My
Mother’s Blue Bowl, #5; Get Beyond
Babel, #5; Hockey Night in Port
Hawkesbury, #4; Look What I Found,
#5; Landscape with the Fall of Icarus, #1;
Birch Bark, #5; to you who would wage
war against me, #5; grammar poem, #5;
Set Design for The Foreigner, #4; Dead
Parrot, #5; The Shakespearean Tragic
Hero, #3
pp. 46−47;
89−90; 137;
138; 239; 245;
309−311
pp. 93−96; 311;
316; 331−334
pp. 33–35; 52;
57; 61; 65−67;
93−94;
312−315
The Monkey’s Paw, #5
pp. 9−10; 47;
214−215;
216–218; 222;
227; 244−245;
271−272
Chameleons and Codas, #5; Of Youth
and Age, #5; Get Beyond Babel, #5; The
Monkey’s Paw, #5; The Heroes You Had
as a Girl, #5; foremother, #5
pp. 47; 93;
216−218
Activities, p. 451, #1; Argument and
Persuasion: Activities, p. 475, #4
15
ELA 30-1 Outcomes
3.2.2.3
assess the accuracy, completeness and
currentness of information selected from
sources; and assess the relevance and
appropriateness of the information to
purpose
3.2.2.4
identify and describe possible biases and
vested interests of sources; and explain how
underlying assumptions, biases, and positive
or negative spin affect the credibility of
sources
3.2.3 Form generalizations and conclusions
3.2.3.1
form generalizations and synthesize new
ideas by integrating new information with
prior knowledge
Viewpoints 12
Teacher Resource
Universal Themes and Patterns: Activities,
p. 193, #4; Get Beyond Babel, p. 299, #3;
Peace, Technology, and the Role of
Ordinary People, p. 322, #3; The Monkey’s
Paw, p. 404, #3; Essays, Articles, and
Media Wrap-Up, p. 429, #1; Media on
Media: Activities, p. 451, #1
Easter at My Aunt’s, #5; Chameleons
and Codas, #5; Get Beyond Babel, #5;
The Heroes You Had as a Girl, #5;
grammar poem, #5
pp. 47; 93
Get Beyond Babel, p. 299, #3; Peace,
Technology, and the Role of Ordinary
People, p. 322, #3; The Monkey’s Paw,
p. 404, #3; Essays, Articles, and Media
Wrap-Up, p. 429, #1
Chameleons and Codas, #5; Of Youth
and Age, #5; Get Beyond Babel, #5; The
Monkey’s Paw, #5; foremother, #5;
grammar poem, #5
pp. 47; 259−263
Write Me Sometime, p. 45, #3; Short
Fiction Wrap-Up, p. 163, #4; Universal
Themes and Patterns: Activities, p. 193, #1,
#4; Afternoon of an American Boy, p. 215,
#3; Peace, Technology, and the Role of
Ordinary People, p. 322, #3; Media on
Media: Activities, p. 451, #1, #4; Argument
and Persuasion: Activities, p. 475, #1, #4;
Poetry Wrap-Up, p. 611, #3
The Rocking-Horse Winner, #3; Write
Me Sometime, #4; A Devoted Son, #5;
War, #4; The Spirit of Haida Gwaii, #2;
Chameleons and Codas, #5; Get Beyond
Babel, #5; Hockey Night in Port
Hawkesbury, #4; Landscape with the Fall
of Icarus, #1; The Monkey’s Paw, #1;
Restoring Life on the Edge, #4; The
Heroes You Had as a Girl, #5;
foremother, #5; grammar poem, #5
The Rocking-Horse Winner, #3; Write
Me Sometime, #4; A Devoted Son, #5;
War, #4; The Spirit of Haida Gwaii, #2;
Portrait of the Essay as a Warm Body,
#5; Chameleons and Codas, #5; Of
Youth and Age, #5; Get Beyond Babel,
#5; Hockey Night in Port Hawkesbury,
#4; Unzipped, #1; The Monkey’s Paw,
#5; The Heroes You Had as a Girl, #5;
grammar poem, #5
The Rocking-Horse Winner, #3; Write
Me Sometime, #4; A Devoted Son, #5;
Easter at My Aunt’s, #5; War, #4; The
Spirit of Haida Gwaii, #2; Of Youth and
Age, #5; Get Beyond Babel, #5; Hockey
Night in Port Hawkesbury, #4; The
Monkey’s Paw, #5; The Heroes You Had
as a Girl, #5; grammar poem, #5
pp. 61; 89; 91;
94
Restoring Life on the Edge, #1
pp. 6; 88; 95
Restoring Life on the Edge, #1
pp. 89; 93
War, #4; Of Youth and Age, #5; The
Heroes You Had as a Girl, #5; grammar
poem, #5
pp. 93; 94
3.2.3.2
draw conclusions that are appropriate to
findings, reflect own understandings and are
consistent with the identified topic, purpose
and situation
Write Me Sometime, p. 45, #3; Universal
Themes and Patterns: Activities, p. 193, #4;
Afternoon of an American Boy, p. 215, #3;
Get Beyond Babel, p. 299, #3; Media on
Media: Activities, p. 451, #1, #2, #4;
Argument and Persuasion: Activities,
p. 475, #1, #4; Poetry Wrap-Up, p. 611, #3
3.2.3.3
support generalizations and conclusions
sufficiently with relevant and consistent
detail
Write Me Sometime, p. 45, #3; Universal
Themes and Patterns: Activities, p. 193, #4;
Afternoon of an American Boy, p. 215, #3;
Get Beyond Babel, p. 299, #3; Peace,
Technology, and the Role of Ordinary
People, p. 322, #3; Media on Media:
Activities, p. 451, #1, #2, #4; Argument and
Persuasion: Activities, p. 475, #1, #4;
Poetry Wrap-Up, p. 611, #3
3.2.4 Review inquiry or research process and findings
Argument and Persuasion: Activities,
3.2.4.1
p. 475, #4; Poetry Wrap-Up, p. 611, #3
reflect on and assess the effectiveness of
strategies used to guide inquiry or research
[such as the effective use of time and the
division of labour when involved in group
research]
Argument and Persuasion: Activities,
3.2.4.2
identify strategies to improve future inquiry p. 475, #4
or research, and monitor the effectiveness of
these strategies
Peace, Technology, and the Role of
3.2.4.3
review the appropriateness and significance Ordinary People, p. 322, #3; Media on
Media: Activities, p. 451, #1; Argument and
of findings, conclusions and generalizations Persuasion: Activities, p. 475, #1, #4;
drawn from gathered data and information
Poetry Wrap-Up, p. 611, #3
Reference
Points
pp. 314−315
pp. 65−67;
75−76; 91–94
16
Viewpoints 12
Teacher Resource
Reference
Points
ELA 30-1 Outcomes
General Outcome 4 – Students will listen, speak, read, write, view and represent to create oral, print, visual and multimedia
texts, and enhance the clarity and artistry of communication.
