Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Framework Title: Moral Courage and Righteous Anger: Necessities for Change Grade Level: 10 Course: World Literature and Composition Approximate Duration: Nine Weeks Overview of the Unit: The purpose of this unit is to provide students with rich, multi‐genre and multi‐media texts that challenge students to read, think, analyze, and write critically about how moral courage is a dynamic concept that transcends time and place and has been a catalyst for social change. Students will engage in multiple close‐reading, analysis, and discussion activities with various literary and informational texts suggested in this unit to examine various aspects of the complex topic of moral courage and righteous anger as they develop skills in determining meaning and tone, citing textual evidence in support of meaning, analyzing author’s purpose and rhetorical strategies, and writing arguments to support claims. The unit is designed to provide students with direct instruction and scaffolded practice including small‐group activities that will aid them in developing independent mastery of the priority standards. Priority Standards: 
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ELACC9‐10RL1 & ELACC9‐10RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RL2 & ELACC9‐10RI2: Determine a theme or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RL4 & ELACC9‐10RI4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone, how the language of a court opinion differs from that of a newspaper). ELACC9‐10RI6: Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. Designed by Lisa Boyd, Luella High School: Page1
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
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ELACC9‐10W1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. a. Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence. b. Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level and concerns. c. Use words, phrases, and clauses to link the major sections of the text, create cohesion, and clarify the relationships between 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 they are writing. e. Provide a concluding statement or section that follows from and supports the argument presented. ELACC9‐10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. ELACC9‐10W9: Draw evidence from literary or informational texts to support analysis, reflection, and research. Supporting Standards: 
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ELACC9‐10SL1: Initiate and participate effectively in a range of collaborative discussions (one‐on‐one, in groups, and teacher‐led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELACC9‐10SL6: Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate. ELACC9‐10W10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. Learning Targets (I Can Statements):  I can analyze an author’s words and determine multiple pieces of textual evidence that strongly and thoroughly support assertions and answer explicit and inferential questions.  I can determine how specific details in a text reveal and continually refine theme.  I can analyze how an author’s specific word choices build upon on another to create a cumulative impact on the overall meaning and tone of the text.  I can compose a clear piece of writing that demonstrates my understanding of a complex abstract concept.  I can analyze an author’s claims and counterclaims and cite convincing textual evidence for support.  I can compose an organized argument that develops and supports my claim with evidence as well as strengthens claim through discussion of counterclaim.  I can compose a clear piece of writing that demonstrates my understanding of a complex abstract concept.  I can utilize domain‐specific language (literary and rhetorical vocabulary) to support my analysis of literary and informational texts in writing and discussion. Summative (Performance‐Based) Unit Assessment: Students will complete a two‐part summative assessment. Part 1 consists of multiple‐choice questions in which students closely read literary and informational texts and answer questions about word meaning, tone, theme, author’s purpose, literary and rhetorical devices, and textual evidence. Part 2 require that students read an informational text and compose an argumentative essay in which they assert a claim about the effectiveness of the techniques and language the author employs to achieve the rhetorical purpose. Designed by Lisa Boyd, Luella High School: Page2
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 1 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How do authors use rhetorical techniques to convey the complex meaning of key abstract concepts? Standards 
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ELACC9‐10RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RI2: Determine a theme or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RI4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone, how the language of a court opinion differs from that of a newspaper). ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students will be able to articulate in verbal communication with peers and in writing how an author employs rhetorical devices to convey a complex meaning of an abstract term. Students will convey a complex meaning of an abstract term modeling the techniques utilized by an author. These formative assessments will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) To begin the lesson, the teacher will give each student a copy of a short passage that conveys the complexity of the term “courage,” printed so that students have room to annotate (at least double spaced). Teachers might choose to use the following: “Heroism is the brilliant triumph of the soul over the flesh, that is to say over fear: fear of poverty, of suffering, of calumny, of illness, of loneliness, and of death. There is no real piety without heroism. Heroism is the dazzling and glorious concentration of courage.” —Henri Frédéric Amiel (http://www.bartleby.com/100/766.3.html) The teacher will ask students to read the short passage and choose the three terms (number depends upon Designed by Lisa Boyd, Luella High School: Page3
