Lesson Plan for Social Criticism through Art and Literature
Essential Questions:
How do artists create meaning through visual texts?
How do writers create meaning through written texts?
How does annotating help me find deeper meaning in a text?
How do I reinforce my analysis through textual support?
What is a close reading of a text and how does it aid comprehension?
How do Socratic seminars enhance understanding of a complex text?
How does sharing my ideas and listening to others’ ideas help me create a better
argument?
What is social criticism?
How do I read a text through a Marxist and/or a gender lens?
Warm-up Activity:
Instruct students to label this entry in their writer’s notebook with the date and the
title, “Quick Write 2: Greatest Burden.”
Look at the image on the screen (Diego Rivera’s Cabbage Seller, 1936); using the picture
as inspiration, write about the greatest burden you carry in your life. Write for seven
minutes and share with the class afterward through a chalk talk. Alternately, write about
the greatest burdens people across the world carry. Write for seven minutes and share
with the class afterward through a chalk talk.
http://teachersnetwork.org/NTNY/nychelp/mentorship/chalktalk.htm
Lesson One: Social Criticism through Art
Introduce social criticism: creators using their artwork to criticize their world.
We can see that the picture focuses on a man literally carrying a burden, but what message
might Diego Rivera be telling us about the burdens of the world?
Using what is in the picture (the same one from the Quick Write), decide what statement about
the world the painter is making. What is he saying about the subject? About burden? About
humanity? How is it conveyed?
Give students ten minutes to write and then ask for volunteers to share their ideas.
After each one shares, take a moment ask probing questions—for example, “Come up
and show us what part of the painting made you think that Diego was illustrating that
idea.” (Again, you are always guiding them toward using textual support.)
Depending on what the students say, this could be a great place to teach Marxist
criticism (the haves and the have-nots) and gender criticism (what is expected of
genders within society). There is more on literary criticism at the bottom of the lesson.
This is also a great place to use political cartoons to show how visuals can act as social
criticism. Links to political cartoons: http://politicalhumor.about.com/library/bl-
political-cartoons.htm; http://www.washingtonpost.com/opinions/toles;
http://ideas.time.com/category/cartoons-of-the-week/
Give partnerships one of the following images by Diego Rivera (they should be
laminated):
Sleep (The Night of the Poor)/El sueño (la noche de los pobres), 1932
The Fruits of Labor/Los frutos de la tierra, 1932
Calla Lily Vendor, 1943
The Flowered Canoe/La canoa enflorada, 1931
The Agrarian Leader Zapata/El líder campesino Zapata, 1932
The Rural Schoolteacher/La maestra rural, 1932
Market of Tehuantepec/Mercado de Tehuantepec, 1930
The Healer/El curandero, 1945
Maternity/Maternidad, 1954
Sunflowers/Girasoles, 1943
Knife and Fruit in Front of the Window, 1917
Dance to the Sun/Danza al sol, 1942
The Hammock/La hamaca, 1956
Woman Shoveling Snow/Mujer recogiendo la nieve, 1956
The Family (Mother and Children)/La familia (Madre e hijos), 1934
Partners should then collaborate to analyze the artwork and decide what statement about the
world Diego might be making in the work.
Students can use the same annotating worksheet from yesterday to help get them
started.
They must prepare evidence to support their claim and present their argument to the
class (“claim, data, because” style).
Partnerships will then present. The audience listens and then asks clarifying and probing
questions. Through the follow-up discussion the idea is to see if there are other possible
interpretations in the group. (You are teaching them to consider counter viewpoints.)
Lesson Two: Social Criticism through Literature
The group reads “Say Yes,” by Tobias Wolff, silently annotating as they go. See the resources at
the end of this document for example questions.
http://mainecontentliteracyproject.org/lessons/H4/Lesson%207a%20Say%20Yes%20by%20Tob
ias%20Wolff.pdf
Conversations with Tobias Wolff http://wn.com/Tobias_Wolff
Conduct a Socratic seminar on the meaning of the text.
http://www.socraticseminars.com/education/documents/SocraticSeminarGroundRules
Poster_000.pdf
Guidelines for Socratic seminar:
http://www.authenticeducation.org/documents/WhatSeminar04.pdf
Extension:
Students create a claim about the piece of literature read and discussed in class. What is
the author criticizing about his or her world? They should use textual evidence and
analysis to support their theory.