4.1 Develop and present a variety of print and nonprint texts
4.1.1 Assess text creation context
pp. 52; 73; 105;
Mazes, #4; Restoring Life on the Edge,
A Modest Proposal, p. 293, #3; Essays,
4.1.1.1
#5; The News, #2; Learning Without
Articles, and Media Wrap-Up, p. 429, #1,
114−115; 123;
reflect on and monitor personal motives
Lectures, #3; almost visible, #3; Let’s
#3; Poetry Wrap-Up, p. 611, #4; Drama
138; 161−162
when determining the purpose for text
Stop Being Hysterical, #3; The
Wrap-Up, p. 655, #1, #3; Shakespeare:
creation and selecting strategies to engage
Committee to Upgrade Celestial Signs,
Activities, p. 700, #2
#4; Afternoons & Coffeespoons, #5;
an audience; and consider potential
The Rime of the Ancient Mariner, #5;
consequences of text creation
4.1.1.2
assess and explain purpose, assess and
describe target audience, and select from a
broad repertoire of effective strategies to
accomplish purpose and engage audience
Short Fiction Wrap-Up, p. 163, #3, #4;
Ka-Ching! p. 208, #3; A Modest Proposal,
p. 293, #3; Wanderers by Choice, p. 312,
#1; Buying Your Next Synthesizer, p. 348,
#3; Ours by Design, p. 363, #3; Essays,
Articles, and Media Wrap-Up, p. 429, #1,
#3, #4; Media on Media: Activities, p. 451,
#1; Argument and Persuasion: Activities,
p. 475, #3; The Heroes You Had as a Girl,
p. 506, #2; Poetry Wrap-Up, p. 611, #4;
Drama Wrap-Up, p. 655, #1, #3;
Shakespeare: Activities, p. 700, #2
4.1.1.3
assess audience factors that affect text
creation, and explain how consideration of
audience factors has affected choices
Short Fiction Wrap-Up, p. 163, #4; Guy
Lafleur, p. 250, #3; Ours by Design, p. 363,
#3; Essays, Articles, and Media Wrap-Up,
p. 429, #1, #4; Media on Media: Activities,
p. 451, #1; Argument and Persuasion:
Activities, p. 475, #3; Poetry Wrap-Up,
p. 611, #4; Drama Wrap-Up, p. 655, #3;
Shakespeare: Activities, p. 700, #3
4.1.1.4
assess expectations and constraints of a
communication situation, select from a
broad repertoire of effective strategies to
address expectations and constraints, and
explain how expectations and constraints
have been met
Short Fiction Wrap-Up, p. 163, #2, #3;
Elegy in Stone, p. 235, #3; Guy Lafleur,
p. 250, #3; Wanderers by Choice, p. 312,
#1; Ours by Design, p. 363, #3; Argument
and Persuasion: Activities, p. 475, #1;
grammar poem, p. 547, #2; Poetry WrapUp, p. 611, #4; Set Design for The
Foreigner, p. 634, #2; Drama Wrap-Up,
p. 655, #3; Shakespeare: Activities, p. 700,
#2, #3
4.1.2 Consider and address form, structure and medium
Chameleons and Codas, p. 228, #3; The
4.1.2.1
select, or develop, a text form appropriate to Sixth Flight, p. 344, #2; Media on Media:
Activities, p. 451, #4; grammar poem,
the purpose for text creation and consistent
p. 547, #2; Drama Wrap-Up, p. 655, #3;
with the content to be presented in the text
Shakespeare: Activities, p. 700, #2, #3
4.1.2.2
use a broad variety of complex structures
consistent with form, content and purpose
when creating texts [such as cause and
effect to explain the sequence of events in a
novel]; and explain reasons for choices
Write Me Sometime, p. 45, #3; The Shining
Houses, p. 73, #3; Essays, Articles, and
Media Wrap-Up, p. 429, #1; Media on
Media: Activities, p. 451, #2; Argument and
Persuasion: Activities, p. 475, #1, #3;
Poetry Wrap-Up, p. 611, #3; Drama WrapUp, p. 655, #3; Shakespeare: Activities,
p. 700, #4
From Hamlet, #3
Calgary from Sunnyside, #5; The
Shining Houses, #5; A Devoted Son,
#5; Peace and War, #5; Afternoon of an
American Boy, #4; My Mother’s Blue
Bowl, #4; A Modest Proposal, #5; Get
Beyond Babel, #5; The Death of
History Is Bunk, #5; Paradise, a Poet,
and Promised Land, #5; The Sixth
Flight, #5; The Poetry of Earth and Sky,
#3; Unzipped, #4; Morty Mania, #5;
Restoring Life on the Edge, #5; The
News, #2; Learning Without Lectures,
#3; almost visible, #3; Afternoons &
Coffeespoons, #5; The Rime of the
Ancient Mariner, #5; Set Design for
The Foreigner, #4; From Hamlet, #3
The Shining Houses, #5; A Devoted
Son, #5; My Mother’s Blue Bowl, #4;
A Modest Proposal, #4, #5; Paradise, a
Poet, and Promised Land, #5; The Sixth
Flight, #5; The Poetry of Earth and Sky,
#3; Unzipped, #4; Restoring Life on the
Edge, #5; almost visible, #3; Let’s Stop
Being Hysterical, #3; Set Design for
The Foreigner, #4; From Hamlet, #3
Calgary from Sunnyside, #5; The
Shining Houses, #5; Mazes, #4; My
Mother’s Blue Bowl, #4; The Not-SoDeadly Sin, #4; Hockey Night in Port
Hawkesbury, #5; A Marriage Proposal,
#4; From Hamlet, #3; Saloonio, #3
The Death of History Is Bunk, #5; The
Humpback of Notre Dame, #4;
Learning Without Lectures, #3; King
Zog’s Birthday, #1; almost visible, #2;
Engineers’ Corner, #5; The Committee
to Upgrade Celestial Signs, #4; From
Beowulf, #5
Write Me Sometime, #5; Magpies, #4;
The Spirit of Haida Gwaii, #4; Elegy in
Stone, #4; The News, #2; Learning
Without Lectures, #3; vancouver–
courtenay–calgary, #5; Summer Night,
#5; From Beowulf, #3; The Rime of the
Ancient Mariner, #5; A Marriage
Proposal, #5
pp. 2; 88; 204;
214
pp. 242−243; 327
pp. 88; 321−323
pp. 49; 112−113;
182−191;
204−205;
214−215
pp. 65−68
17
ELA 30-1 Outcomes
4.1.2.3
select an effective medium appropriate to
content and context; and explain the
interplay of medium, context and content
Viewpoints 12
Teacher Resource
Reference
Points
A Chat with Al Purdy, p. 353, #3; Essays,
Articles, and Media Wrap-Up, p. 429, #3,
#4; Media on Media: Activities, p. 451, #4;
Engineers’ Corner, p. 480, #4; Shakespeare:
Activities, p. 700, #3
Write Me Sometime, #5; The Poetry of
Earth and Sky, #5; The Humpback of
Notre Dame, #4; Restoring Life on the
Edge, #5; Learning Without Lectures,
#3; Engineers’ Corner, #4; The
Committee to Upgrade Celestial Signs,
#4; From Beowulf, #5
Migrant Mother, #3; Landscape with
the Fall of Icarus, #5; The Humpback of
Notre Dame, #4; A Marriage Proposal,
#5
pp. 214−215
4.1.2.4
explain why conventions of form are
important to text creation
The Shining Houses, p. 73, #3; Short
Fiction Wrap-Up, p. 163, #3; Essays,
Articles, and Media Wrap-Up, p. 429, #3;
Media on Media: Activities, p. 451, #4;
Progress, p. 526, #2; From Beowulf, p. 559,
#2; The Rime of the Ancient Mariner,
p. 600, #2; Poetry Wrap-Up, p. 611, #3;
Drama Wrap-Up, p. 655, #4
4.1.2.5
apply, when appropriate, the conventions of
oral, print, visual and multimedia text
forms, including the common conventions
of the analytical essay [for example,
developing a consistent analysis of a text
and supporting it with evidence drawn from
the text]
Write Me Sometime, p. 45, #3; The Winner,
p. 108, #3; Short Fiction Wrap-Up, p. 163,
#1; Universal Themes and Patterns:
Activities, p. 193, #4; The Death of the
Moth, p. 241, #3; Guy Lafleur, p. 250, #3;
Call of the Weird, p. 282, #2; Get Beyond
Babel, p. 299, #3; Wanderers by Choice,
p. 312, #1; Slide to Entropy, p. 326, #3; The
Sixth Flight, p. 344, #2; Buying Your Next
Synthesizer, p. 348, #2, #3; A Chat with Al
Purdy, p. 353, #3; Shower at Ohashi Bridge,
p. 368, #2; Essays, Articles, and Media
Wrap-Up, p. 429, #1, #3; Argument and
Persuasion: Activities,
p. 475, #1, #3, #4; Engineers’ Corner,
p. 480, #2; Poetry Wrap-Up, p. 611, #3, #4;
Film Location for Random Passage, p. 640,
#2; Drama Wrap-Up, p. 655, #4;
Shakespeare: Activities, p. 700, #3, #4
4.1.2.6
depart from the conventions of oral, print,
visual and multimedia text, as appropriate to
purpose, audience and situation [for
example, employ the conventions of fiction
when creating factual narrative to fulfill
purpose and create audience effects]
4.1.3 Develop content
4.1.3.1
take ownership of text creation, by selecting
or crafting a topic, concept or idea that is
personally meaningful and engaging
My Mother’s Blue Bowl, p. 255, #3; Why I
Write, p. 271, #3; Essays, Articles, and
Media Wrap-Up, p. 429, #4
Short Fiction Wrap-Up, p. 163, #1; Portrait
of the Essay as a Warm Body, p. 204, #3; A
Modest Proposal, p. 293, #3; Wanderers by
Choice, p. 312, #3; Shower at Ohashi
Bridge, p. 368, #2; The Monkey’s Paw,
p. 404, #2; Restoring Life on the Edge,
p. 421, #2; Essays, Articles, and Media
Wrap-Up, p. 429, #1, #3; Argument and
Persuasion: Activities, p. 475, #1, #4;
grammar poem, p. 547, #2; From Acoose:
Man Standing Above Ground, p. 639, #3;
Stop! p. 649, #3; Dead Parrot, p. 654, #3
Write Me Sometime, #5; Twisted
Roots, #5; The Winner, #4; Easter at
My Aunt’s, #3; The Spirit of Haida
Gwaii, #4; Afternoon of an American
Boy, #2, #4; The Death of the Moth,
#5; My Mother’s Blue Bowl, #5;
Migrant Mother, #3; Why I Write, #5;
A Modest Proposal, #3; Get Beyond
Babel, #5; Look What I Found, #3;
Landscape with the Fall of Icarus, #5;
Shower at Ohashi Bridge, #3, #5; The
Poetry of Earth and Sky, #5; The
Humpback of Notre Dame, #3;
Restoring Life on the Edge, #5; The
News, #2; Our Water Sovereignty Is at
Risk, #3; Is the Pathetic Fallacy True?
#5; From Beowulf, #3; The Rime of the
Ancient Mariner, #5; A Marriage
Proposal, #5; Film Location for
Random Passage, #4; Dead Parrot, #4
Why I Write, #4; Restoring Life on the
Edge, #5; foremother, #5
Outside Edges, #4, #5; Twisted Roots,
#5; The Winner, #1, #5; Easter at My
Aunt’s, #3; Peace and War, #5; Araby
from Dubliners, #1; Afternoon of an
American Boy, #2; Elegy in Stone, #4;
Why I Write, #4; Peace, Technology,
and the Role of Ordinary People, #4;
Landscape with the Fall of Icarus, #5;
Effective Persuasion, #2; Giant
Database Is Ripe for Abuse, #3;
Engineers’ Corner, #5; Is the Pathetic
Fallacy True? #5; Birch Bark, #4, #5;
The Heroes You Had as a Girl, #3;
foremother, #4; Musée des Beaux Arts,
#5; Summer Night, #1; The River, #1;
Invisible Genius, #3; Saloonio, #3
pp. 7−8; 65−68;
113−115;
150−159;
182−186;
190−195;
201−205;
225−228;
233−235;
256−257;
265−266;
271−272;
308−316;
335−341
pp. 7−8; 65−68;
113−115;
150−159;
182−186;
190−195;
201−205;
225−228;
233−235;
256−257;
265−266;
271−272;
308−316;
335−341
p. 119
pp. 52; 68−69;
73; 88; 104; 110
18
ELA 30-1 Outcomes
4.1.3.2
recognize and assess personal variables
[such as personal experience and prior
knowledge] and contextual variables [such
as availability of time and resources] that
influence the selection of a topic, concept or
idea; and address these variables to increase
the likelihood of successful text creation
4.1.3.3
establish a focus for text creation, and
communicate scope by framing an effective
controlling idea or describing a strong
unifying effect
4.1.3.4
develop supporting detail, by using
developmental aids appropriate to form and
purpose [for example, by using storyboards
to develop narrative events and details, by
using charts to collect and assemble details
when creating character comparisons, and
by using thought webs/mind maps to
develop connections among narrative
elements when creating or interpreting
narrative]
Viewpoints 12
Teacher Resource
Reference
Points
My Mother’s Blue Bowl, p. 255, #3; A
Modest Proposal, p. 293, #3; Wanderers by
Choice, p. 312, #3; Shower at Ohashi
Bridge, p. 368, #2; The Monkey’s Paw,
p. 404, #3; Restoring Life on the Edge,
p. 421, #2; Argument and Persuasion:
Activities, p. 475, #1, #3; From Acoose:
Man Standing Above Ground, p. 639, #3
Outside Edges, #4, #5; The Winner, #1,
#5; Easter at My Aunt’s, #3; Araby
from Dubliners, #1; A Place to Stand
On, #5; Let’s Stop Being Hysterical,
#3; almost visible, #2; Engineers’
Corner, #5; foremother, #4; to you who
would wage war against me, #2
pp. 60−61; 73; 88
The Winner, p. 108, #3; Mazes, p. 149, #3;
Was It a Dream? p. 154, #3; Short Fiction
Wrap-Up, p. 163, #1; Universal Themes and
Patterns: Activities, p. 193, #2, #4; Portrait
of the Essay as a Warm Body,
p. 204, #3; Afternoon of an American Boy,
p. 215, #3; The Death of the Moth, p. 241,
#3; Why I Write, p. 271, #3; Call of the
Weird, p. 282, #2; A Modest Proposal,
p. 293, #3; Wanderers by Choice, p. 312,
#1; Peace, Technology, and the Role of
Ordinary People, p. 321, #1; Paradise, a
Poet, and Promised Land, p. 330, #3;
Hockey Night in Port Hawkesbury, p. 335,
#3; Shower at Ohashi Bridge, p. 368, #2;
The Monkey’s Paw, p. 404, #2, #3; Essays,
Articles, and Media Wrap-Up, p. 429, #1,
#3, #4; Media on Media: Activities, p. 451,
#2, #3, #4; Argument and Persuasion:
Activities, p. 475, #1, #3, #4; People on the
Bridge, p. 523, #2; grammar poem, p. 547,
#2; Poetry Wrap-Up, p. 611, #3; A
Marriage Proposal, p. 633, #3; From
Acoose: Man Standing Above Ground,
p. 639, #3; Stop! p. 649, #3; Dead Parrot,
p. 654, #3; Drama Wrap-Up, p. 655, #1;
Shakespeare: Activities, p. 700, #2, #4
The Rocking-Horse Winner, #2, #4;
Outside Edges, #5; Magpies, #4; The
Winner, #1; Windows, #4; Easter at My
Aunt’s, #3; Peace and War, #5; Araby
from Dubliners, #1; Afternoon of an
American Boy, #5; Elegy in Stone, #4;
My Mother’s Blue Bowl, #1, #3;
Migrant Mother, #3; The Not-SoDeadly Sin, #5; A Modest Proposal, #4;
Get Beyond Babel, #5; Peace,
Technology, and the Role of Ordinary
People, #4; Slide to Entropy, #5;
Landscape with the Fall of Icarus, #5;
The Poetry of Earth and Sky, #4; Morty
Mania, #3; Restoring Life on the Edge,
#5; The News, #2; Learning Without
Lectures, #3; almost visible, #2;
Effective Persuasion, #2; Engineers’
Corner, #4, #5; The Heroes You Had as
a Girl, #3; foremother, #5; Musée des
Beaux Arts, #5; People on the Bridge,
#4; Progress, #5; Mu-lan, #5; From
Beowulf, #3; The Rime of the Ancient
Mariner, #4, #5; O Can You Leave
Your Native Land? #5; Because I
Could Not Stop for Death—, #5; Dead
Parrot, #4; Invisible Genius, #3;
Shakespeare in the Cinema, #3
The Rocking-Horse Winner, #2;
Calgary from Sunnyside, #2; Twisted
Roots, #5; The Winner, #1; Windows,
#4; Peace and War, #5; The Hero’s
Adventure, #3; Ode to the West Wind,
#1; Afternoon of an American Boy, #5;
Guy Lafleur, #5; My Mother’s Blue
Bowl, #1; The Humpback of Notre
Dame, #4; Morty Mania, #3; Restoring
Life on the Edge, #5; almost visible, #2;
Effective Persuasion, #2; Engineers’
Corner, #5; Amiri Baraka, #4; The
Committee to Upgrade Celestial Signs,
#3; People on the Bridge, #4; Progress,
#4; Afternoons & Coffeespoons, #5; A
Poison Tree, #5; O Can You Leave
Your Native Land? #5; Because I
Could Not Stop for Death—, #5;
Invisible Genius, #3
pp. 57; 60−62;
87−89; 138−139;
195
Mazes, p. 149, #3; Was It a Dream? p. 154,
#3; Why I Write, p. 271, #3; Restoring Life
on the Edge, p. 421, #2; Essays, Articles,
and Media Wrap-Up, p. 429, #3; Media on
Media: Activities, p. 451, #3, #4; Argument
and Persuasion: Activities, p. 475, #2, #3,
#4; Summer Night, p. 529, #2; Poetry
Wrap-Up, p. 611, #4; Stop! p. 649, #3
pp. 33−35; 61;
88; 335−338
19
ELA 30-1 Outcomes
4.1.3.5
develop appropriate and relevant content
sufficient to controlling idea or unifying
effect [for example, relate sufficient
supporting details, examples and
illustrations to thesis when creating a
critical/analytical response to literature]
4.1.3.6
develop content consistent with form and
appropriate to context [for example, link
questions and answers when reporting the
results of an interview]
Viewpoints 12
Teacher Resource
Reference
Points
The Rocking-Horse Winner, p. 35, #2;
Write Me Sometime, p. 45, #3; Magpies,
p. 95, #2; The Winner, p. 108, #3;
Windows, p. 117, #2; Mazes, p. 149, #3;
Was It a Dream? p. 154, #3; Short Fiction
Wrap-Up, p. 163, #1, #2; Universal Themes
and Patterns: Activities, p. 193, #1, #2, #3,
#4; Portrait of the Essay as a Warm Body,
p. 204, #3; Ka-Ching! p. 208, #3; Afternoon
of an American Boy, p. 215, #3; A Place to
Stand On, p. 223, #3; The Death of the
Moth, p. 241, #3; Call of the Weird, p. 282,
#2; Wanderers by Choice, p. 312, #1, #3;
Peace, Technology, and the Role of
Ordinary People, p. 321, #1; Paradise, a
Poet, and Promised Land, p. 330, #3;
Hockey Night in Port Hawkesbury, p. 335,
#3; Look What I Found, p. 364, #2; The
Monkey’s Paw, p. 404, #2; Essays, Articles,
and Media Wrap-Up, p. 429, #1, #4; Media
on Media: Activities, p. 451, #4; Argument
and Persuasion: Activities, p. 475, #1, #3,
#4; Engineers’ Corner, p. 480, #2; The
Committee to Upgrade Celestial Signs,
p. 502, #2; Summer Night, p. 529, #2;
grammar poem, p. 547, #2; Poetry WrapUp, p. 611, #3; A Marriage Proposal,
p. 633, #3; From Acoose: Man Standing
Above Ground, p. 639, #3; Dead Parrot,
p. 654, #3; Drama Wrap-Up, p. 655, #1;
Shakespeare: Activities, p. 700, #4
Write Me Sometime, p. 45, #3; Outside
Edges, p. 59, #3; The Winner, p. 108, #3;
Was It a Dream? p. 154, #3; From No Great
Mischief, p. 162, #3; Short Fiction WrapUp, p. 163, #3; Chameleons and Codas,
p. 228, #3; Look What I Found, p. 364, #2;
Essays, Articles, and Media Wrap-Up,
p. 429, #3, #4; Media on Media: Activities,
p. 451, #3; Shakespeare: Activities, p. 700,
#2
The Rocking-Horse Winner, #2, #4;
Outside Edges, #4, #5; Twisted Roots,
#5; Magpies, #4; The Winner, #1, #5;
Easter at My Aunt’s, #3; War, #5; The
Spirit of Haida Gwaii, #2; Was It a
Dream? #4; Ode to the West Wind, #1;
Araby from Dubliners, #1; Ka-Ching!
#3; Afternoon of an American Boy, #2;
A Place to Stand On, #5; Elegy in
Stone, #4, #5; My Mother’s Blue Bowl,
#3, #5; Migrant Mother, #3; A Modest
Proposal, #3; Get Beyond Babel, #5;
The Death of History Is Bunk, #4; Slide
to Entropy, #5; Shower at Ohashi
Bridge, #3, #5; The Poetry of Earth and
Sky, #4; The Humpback of Notre
Dame, #3; Restoring Life on the Edge,
#5; Aphorisms, #2; Learning Without
Lectures, #3; almost visible, #2; Giant
Database Is Ripe for Abuse, #3; Let’s
Stop Being Hysterical, #2; Our Water
Sovereignty Is at Risk, #3; Is the
Pathetic Fallacy True? #3; Birch Bark,
#4, #5; Prairie Flight, #3; foremother,
#4; Summer Night, #3; grammar poem,
#4, #5; Mu-lan, #5; From Beowulf, #3;
The Rime of the Ancient Mariner, #5;
Dover Beach, #3; Shakespeare in the
Cinema, #3
pp. 65−67;
75−76; 84−86;
94–95
Easter at My Aunt’s, #5; Mazes, #4;
Ka-Ching! #5; The Not-So-Deadly Sin,
#5; The Death of History Is Bunk, #4;
The Humpback of Notre Dame, #4; The
News, #2; Is the Pathetic Fallacy True?