Lesson Three: Personal Narrative—Social Criticism
What is the greatest problem facing the world?
Discuss and share.
Students then decide what world issue they would like to criticize in their work.
Student Assignment:
Conduct research on the world problems we discussed in class and then write an
editorial expressing your viewpoint on the issue. Include some of the statistics you
found while researching the issue. Offer your ideas for solving the problem.
Create a political cartoon criticizing the issue.
Create a piece of artwork that visually explores the issue, like Diego Rivera did.
Write a poem or short story, like the one we read in class, that illustrates a social issue.
For more advanced students:
Go more in depth with gender criticism with these pieces:
Diego’s Calla Lily Vendor, 1943
Diego’s Maternity/Maternidad, 1954
Explore Marxist criticism with these pieces:
Diego’s Woman Shoveling Snow/Mujer recogiendo la nieve, 1956
Diego’s The Agrarian Leader Zapata/El líder campesino Zapata, 1932
A wonderful book for teaching literary criticism to students is Critical Encounters in High School
English: Teaching Literary Theory to Adolescents, second edition (Language & Literacy series),
by Deborah Appleman.
Basic handouts for introducing these critical theories are in the handout section.
Brainstorm other activities that could be used to expand or enrich this lesson.
Also, look into Great Books Foundation: http://www.greatbooks.org/.
Other great texts for social criticism include:
o “Harrison Bergeron,” by Kurt Vonnegut, Jr. In this satirical, dystopian story
society has finally achieved equality by handicapping its most intelligent, athletic,
or beautiful members.
o “A Good Man is Hard to Find,” by Flannery O’Connor. A manipulative
grandmother is at the center of this tragic and shocking story about coming to
terms with who you really are.
o “A Hunger Artist,” by Franz Kafka. Exploring themes such as death, art, isolation,
and personal failure, this work is one of Kafka’s best and most autobiographical.
o “The Lame Shall Enter First,” by Flannery O’Connor. In this tragic story, a man’s
idealism and self-interest cause him to ignore the needs of his grieving son, with
sad consequences.
o “The Lottery,” by Shirley Jackson. First published in 1948, this “The Lottery” has
been ranked as one of the most famous short stories in American literature,
despite its negative reception in some places.
o “The Use of Force,” by William Carlos Williams. This story asks readers to
consider whether or not it is ethical to hurt someone for their own good and,
more importantly, whether one should be ashamed to enjoy the experience.
o “The Rocking-Horse Winner,” by D. H. Lawrence. This twisted tale documents the
strange relationship between a spendthrift mother and her son, who only longs
to make her happy.
o Visit this website for copies of all of the above short stories:
http://www.onlineclasses.org/2011/01/20/the-50-best-short-stories-of-all-time/
Overall Extension Lessons:
Assign each student a different painting in the exhibition. Have them research it and
present their findings to the class before they visit the Museum, so that students are
familiar with each piece and its background. Students should use MLA citations and create a
works cited page for their sources.
Have students research the many telegrams the two artists sent each other over the years
and ask them to write an old-fashioned love letter to someone.
Georgia Performance Standards:
ELACCL11-12RL1:
Cite strong and thorough textual evidence to support analysis of what the
text explicitly says as well as inferences drawn from the text, including
determining where the text leaves matters uncertain.
ELACCL11-12RL4:
Determine the meaning of words and phrases as they are used in the
text, including figurative and connotative meanings; analyze the impact
of specific word choices on meaning and tone, including words with
multiple meanings or language that is particularly fresh, engaging, or
beautiful. (Include Shakespeare as well as other authors.)
ELACCL11-12RL6:
Analyze a case in which grasping point of view requires distinguishing
what is directly stated in a text from what is really meant (e.g., satire,
sarcasm, irony, or understatement).
ELACCL11-12RL7:
Analyze multiple interpretations of a story, drama, or poem (e.g., a
recorded or live production of a play, or a recorded novel or poetry),
evaluating how each version interprets the source text.
ELACCL11-12W1:
Write arguments to support claims in an analysis of substantive topics or
texts, using valid reasoning and relevant and sufficient evidence.
a. Introduce precise, knowledgeable claim(s); establish the significance
of the claim(s); distinguish the claim(s) from alternate or opposing
claims; and create an organization that logically sequences claim(s),
counterclaims, reasons, and evidence.