#5; foremother, #5
pp. 49; 112; 116;
119; 121; 125;
335−338
4.1.4 Use production, publication and presentation strategies and technologies consistent with context
Short Fiction Wrap-Up, p. 163, #3; Elegy in The Shining Houses, #5; Windows, #5;
4.1.4.1
Stone, p. 235, #3; The Sixth Flight,
A Modest Proposal, #4; Get Beyond
meet particular production, publication and
p. 344, #2; Essays, Articles, and Media
Babel, #5; Paradise, a Poet, and
display requirements for print texts [for
Wrap-Up, p. 429, #2, #4; Argument and
Promised Land, #5; Hockey Night in
example, adhere to a particular manuscript
Persuasion: Activities, p. 475, #2; Poetry
Port Hawkesbury, #4; The Sixth Flight,
Wrap-Up, p. 611, #4; Drama Wrap-Up,
#5; The Poetry of Earth and Sky, #5;
style] and explain requirements in light of
p. 655, #4
Canada: A Virtual History, #3;
purpose, audience and situation
4.1.4.2
adapt presentation strategies to suit changes
in purpose, audience and situation
From No Great Mischief, p. 162, #3;
Chameleons and Codas, p. 228, #3;
Argument and Persuasion: Activities,
p. 475, #2
Unzipped, #4; The Monkey’s Paw, #5;
Restoring Life on the Edge, #5; The
News, #3; The Committee to Upgrade
Celestial Signs, #4; foremother, #5;
Musée des Beaux Arts, #5; Summer
Night, #4; The Rime of the Ancient
Mariner, #5; Stop! #5
The Winner, #4; Was It a Dream? #2;
Unzipped, #5; The Humpback of Notre
Dame, #4; Restoring Life on the Edge,
#5
pp. 62; 95−96;
201−204;
331−334
pp. 321−324
20
ELA 30-1 Outcomes
4.1.4.3
develop and deliver oral, visual and
multimedia presentations, using voice
production factors [such as volume, tone
and stress], nonverbal factors [such as
gestures, posture, distance and eye contact]
and visual production factors [such as
colour and contrast] appropriate to purpose,
audience and situation
4.1.4.4
create rapport with an audience, by selecting
from a broad repertoire of effective
strategies
Viewpoints 12
Teacher Resource
Reference
Points
The Rocking-Horse Winner, p. 35, #2; The
Shining Houses, p. 73, #3; Magpies, p. 95,
#3; Peace and War, p. 141, #3; Mazes,
p. 149, #3; Was It a Dream? p. 154, #3;
From No Great Mischief, p. 162, #3; Short
Fiction Wrap-Up, p. 163, #2, #4; Universal
Themes and Patterns: Activities, p. 193, #1,
#2; Ka-Ching! p. 208, #3; Chameleons and
Codas, p. 228, #3; Why I Write, p. 271, #3;
Call of the Weird, p. 282, #3; Get Beyond
Babel, p. 299, #3; Paradise, a Poet, and
Promised Land, p. 330, #2; Ours by Design,
p. 363, #3; The Poetry of Earth and Sky,
p. 370, #2; Essays, Articles, and Media
Wrap-Up, p. 429, #3, #4; Media on Media:
Activities, p. 451, #1, #2, #3; Argument and
Persuasion: Activities, p. 475, #4; Is the
Pathetic Fallacy True? p. 483, #2; The
Heroes You Had as a Girl, p. 506, #2;
foremother, p. 510, #1; Poetry Wrap-Up,
p. 611, #1; A Marriage Proposal, p. 633, #3;
From Acoose: Man Standing Above
Ground, p. 639, #3; Dead Parrot, p. 654, #2;
Drama Wrap-Up, p. 655, #2; Shakespeare:
Activities, p. 700, #2, #3
The Rocking-Horse Winner, #3;
Calgary from Sunnyside, #5; A
Devoted Son, #5; Magpies, #5; The
Winner, #4; Peace and War, #5; The
Spirit of Haida Gwaii, #2, #5; Mazes,
#5; Was It a Dream? #2; The Hero’s
Adventure, #2; Afternoon of an
American Boy, #4; My Mother’s Blue
Bowl, #1, #4; Call of the Weird, #5; A
Modest Proposal, #4, #5; Get Beyond
Babel, #4; Wanderers by Choice, #5;
Slide to Entropy, #4; Hockey Night in
Port Hawkesbury, #3, #5; A Chat with
Al Purdy, #1; Ours by Design, #2, #3;
Look What I Found, #3; The Poetry of
Earth and Sky, #5; Canada: A Virtual
History, #4; Unzipped, #5; The
Humpback of Notre Dame, #4, #5;
Morty Mania, #5; The Monkey’s Paw,
#5; Restoring Life on the Edge, #5;
Aphorisms, #3; The News, #2; King
Zog’s Birthday, #2; almost visible, #3;
Let’s Stop Being Hysterical, #3; Our
Water Sovereignty Is at Risk, #1, #3;
Evening, #4, #5; The Committee to
Upgrade Celestial Signs, #2, #4, #5;
The Heroes You Had as a Girl, #3;
foremother, #3; to you who would wage
war against me, #3, #5; People on the
Bridge, #5; Afternoons &
Coffeespoons, #5; From Beowulf, #5;
From The Canterbury Tales, #3, #4;
Sonnet 116, #5; A Poison Tree, #4, #5;
A Marriage Proposal, #4; Set Design
for The Foreigner, #4; Dead Parrot, #4,
#5; From Strong Women Prevail in
Shakespeare’s Comedies, #2
The Rocking-Horse Winner, #3; The
Winner, #4; The Spirit of Haida Gwaii,
#2, #5; Mazes, #5; Was It a Dream? #2;
My Mother’s Blue Bowl, #4; Call of the
Weird, #5; A Modest Proposal, #5; Get
Beyond Babel, #4; Wanderers by
Choice, #5; Slide to Entropy, #4;
Hockey Night in Port Hawkesbury, #5;
A Chat with Al Purdy, #1; Ours by
Design, #2; Unzipped, #5; Our Water
Sovereignty Is at Risk, #1; People on
the Bridge, #5; From Beowulf, #5;
Sonnet 116, #5; A Poison Tree, #4;
Dead Parrot, #5
pp. 4−8; 321−324
The Winner, #1; Migrant Mother, #3; A
Chat with Al Purdy, #5
pp. 87−89; 94
The Shining Houses, p. 73, #3; Magpies,
p. 95, #3; From No Great Mischief, p. 162,
#3; Short Fiction Wrap-Up, p. 163, #2;
Universal Themes and Patterns: Activities,
p. 193, #2; Of Youth and Age, p. 261, #1;
Get Beyond Babel, p. 299, #3; Ours by
Design, p. 363, #3; Argument and
Persuasion: Activities, p. 475, #3; Drama
Wrap-Up, p. 655, #2; Shakespeare:
Activities, p. 700, #2, #3
4.2 Improve thoughtfulness, effectiveness and correctness of communication
4.2.1 Enhance thought and detail
Write Me Sometime, p. 45, #3; Was It a
4.2.1.1
Dream? p. 154, #3; A Modest Proposal,
assess the appropriateness and significance
p. 633, #3; Wanderers by Choice, p. 312,
of the controlling idea or desired unifying
#1; Essays, Articles, and Media Wrap-Up,
effect of a text in progress; and refine the
p. 429, #1; Media on Media: Activities,
controlling idea or desired unifying effect as p. 451, #3; Argument and Persuasion:
Activities, p. 475, #1; Shakespeare:
appropriate to meet the intended purpose
pp. 5−8; 324
Activities, p. 700, #4
21
ELA 30-1 Outcomes
4.2.1.2
review the accuracy, specificity, precision,
vividness and relevance of details, events,
images, facts or other data intended to
support a controlling idea or to develop a
unifying effect; and add to, modify or delete
details, events, images, facts or other data as
needed to provide complete and effective
support or development
4.2.1.3
assess reasoning for logic; and assess
evidence for consistency, completeness and
relevance
4.2.1.4
strengthen reasoning as needed, by adding
to, modifying or deleting details to provide
significant evidence and make effective and
convincing arguments
4.2.1.5
assess the plausibility and appropriateness
of literary interpretations and the
preciseness, completeness and relevance of
evidence when reviewing and revising
critical/analytical responses to literature
4.2.2 Enhance organization
4.2.2.1
make revisions as needed to ensure that the
beginning of a text in progress [for example,
the rhetorical question or anecdote used to
begin a speech, or the establishing shot of a
video] establishes purpose and engages
audience
Viewpoints 12
Teacher Resource
Reference
Points
Write Me Sometime, p. 45, #3; Magpies,
p. 95, #2; Windows, p. 117, #2; Mazes,
p. 149, #3; Short Fiction Wrap-Up, p. 163,
#1, #3; Universal Themes and Patterns:
Activities, p. 193, #3, #4; Elegy in Stone,
p. 235, #3; The Death of the Moth, p. 241,
#3; Slide to Entropy, p. 326, #3; A Chat
with Al Purdy, p. 353, #3; The Monkey’s
Paw, p. 404, #3; Essays, Articles, and
Media Wrap-Up, p. 429, #1, #4; Media on
Media: Activities, p. 451, #3; Argument and
Persuasion: Activities, p. 475, #1; The
Committee to Upgrade Celestial Signs,
p. 502, #2; A Modest Proposal, p. 633, #3;
Shakespeare: Activities, p. 700, #4
Write Me Sometime, p. 45, #3; Magpies,
p. 95, #2; Windows, p. 117, #2; Short
Fiction Wrap-Up, p. 163, #1; Of Youth and
Age, p. 261, #1; Call of the Weird, p. 282,
#3; Get Beyond Babel, p. 299, #3;
Wanderers by Choice, p. 312, #1; A Chat
with Al Purdy, p. 353, #3; Ours by Design,
p. 363, #3; The Monkey’s Paw, p. 404, #3;
Essays, Articles, and Media Wrap-Up,
p. 429, #1; Argument and Persuasion:
Activities, p. 475, #1, #3; Poetry Wrap-Up,
p. 611, #4; Dead Parrot, p. 654, #3;
Shakespeare: Activities, p. 700, #2, #4
Calgary from Sunnyside, #4; Twisted
Roots, #5; The Winner, #1, #5; The
Hero’s Adventure, #3; Afternoon of an
American Boy, #2; My Mother’s Blue
Bowl, #4, #5; Migrant Mother, #3; A
Modest Proposal, #3; A Chat with Al
Purdy, #5; Morty Mania, #4;
Aphorisms, #2; almost visible, #2; Our
Water Sovereignty Is at Risk, #1;
Engineers’ Corner, #5; foremother, #4;
Summer Night, #3; A Poison Tree, #5;
Dover Beach, #3
pp. 62; 95;
327–335
Write Me Sometime, #5; The Shining
Houses, #5; The Winner, #1; Was It a
Dream? #2; The Hero’s Adventure, #3;
Afternoon of an American Boy, #2; My
Mother’s Blue Bowl, #4, #5; Migrant
Mother, #3; Get Beyond Babel, #5; The
Death of History Is Bunk, #5;
Wanderers by Choice, #5; A Chat with
Al Purdy, #5; Ours by Design, #2;
Unzipped, #4; Morty Mania, #4;
Aphorisms, #2; Giant Database Is Ripe
for Abuse, #3; Our Water Sovereignty
Is at Risk, #1; vancouver–courtenay–
calgary, #1: Fern Hill, #5; The
Committee to Upgrade Celestial Signs,
#5; I, Icarus, #5; A Poison Tree, #4
Write Me Sometime, #5; The Shining
Houses, #5; The Winner, #1; Was It a
Dream? #2; My Mother’s Blue Bowl,
#4, #5; A Modest Proposal, #3; The
Death of History Is Bunk, #5;
Unzipped, #4; Morty Mania, #4; Giant
Database Is Ripe for Abuse, #3; Our
Water Sovereignty Is at Risk, #1;
vancouver–courtenay–calgary, #1; The
Committee to Upgrade Celestial Signs,
#5; I, Icarus, #5; A Poison Tree, #4
pp. 62; 216−218
War, #5; The Hero’s Adventure, #3;
Araby from Dubliners, #3; Ka-Ching!