ELACCL11-12W2:
ELACCL11-12W3:
ELACCL11-12W7:
ELACCL11-12W8:
ELACC11-12W10:
ELACCL11-12SL1:
b. Develop claim(s) and counterclaims fairly and thoroughly, supplying
the most relevant evidence for each, while pointing out the strengths
and limitations of both in a manner that anticipates the audience’s
knowledge level, concerns, values, and possible biases.
c. Use words, phrases, and clauses as well as varied syntax to link the
major sections of the text, create cohesion, and clarify the
relationships between claim(s) and reasons, between reasons and
evidence, and between claim(s) and counterclaims.
d. Establish and maintain a formal style and objective tone while
attending to the norms and conventions of the discipline in which the
students are writing.
e. Provide a concluding statement or section that follows from and
supports the argument presented.
Write informative/explanatory texts to examine and convey complex
ideas, concepts, and information clearly and accurately through the
effective selection, organization, and analysis of content.
Write narratives to develop real or imagined experiences or events using
effective technique, well-chosen details, and well-structured event
sequences.
a. Use precise words and phrases, telling details, and sensory language
to convey a vivid picture of the experiences, events, setting, and/or
characters.
Conduct both short and more sustained research projects to answer a
question—including a self-generated question—or solve a problem;
narrow or broaden the inquiry where appropriate; synthesize multiple
sources on the subject, demonstrating understanding of the subject
under investigation.
Gather relevant information from multiple authoritative print and digital
sources, using advanced searches effectively; assess the strengths and
limitations of each source in terms of the task, purpose, and audience;
selectively integrate information into the text to maintain the flow of
ideas, avoiding plagiarism and overreliance on any one source, and
following a standard format for citation.
Write routinely over extended time frames—with time for research,
reflection, and revision—and shorter time frames (a single sitting or a day
or two), for a range of tasks, purposes, and audiences.
Effectively initiate and participate in a range of collaborative discussions
(one-on-one, in groups, and teacher-led) with diverse partners on topics,
texts, and issues for grades 11–12, building on others’ ideas and clearly
and persuasively expressing their own.
a. Work with peers to set rules for collegial discussions and decisionmaking, set clear goals and deadlines, and establish individual roles as
needed.
ELACCL11-12SL2:
ELACCL11-12SL3:
ELACCL11-12SL4:
b. Propel conversations by posing and responding to questions that
probe reasoning and evidence; ensure a hearing for a full range of
positions on a topic or an issue; clarify, verify, or challenge ideas and
conclusions; and promote divergent and creative perspectives.
c. Thoughtfully respond to diverse perspectives; synthesize comments,
claims, and evidence made on all sides of an issue; resolve
contradictions when possible; and determine what additional
information or research is required to deepen the investigation or
complete the task.
Integrate multiple sources of information presented in diverse formats
and media (e.g., visually, quantitatively, orally) in order to make informed
decisions and solve problems, evaluating the credibility and accuracy of
each source and noting any discrepancies among the data.
Evaluate a speaker’s point of view, reasoning, and use of evidence and
rhetoric, assessing the stance, premises, links among ideas, word choice,
points of emphasis, and tone used.
Present information, findings, and supporting evidence, conveying a clear
and distinct perspective, such that listeners can follow the line of
reasoning, alternative or opposing perspectives are addressed, and the
organization, development, substance, and style are appropriate to
purpose, audience, and a range of formal and informal tasks.
Shared Inquiry Questions
for “Say Yes,” by Tobias Wolff
1. Is the husband considerate?
2. Overall, what motivates the husband?
3. Who provokes the argument?
4. Which character is the antagonist?
5. What is the couple’s real issue or problem?
6. What is the significance of the story’s final scene? Is it an appropriate ending?
7. Why is the story title, “Say Yes”?
8. Why is it so important to Ann that her husband says, “yes?”
9. Referring to the husband, the narrator says, “He thought of the years they had spent together, and
how close they were, and how well they knew each other, and his throat tightened so that he could
hardly breathe.” Does this couple really know each other?
10. What is the possible symbolism of the household chores that are being completed throughout the
story?
11. About what, ultimately, is Wolffe’s story? What is the story’s universal message?
12. What is the story’s greatest irony?
13. Is the husband racist?
14. How does the story illustrate qualities of social criticism?