#3; Afternoon of an American Boy, #5;
A Place to Stand On, #5; A Modest
Proposal, #3; Morty Mania, #4; Giant
Database Is Ripe for Abuse, #3; Prairie
Flight, #3; The Heroes You Had as a
Girl, #4; to you who would wage war
against me, #2; From Beowulf, #3;
From The Canterbury Tales, #5; O Can
You Leave Your Native Land? #5;
Dover Beach, #3; Because I Could Not
Stop for Death—, #5
pp. 62; 75−76;
81−86
Calgary from Sunnyside, #4; Magpies,
#4; The Spirit of Haida Gwaii, #4; Guy
Lafleur, #5; My Mother’s Blue Bowl,
#4; The Not-So-Deadly Sin, #5; Get
Beyond Babel, #5; Giant Database Is
Ripe for Abuse, #3; A Poison Tree, #4;
The Rime of the Ancient Mariner, #4
pp. 89; 95; 119;
121; 143; 225;
264
Write Me Sometime, p. 45, #3; Magpies,
p. 95, #2; The Winner, p. 108, #3;
Windows, p. 117, #2; From No Great
Mischief, p. 162, #3; Short Fiction WrapUp, p. 163, #1, #2; Of Youth and Age,
p. 261, #1; A Modest Proposal, p. 293, #3;
Get Beyond Babel, p. 299, #3; Wanderers
by Choice, p. 312, #1; Ours by Design,
p. 363, #3; The Monkey’s Paw, p. 404, #3;
Essays, Articles, and Media Wrap-Up,
p. 429, #1; Media on Media: Activities,
p. 451, #3; Argument and Persuasion:
Activities, p. 475, #1; Poetry Wrap-Up,
p. 611, #4; Dead Parrot, p. 654, #3;
Shakespeare: Activities, p. 700, #2, #4
Write Me Sometime, p. 45, #3; Magpies,
p. 95, #2; The Winner, p. 108, #3;
Windows, p. 117, #2; Short Fiction
Wrap-Up, p. 163, #1; Universal Themes and
Patterns: Activities, p. 193, #2, #4; The
Death of the Moth, p. 241, #3; A Chat with
Al Purdy, p. 353, #3; The Monkey’s Paw, p.
404, #2; The Committee to Upgrade
Celestial Signs, p. 502, #2
Short Fiction Wrap-Up, p. 163, #1, #4;
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; Hockey Night in Port
Hawkesbury, p. 335, #3; Buying Your Next
Synthesizer, p. 348, #3; Essays, Articles,
and Media Wrap-Up, p. 429, #1; Media on
Media: Activities, p. 451, #3; Argument and
Persuasion: Activities, p. 475, #1, #4;
Drama Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #2, #4
pp. 62; 216−218
22
Viewpoints 12
Teacher Resource
Reference
Points
Short Fiction Wrap-Up, p. 163, #1, #4;
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; My Mother’s Blue Bowl,
p. 255, #3; Call of the Weird, p. 282, #2;
Buying Your Next Synthesizer, p. 348, #3;
Essays, Articles, and Media Wrap-Up, p.
429, #1, #4; Media on Media: Activities, p.
451, #3; Argument and Persuasion:
Activities, p. 475, #1, #4; Stop! p. 649, #3;
Drama Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #2, #4
Calgary from Sunnyside, #4; Magpies,
#4; The Spirit of Haida Gwaii, #4;
Afternoon of an American Boy, #2; A
Place to Stand On, #5; Guy Lafleur, #5;
The Not-So-Deadly Sin, #5; Giant
Database Is Ripe for Abuse, #3; The
Heroes You Had as a Girl, #4; Progress,
#5; Summer Night, #4;
Mu-lan, #5; A Poison Tree, #4; The
Rime of the Ancient Mariner, #4; A
Marriage Proposal, #5
pp. 62; 144−145;
152; 190−193;
259−261
4.2.2.3
assess the closure of a text in progress; and
revise it as needed to ensure that it is related
to purpose, that it establishes a sense of
developed understanding, and that it will
have an appropriate effect on audience
Short Fiction Wrap-Up, p. 163, #1, #4;
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; Buying Your Next
Synthesizer, p. 348, #3; Essays, Articles,
and Media Wrap-Up, p. 429, #1; Media on
Media: Activities, p. 451, #3; Argument and
Persuasion: Activities, p. 475, #1, #4;
Drama Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #2, #4
Calgary from Sunnyside, #4; Magpies,
#4; The Spirit of Haida Gwaii, #4; Guy
Lafleur, #5; My Mother’s Blue Bowl,
#4; The Not-So-Deadly Sin, #5; The
Sixth Flight, #3; Giant Database Is Ripe
for Abuse, #3; The Heroes You Had as
a Girl, #4; Mu-lan, #5; A Poison Tree,
#4; The Rime of the Ancient Mariner,
#4
pp. 95; 144−145
4.2.2.4
apply the concepts of unity and coherence
to ensure the effective organization of oral,
print, visual and multimedia texts
Short Fiction Wrap-Up, p. 163, #1, #4;
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; Call of the Weird,
p. 282, #2; Paradise, a Poet, and Promised
Land, p. 330, #2; Hockey Night in Port
Hawkesbury, p. 335, #3; Buying Your Next
Synthesizer, p. 348, #3; Essays, Articles,
and Media Wrap-Up, p. 429, #1, #4; Media
on Media: Activities, p. 451, #3; Argument
and Persuasion: Activities, p. 475, #1, #4;
Amiri Baraka, p. 498, #1; Stop! p. 649, #3;
Drama Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #2, #4
Calgary from Sunnyside, #4; Magpies,
#4; The Spirit of Haida Gwaii, #4;
Afternoon of an American Boy, #2; A
Place to Stand On, #5; Guy Lafleur, #5;
The Not-So-Deadly Sin, #5; A Chat
with Al Purdy, #5; The Poetry of Earth
and Sky, #4; Giant Database Is Ripe for
Abuse, #3; Engineers’ Corner, #5;
People on the Bridge, #4; Summer
Night, #4; Mu-lan, #5; The Rime of the
Ancient Mariner, #4
pp. 56; 62; 95;
138−139; 195
The Rocking-Horse Winner, #5;
Calgary from Sunnyside, #3; The
Shining Houses, #4; The Winner, #5;
Mazes, #3; The Hero’s Adventure, #1;
Portrait of the Essay as a Warm Body,
#3; The Death of the Moth, #5; Of
Youth and Age, #3, #4; Get Beyond
Babel, #3; Paradise, a Poet, and
Promised Land, #4; The Sixth Flight,
#4; Look What I Found, #4; almost
visible, #3; Our Water Sovereignty Is at
Risk, #2; From Water, #3; Is the
Pathetic Fallacy True? #5; vancouver–
courtenay–calgary, #4; foremother, #1;
to you who would wage war against
me, #4; People on the Bridge, #2;
Progress, #5; The Love Song of J.
Alfred Prufrock, #4; A Poison Tree, #4;
Because I Could Not Stop for Death—,
#1; A Marriage Proposal, #3; Stop! #3;
Dead Parrot, #2
pp. 50; 111;
150−151; 153;
156−157;
326−330
ELA 30-1 Outcomes
4.2.2.2
assess the organizational components of a
text in progress, and revise them as needed
to strengthen their effectiveness as units of
thought or experience or to strengthen their
contribution to other intended effects [such
as emphasis or transition]
4.2.3 Consider and address matters of choice
Outside Edges, p. 59, #2; Portrait of the
4.2.3.1
Essay as a Warm Body, p. 204, #3;
reflect on personal vocabulary and
Ka-Ching! p. 208, #3; Elegy in Stone,
repertoire of stylistic choices and on their
p. 235, #3; My Mother’s Blue Bowl,
effectiveness; and expand vocabulary and
p. 255, #3; Wanderers by Choice, p. 312,
#2; Hockey Night in Port Hawkesbury,
repertoire of stylistic choices
p. 335, #3; Essays, Articles, and Media
Wrap-Up, p. 429, #2; Argument and
Persuasion: Activities, p. 475, #1; grammar
poem, p. 547, #2; Poetry Wrap-Up, p. 611,
#3; Film Location for Random Passage,
p. 640, #2; Shakespeare: Activities, p. 700,
#4
23
ELA 30-1 Outcomes
4.2.3.2
assess the appropriateness and effectiveness
of diction, and revise word choice as needed
to create intended effects
4.2.3.3
assess syntax for appropriateness and
effectiveness, and revise sentence structures
as needed to create intended effects
4.2.3.4
explain how stylistic techniques and
rhetorical devices are used to create
intended effects
4.2.3.5
develop a repertoire of stylistic choices that
contribute to personal voice
4.2.4 Edit text for matters of correctness
4.2.4.1
use handbooks and other tools [such as
dictionaries and thesauri] as aids to text
creation, including electronic tools as
appropriate
Viewpoints 12
Teacher Resource
Reference
Points
Outside Edges, p. 59, #2, #3; War, p. 137,
#3; Was It a Dream? p. 154, #3; Short
Fiction Wrap-Up, p. 163, #2, #3, #4;
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; Elegy in Stone, p. 235,
#3; My Mother’s Blue Bowl, p. 255, #3; A
Modest Proposal, p. 293, #3; Paradise, a
Poet, and Promised Land, p. 330, #3;
Hockey Night in Port Hawkesbury, p. 335,
#3; Essays, Articles, and Media Wrap-Up,
p. 429, #1, #4; Argument and Persuasion:
Activities, p. 475, #1; Amiri Baraka,
p. 498, #1; Poetry Wrap-Up, p. 611, #3;
Drama Wrap-Up, p. 655, #2; Shakespeare:
Activities, p. 700, #4
Write Me Sometime, #4; Peace and
War, #4, #5; Mazes, #4; The Hero’s
Adventure, #1; Ode to the West Wind,
#3; Araby from Dubliners, #3;
Afternoon of an American Boy, #2, #3;
The Death of the Moth, #5; Hockey
Night in Port Hawkesbury, #5; A Chat
with Al Purdy, #5; Look What I Found,
#4; Shower at Ohashi Bridge, #3;
Evening, #5; vancouver–courtenay–
calgary, #4; The Committee to Upgrade
Celestial Signs, #5; foremother, #4; to
you who would wage war against me,
#4; I, Icarus, #4; People on the Bridge,
#2, #5; Progress, #5; The Love Song of
J. Alfred Prufrock, #4; The River, #2; A
Marriage Proposal, #3, #5; From
Acoose: Man Standing Above Ground,
#3; Stop! #5; Dead Parrot, #3; Invisible
Genius, #2; Saloonio, #3
Write Me Sometime, #4; From No
Great Mischief, #4; Araby from
Dubliners, #3; Of Youth and Age, #3;
From Water, #2; vancouver–courtenay–
calgary, #4; The Committee to Upgrade
Celestial Signs, #5; Progress, #5; The
Love Song of J. Alfred Prufrock, #4; A
Marriage Proposal, #5; From Acoose:
Man Standing Above Ground, #2, #3;
Dead Parrot, #3; Saloonio, #3
pp. 50; 150−151;
326−330
Write Me Sometime, #4; The Winner,
#5; Peace and War, #5; From No Great
Mischief, #4; Portrait of the Essay as a
Warm Body, #3; Afternoon of an
American Boy, #2; Of Youth and Age,
#4; A Chat with Al Purdy, #5; almost
visible, #2; vancouver–courtenay–
calgary, #4; foremother, #4; I, Icarus,
#2; A Poison Tree, #4; A Marriage
Proposal, #5
pp. 116; 119;
150−151; 166;
248−249;
326−330
The Winner, #5; The Death of the
Moth, #5; Of Youth and Age, #3, #4;
Look What I Found, #4; Is the Pathetic
Fallacy True? #5; Fern Hill, #5; The
Committee to Upgrade Celestial Signs,
#5; foremother, #4; to you who would
wage war against me, #4; The Love
Song of J. Alfred Prufrock, #4; Dead
Parrot, #3
pp. 52; 68−73;
150; 170;
326−330
All writing activities, including: Mazes,
#3; Araby from Dubliners, #3; Portrait
of the Essay as a Warm Body, #3;
Paradise, a Poet, and Promised Land,
#4; The Monkey’s Paw, #5; Our Water
Sovereignty Is at Risk, #2; grammar
poem, #5; Dover Beach, #5; Because I
Could Not Stop for Death—, #1
pp. 41; 62; 137;
367−368
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; Portrait of the Essay as a
Warm Body, p. 204, #3; Paradise, a Poet,
and Promised Land, p. 330, #3; Hockey
Night in Port Hawkesbury, p. 335, #3;
Unzipped, p. 389, #2; Essays, Articles, and
Media Wrap-Up, p. 429, #1; Argument and
Persuasion: Activities, p. 475, #1; Poetry
Wrap-Up, p. 611, #3; Drama Wrap-Up,
p. 655, #2; Shakespeare: Activities, p. 700,
#4
War, p. 137, #2; Portrait of the Essay as a
Warm Body, p. 204, #3; Ka-Ching! p. 208,
#3; Elegy in Stone, p. 235, #3; My Mother’s
Blue Bowl, p. 255, #3; Call of the Weird, p.
282, #3; A Modest Proposal,
p. 293, #3; Wanderers by Choice, p. 312,
#2; Paradise, a Poet, and Promised Land,
p. 330, #3; Hockey Night in Port
Hawkesbury, p. 335, #3; Shower at Ohashi
Bridge, p. 368, #2; Argument and
Persuasion: Activities, p. 475, #2; Drama
Wrap-Up, p. 655, #2
Portrait of the Essay as a Warm Body, p.
204, #3; My Mother’s Blue Bowl, p. 255,
#2; Wanderers by Choice, p. 312, #2;
grammar poem, p. 547, #2
All writing activities, including: Short
Fiction Wrap-Up, p. 163, #1, #3; Universal
Themes and Patterns: Activities, p. 193, #4;
Essays, Articles, and Media Wrap-Up,
p. 429, #1, #2, #4; Argument and
Persuasion: Activities, p. 475, #1; Drama
Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #4
pp. 150−151;
326−330;
366−367
24
ELA 30-1 Outcomes
4.2.4.2
know and be able to apply capitalization
and punctuation conventions correctly,
including end punctuation, commas,
semicolons, colons, apostrophes, quotation
marks, hyphens, dashes, ellipses and
parentheses
4.2.4.3
know and be able to apply spelling
conventions consistently and independently
4.2.4.4
understand the importance of grammatical
agreement
4.2.4.5
assess and revise texts in progress to ensure
correctness of grammatical agreement,
including correct pronoun reference and
pronoun–antecedent agreement, and correct
use of modifiers and other parts of speech
4.2.4.6
assess and revise texts in progress to ensure
correct subject–verb agreement, correct
pronoun case and appropriate consistency of
verb tense
4.2.4.7
use unconventional punctuation, spelling
and sentence structure for effect, when
appropriate [for example, use nonstandard
spelling to indicate dialect, and use sentence
fragments for emphasis, when appropriate]
4.2.4.8
assess and revise texts in progress to ensure
the correct use of clauses and phrases,
including verbal phrases—participle, gerund
and infinitive
4.2.4.9
assess and revise texts in progress, as
appropriate, to ensure correct use of
structural features [such as appositives and
parallel structure]
4.2.4.10
pay particular attention to punctuation,
spelling, grammar, usage and sentence
construction when using unfamiliar
vocabulary, complex syntax and
sophisticated rhetorical devices
Viewpoints 12
Teacher Resource
Reference
Points
All writing activities, including: Write Me
Sometime, p. 45, #3; Short Fiction WrapUp, p. 163, #1, #3; Universal Themes and
Patterns: Activities, p. 193, #3, #4;
Wanderers by Choice, p. 312, #3; Essays,
Articles, and Media Wrap-Up, p. 429, #1,
#4; Argument and Persuasion: Activities,
p. 475, #1; Drama Wrap-Up, p. 655, #1;
Shakespeare: Activities, p. 700, #4
All writing activities, including:
Outside Edges, #5; Windows, #5; The
Hero’s Adventure, #3; My Mother’s
Blue Bowl, #5; Paradise, a Poet, and
Promised Land, #4; Canada: A Virtual
History, #3; Amiri Baraka, #4; From
The Canterbury Tales, #5; Sonnet 116,
#4; The Rime of the Ancient Mariner,
#5
pp. 351−358;
363−365
All writing activities, including: Short
Fiction Wrap-Up, p. 163, #1, #3; Universal
Themes and Patterns: Activities, p. 193, #3,
#4; Essays, Articles, and Media Wrap-Up,
p. 429, #1, #4; Argument and Persuasion:
Activities, p. 475, #1; Shakespeare:
Activities, p. 700, #4
All writing activities
All writing activities, including:
Outside Edges, #5; The Hero’s
Adventure, #3; My Mother’s Blue
Bowl, #5; Paradise, a Poet, and
Promised Land, #4; Amiri Baraka, #4
pp. 367−368
Amiri Baraka, #4; People on the
Bridge, #5
pp. 344−347
All writing activities, including: Write Me
Sometime, p. 45, #3; Short Fiction WrapUp, p. 163, #1, #3; Universal Themes and
Patterns: Activities, p. 193, #2, #3, #4;
Essays, Articles, and Media Wrap-Up,
p. 429, #1, #4; Argument and Persuasion:
Activities, p. 475, #1; Drama Wrap-Up,
p. 655, #1; Shakespeare: Activities, p. 700,
#4
All writing activities, including: Short
Fiction Wrap-Up, p. 163, #1, #3; Universal
Themes and Patterns: Activities, p. 193, #2,
#3, #4; Essays, Articles, and Media WrapUp, p. 429, #1, #4; Argument and
Persuasion: Activities, p. 475, #1; Drama
Wrap-Up, p. 655, #1; Shakespeare:
Activities, p. 700, #4
Essays, Articles, and Media Wrap-Up,
p. 429, #4
All writing activities, including:
Outside Edges, #5; The Hero’s
Adventure, #3; My Mother’s Blue
Bowl, #5; Amiri Baraka, #4; People on
the Bridge, #5
pp. 62; 95;
344−363
All writing activities, including:
Outside Edges, #5; The Hero’s
Adventure, #3; My Mother’s Blue
Bowl, #5; Amiri Baraka, #4; People on
the Bridge, #5
pp. 344−347;
370−371
vancouver–courtenay–calgary, #3;
Amiri Baraka, #4; Dead Parrot, #3
pp. 150−151; 384
All writing activities, including: Short
Fiction Wrap-Up, p. 163, #1; Universal
Themes and Patterns: Activities, p. 193, #2,
#3, #4; Essays, Articles, and Media WrapUp, p. 429, #1, #4; Argument and
Persuasion: Activities, p. 475, #1
All writing activities, including:
Outside Edges, #5; The Hero’s
Adventure, #3; My Mother’s Blue
Bowl, #5; Amiri Baraka, #4
pp. 351−352;
358; 372
All writing activities, including:
Short Fiction Wrap-Up, p. 163, #1;
Universal Themes and Patterns: Activities,
p. 193, #2, #3, #4; Essays, Articles, and
Media Wrap-Up, p. 429, #1, #4; Argument
and Persuasion: Activities, p. 475, #1;
Shakespeare: Activities, p. 700, #4
Many writing activities, particularly those
involving analytic essays. Short Fiction
Wrap-Up, p. 163, #1, #2; Universal Themes
and Patterns: Activities, p. 193, #2, #4;
Essays, Articles, and Media Wrap-Up,
p. 429, #1; Argument and Persuasion:
Activities, p. 475, #1; Shakespeare:
Activities, p. 700, #4
All writing activities, including:
Outside Edges, #5; My Mother’s Blue
Bowl, #5; Amiri Baraka, #4
pp. 357−358
Many writing activities, particularly
those involving analytic essays. Araby
from Dubliners, #3; Amiri Baraka, #4
pp. 344−372
25
Viewpoints 12
Teacher Resource
Reference
Points
ELA 30-1 Outcomes
General Outcome 5 – Students will listen, speak, read, write, view and represent to respect, support and collaborate with
others.
5.1 Respect others and strengthen community
5.1.1 Use language and image to show respect and consideration
pp. 174; 295; 303
The Shining Houses, #1; A Devoted
Universal Themes and Patterns: Activities,
5.1.1.1
Son, #5; Wanderers by Choice, #5;
p. 193, #4; Elegy in Stone, p. 235, #3; Of
monitor own use of language and image in
Ours by Design, #5; to you who would
Youth and Age, p. 261, #1; Argument and
order to convey respect and consideration,
wage war against me, #1, #3; Summer
Persuasion: Activities, p. 475, #3
as appropriate [for example, use
Night, #5; grammar poem, #4; Mu-lan,
#3; A Poison Tree, #4; A Marriage
euphemism, implication and gesture
Proposal, #5; Stop! #4
appropriately and sensitively]
Look
What
I
Found,
p.
364,
#2;
Media
on
Outside Edges, #3; War, #4; The Spirit
pp. 149−150;
5.1.1.2
Media: Activities, p. 451, #3; From
of Haida Gwaii, #2; Migrant Mother,
157; 216
explain how language and image are used in
Beowulf, p. 559, #1
#2; Call of the Weird, #2; Ours by
texts to convey respectful and considerate,
Design, #5; to you who would wage
or disrespectful and inconsiderate,
war against me, #1, #3; Summer Night,
#5; Stop! #4
perspectives and attitudes
Universal
Themes
and
Patterns:
Activities,
The Shining Houses, #1; The Winner,
pp. 194; 204;
5.1.1.3
p. 193, #4; Look What I Found, p. 364, #2;
#3; Of Youth and Age, #1; A Modest
215−218; 222;
explain how stereotyping and parody
From Beowulf, p. 559, #1
Proposal, #5; Ours by Design, #2; The
271−272
contribute to the creation of positive and
Poetry of Earth and Sky, #1; to you
negative portrayals of characters in
who would wage war against me, #1;
The Love Song of J. Alfred Prufrock,
literature and persons in life, and use
#4; Mu-lan, #3; Stop! #4
stereotyping and parody sensitively and
appropriately
Media on Media: Activities, p. 451, #3
Magpies, #2; War, #4; Ours by Design,
p. 150
5.1.1.4
#2; foremother, #5; to you who would
explain how language and image contribute
wage war against me, #1; Summer
to the inclusion or exclusion of individuals
Night, #5; The River, #4; grammar
involved in a communication situation, and
poem, #4
use language and image that is inclusive of
other individuals
Magpies, p. 95, #3; Short Fiction Wrap-Up,
The Rocking-Horse Winner, #2; The
pp. 54; 63−64
5.1.1.5
p. 163, #1, #4; Universal Themes and
Winner, #5; War, #5; The Spirit of
accept, offer, and appreciate the value of
Patterns: Activities, p. 193, #3; Ka-Ching!
Haida Gwaii, #5; Mazes, #5; Was It a
constructive criticism
p. 208, #3; Elegy in Stone, p. 235, #3; My
Dream? #4; Afternoon of an American
Mother’s Blue Bowl, p. 255, #3; Call of the
Weird, p. 282, #3; Get Beyond Babel,
p. 299, #3; Slide to Entropy, p. 326, #3;
Paradise, a Poet, and Promised Land,
p. 330, #3; Buying Your Next Synthesizer,
p. 348, #3; Ours by Design, p. 362, #2, #3;
Essays, Articles, and Media: Wrap-Up,
p. 429, #1; Media on Media: Activities,
p. 451, #3; Argument and Persuasion:
Activities, p. 475, #3; Amiri Baraka,
p. 498, #1; Poetry Wrap-Up, p. 611, #1;
From Acoose: Man Standing Above
Ground, p. 639, #3; Drama Wrap-Up,
p. 655, #2, #3, #4; Shakespeare: Activities,
p. 700, #3
5.1.1.6
explain, when applicable, how a specific
text demonstrates that the parameters of
public tolerance regarding the use of
language and image have changed over time
A Chat with Al Purdy, p. 353, #2
Boy, #2; The Death of the Moth, #5;
Call of the Weird, #5; A Modest
Proposal, #5; Wanderers by Choice, #5;
Peace, Technology, and the Role of
Ordinary People, #4; Hockey Night in
Port Hawkesbury, #5; Landscape with
the Fall of Icarus, #5; Unzipped, #4, #5;
The News, #3; almost visible, #2, #3;
Effective Persuasion, #2; Engineers’
Corner, #5; Fern Hill, #5; The
Committee to Upgrade Celestial Signs,
#5; foremother, #4; to you who would
wage war against me, #4; People on the
Bridge, #5; Summer Night, #5; A
Poison Tree, #5; Because I Could Not
Stop for Death—, #5; A Marriage
Proposal, #5; From Acoose: Man
Standing Above Ground, #4
A Modest Proposal, #5; Ours by
Design, #2; Mu-lan, #3; From Strong
Women Prevail in Shakespeare’s
Comedies, #2
pp. 150−151
26
Viewpoints 12
ELA 30-1 Outcomes
5.1.2 Appreciate diversity of expression, opinion and perspective
The Monkey’s Paw, p. 404, #3; Argument
5.1.2.1
and Persuasion: Activities, p. 475, #3
identify and describe strategies that may be
used to appreciate diversity of thought and
expression; select and monitor appropriate
strategies for appreciating diversity; modify
selected strategies as needed
Universal Themes and Patterns: Activities,
5.1.2.2
explain how selected works of literature and p. 193, #4; A Modest Proposal, p. 293, #2;
The Sixth Flight, p. 344, #3; The Monkey’s
other print and nonprint texts convey, shape Paw, p. 404, #3; Restoring Life on the
and, at times, challenge individual and
Edge, p. 421, #1; From The Canterbury
Tales, p. 569, #2; Poetry Wrap-Up, p. 611,
group values and behaviours
#3; A Marriage Proposal, p. 633, #3; Dead
Parrot, p. 654, #3
5.1.2.3
explain how a text creator’s underlying
assumptions influence his or her ideas,
opinions and selection of supporting details
Universal Themes and Patterns: Activities,
p. 193, #4; Elegy in Stone, p. 235, #2; A
Modest Proposal, p. 293, #2; The Sixth
Flight, p. 344, #3; Media on Media:
Activities, p. 451, #3; From The Canterbury
Tales, p. 569, #2; Poetry
Wrap-Up, p. 611, #3; Dead Parrot, p. 654,
#3
5.1.3 Recognize accomplishments and events
Elegy in Stone, p. 235, #3
5.1.3.1
use language and image to congratulate and
honour others [for example, celebrate
together when classmates have
accomplished a particular task or produced,
published or presented a particular text]
Elegy in Stone, p. 235, #3
5.1.3.2
describe various means by which language
and image are used appropriately to honour
people and to celebrate events, and explain
how these means of using language and
image help to build community
Teacher Resource
Reference
Points
Calgary from Sunnyside, #5; The
Shining Houses, #1; A Devoted Son,
#5; Call of the Weird, #4; Ours by
Design, #2, #3; foremother, #5
pp. 14−15
Calgary from Sunnyside, #5; Magpies,
#2; Peace and War, #3; The Spirit of
Haida Gwaii, #1; My Mother’s Blue
Bowl, #4; Migrant Mother, #2; Call of
the Weird, #2, #4; A Modest Proposal,
#5; Get Beyond Babel, #4; Wanderers
by Choice, #3; Ours by Design, #1, #3;
Amiri Baraka, #3; The Committee to
Upgrade Celestial Signs, #5; The
Heroes You Had as a Girl, #3, #4;
foremother, #5; Summer Night, #5; The
River, #5; O Can You Leave Your
Native Land? #4; Dover Beach, #4, #5;
From Acoose: Man Standing Above
Ground, #5; Stop! #5; From Strong
Women Prevail in Shakespeare’s
Comedies, #2
Calgary from Sunnyside, #5; Magpies,
#2; Migrant Mother, #5; Call of the
Weird, #2; Get Beyond Babel, #4;
Wanderers by Choice, #3; Ours by
Design, #3; Amiri Baraka, #3; The
Heroes You Had as a Girl, #3;
foremother, #5; to you who would wage
war against me, #2; The River, #5; O
Can You Leave Your Native Land? #4;
Dover Beach, #5; Stop! #5; From
Strong Women Prevail in
Shakespeare’s Comedies, #2
pp. 110−111;
188−189; 205
pp. 215−218;
222; 271−272
Calgary from Sunnyside, #5; Magpies,
#5; Elegy in Stone, #4
p. 169
Calgary from Sunnyside, #5; Magpies,
#5; Elegy in Stone, #4; Call of the
Weird, #4; Ours by Design, #1
pp. 252−254
27
Viewpoints 12
ELA 30-1 Outcomes
5.2 Work within a group
5.2.1 Cooperate with others, and contribute to group processes
The Shining Houses, p. 73, #3; Magpies,
5.2.1.1
p. 95, #3; The Death of History Is Bunk,
set appropriate personal goals for
p. 305, #3; Peace, Technology, and the Role
participation in a group; and share personal
of Ordinary People, p. 322, #3; Ours by
knowledge, expertise and perspectives with
Design, p. 363, #3; Essays, Articles, and
Media Wrap-Up, p. 429, #4; Media on
others, as appropriate
Media: Activities, p. 451, #3, #4; Argument
and Persuasion: Activities, p. 475, #3, #4;
The Heroes You Had as a Girl, p. 506, #1,
#2; The Love Song of J. Alfred Prufrock,
p. 538, #2; Dover Beach, p. 607, #1; Poetry
Wrap-Up, p. 611, #4; Drama Wrap-Up,
p. 655, #3; Shakespeare: Activities, p. 700,
#3
5.2.1.2
reflect on and describe strategies used to
negotiate with, coordinate with and
cooperate with others; select appropriate
strategies for negotiating with, coordinating
with and cooperating with others; monitor
selected strategies; and modify selected
strategies as needed to accomplish group
goals
The Shining Houses, p. 73, #3; Magpies,
p. 95, #3; Was It a Dream? p. 154, #3; Short
Fiction Wrap-Up, p. 163, #4; The Death of
History Is Bunk, p. 305, #3; Ours by
Design, p. 363, #3; Essays, Articles, and
Media Wrap-Up, p. 429, #4; Media on
Media: Activities, p. 451, #3, #4; Argument
and Persuasion: Activities, p. 475, #3, #4;
The Heroes You Had as a Girl, p. 506, #1,
#2; The Love Song of J. Alfred Prufrock,
p. 538, #2; Poetry Wrap-Up, p. 611, #4;
Drama Wrap-Up, p. 655, #3; Shakespeare:
Activities, p. 700, #3
5.2.2 Understand and evaluate group processes
The Shining Houses, p. 73, #3; Media on
5.2.2.1
Media: Activities, p. 451, #3, #4; Argument
develop and use criteria to understand,
and Persuasion: Activities, p. 475, #4;
appraise and monitor group processes [such Poetry Wrap-Up, p. 611, #4; Shakespeare:
as divisions of labour and time
Activities, p. 700, #3
management]
5.2.2.2
analyze and explain the interplay among the
roles adopted by group members
Short Fiction Wrap-Up, p. 163, #4; Media
on Media: Activities, p. 451, #3, #4; Poetry
Wrap-Up, p. 611, #4; Shakespeare:
Activities, p. 700, #3
5.2.2.3
use and appreciate various means to
facilitate completion of group projects
The Shining Houses, p. 73, #3; Was It a
Dream? p. 154, #3; Short Fiction Wrap-Up,
p. 163, #4; Ours by Design, p. 363, #3;
Media on Media: Activities, p. 451, #3, #4;
Argument and Persuasion: Activities,
p. 475, #4; Poetry Wrap-Up, p. 611, #4;
Shakespeare: Activities, p. 700, #3
5.2.2.4
understand and appreciate the function of
teamwork tools, and assess the effectiveness
of such tools as appropriate
The Shining Houses, p. 73, #3; Media on
Media: Activities, p. 451, #3
Teacher Resource
Reference
Points
Magpies, #5; Was It a Dream? #5;
Afternoon of an American Boy, #4; My
Mother’s Blue Bowl, #4; Migrant
Mother, #1; The Not-So-Deadly Sin,
#3; A Modest Proposal, #5; Hockey
Night in Port Hawkesbury, #5; Buying
Your Next Synthesizer, #4; A Chat with
Al Purdy, #1, #4; Unzipped, #4, #5;
Restoring Life on the Edge, #5;
Aphorisms, #3; The News, #3; King
Zog’s Birthday, #2; almost visible, #3;
Engineers’ Corner, #4; foremother, #3;
Musée des Beaux Arts, #4; From
Beowulf, #5; Sonnet 116, #2; A Poison
Tree, #5; A Marriage Proposal, #5; Set
Design for The Foreigner, #5; From
Acoose: Man Standing Above Ground,
#5; From Hamlet, #2
Calgary from Sunnyside, #5; Easter at
My Aunt’s, #4; Was It a Dream? #5;
Afternoon of an American Boy, #4; My
Mother’s Blue Bowl, #4; Migrant
Mother, #1; A Modest Proposal, #5;
Hockey Night in Port Hawkesbury, #5;
Buying Your Next Synthesizer, #4; A
Chat with Al Purdy, #1, #4; Unzipped,
#4, #5; Restoring Life on the Edge, #5;
Aphorisms, #3; The News, #3; King
Zog’s Birthday, #2; almost visible, #3;
Engineers’ Corner, #4; From Beowulf,
#5; Sonnet 116, #2; A Poison Tree, #5;
A Marriage Proposal, #5; From
Acoose: Man Standing Above Ground,
#5
pp. 14; 54−55;
59–60; 285
Calgary from Sunnyside, #5; Migrant
Mother, #1; A Modest Proposal, #5;
Hockey Night in Port Hawkesbury, #5;
Restoring Life on the Edge, #5; The
News, #3; King Zog’s Birthday, #2; A
Poison Tree, #5; Set Design for The
Foreigner, #5; Dead Parrot, #5
Calgary from Sunnyside, #5; Magpies,
#5; Migrant Mother, #1; A Modest
Proposal, #5; Hockey Night in Port
Hawkesbury, #5; A Chat with Al Purdy,
#1; Restoring Life on the Edge, #5;
King Zog’s Birthday, #2; Engineers’
Corner, #4; Sonnet 116, #2; Dead
Parrot, #5
Calgary from Sunnyside, #5; Afternoon
of an American Boy, #4; Migrant
Mother, #1; A Modest Proposal, #5;
Hockey Night in Port Hawkesbury, #5;
Unzipped, #5; The News, #3; King
Zog’s Birthday, #2; almost visible, #3;
Engineers’ Corner, #4; A Poison Tree,
#5; Dead Parrot, #5
Magpies, #5; The News, #3; A Poison
Tree, #5
pp. 6; 14; 302;
305; 319
pp. 283−284
pp. 14−15;
59−60; 285;
318−320
pp. 283−284; 310
pp. 274; 310
28
ELA 30-1 Outcomes
5.2.2.5
identify, analyze and assess the
collaborative processes used by individuals
whose careers involve the development and
production of literary texts [such as the
collaborative relationships of author,
illustrator, editor and publisher and of
playwright, actor, producer and director]
Viewpoints 12
Teacher Resource
Reference
Points
Short Fiction Wrap-Up, p. 163, #4; Media
on Media: Activities, p. 451, #3; Argument
and Persuasion: Activities, p. 475, #4; A
Marriage Proposal, p. 633, #2; Film
Location for Random Passage, p. 640, #2;
Shakespeare: Activities, p. 700, #3
Magpies, #5; Afternoon of an American
Boy, #4; Hockey Night in Port
Hawkesbury, #5; The News, #3; King
Zog’s Birthday, #2; almost visible, #3;
A Poison Tree, #5
pp. 224; 283
29