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
passage selected by teacher) that are most significant to the passage. After selecting their terms, students will write a brief explanation of their choices. Teacher will then place students into small groups and instruct students share their choices and reasons and to ultimately come to a consensus as a group. Each group will elect a spokesperson to share their three choices and explain their reasoning to the whole class. As each group shares, the teacher records the choices and indicates the number of groups who selected each term. Most groups will certainly select “heroism” and “fear” and may explain that these are the terms that are repeated most in the passage. “Courage” is the other term that groups should choose but many may not. The teacher will then write each of the three terms on posters for students to use later in the work session. Step 4: Give students new information (Teacher Presentation Strategies) Releasing students to do the work WORK SESSION Instruction:
Now that students have determined the key concepts of the passage, they will need instruction on close‐
reading, annotation, and relevant literary and rhetorical devices. Teachers may choose to show students to following videos on close‐reading and annotating or may choose to develop their own mini‐lesson on these topics:  “How to Do a Close Reading” by Eberly Writing Center (Dickinson College) featuring Seuss’s Oh, the Places You’ll Go as the text. (https://www.youtube.com/watch?v=adXdTXEzmzE&index=3&list=PLImEm52DQHlOppZryUWxXUH6Ew
v_4eYMZ)  “Annotating a Text” by HaynesEnglish (https://www.youtube.com/watch?v=pf9CTJj9dCM) Teachers may also find these handouts useful:  A Reader’s Guide to Annotation from the Dripping Springs Independent School District (http://www.dsisd.txed.net/DocumentCenter/Home/View/14072)  Making Annotations guide from NCTE’s ReadWriteThink (http://www.readwritethink.org/files/resources/lesson_images/lesson1132/AnnotationGuide.pdf) According to students’ prior knowledge of literary terminology, teachers may also need to instruct students about specific literary devices that they will need to know for effective annotation of this passage: repetition, parallel structure, juxtaposition, diction. Teachers might consult the website Literary Devices for definitions and examples (http://literarydevices.net/). Step 5: Have students use the new information (Student‐Centered Lesson) After direct instruction about close‐reading, annotation, and literary devices, students will work independently for five minutes on close‐reading and annotation of the short passage. Teacher needs to monitor and guide students to note not only the effective use of literary devices but also reactions to the text, questions the text prompts, and vocabulary that is unfamiliar or used in an interesting way. With unfamiliar vocabulary, teachers should encourage students to struggle and use context clues rather than immediately consulting a dictionary or online resource. Teacher sorts students into groups (different from the groups in the opening activity) and instructs students to discuss their annotations, focusing specifically on the author’s use of repetition, parallel structure, juxtaposition, and diction. Group discussion should be limited to ten minutes. Designed by Lisa Boyd, Luella High School: Page4
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Helping students make sense of their learning CLOSING Teacher sends two members of each group to other groups, and new groups discuss for five minutes their annotations, noting differences in annotations and interpretations. Each group chooses a spokesperson (who cannot have served as spokesperson during the opening activity) to share their annotations. Students should note any new ideas they hear on their own text. After all groups add their input to the annotation, teacher fills in any gaps in student analysis and uses the opportunity to review concepts taught in mini‐lesson. Teacher returns students to focus on the three terms the class identified as the key concepts of the passage, and arranges the posters around the room. In their groups, students work collaboratively for five to ten minutes to define each of the terms as the author uses them (without consulting a reference source) and select textual evidence that supports that definition. Each group will have two minutes with each poster to add its unique definition and textual evidence with brief explanation to the poster. After each group has contributed, teacher leads whole‐class wrap‐up discussion about complexity of abstract ideas and why they are difficult to define. Step 6: Make sure they do it (Summary) During the final five minutes of the lesson, students compose a final draft of the definition of “heroism” that reveals the complexity of the abstract concept. They choose two literary devices, and write an explanation of how Amiel uses each devices to emphasize his complex definition of heroism. Step 7: Have students explore further (Independent Practice – Extended Learning) Students independently compose an initial draft of a three‐sentence definition of “social change.” Students should follow the model of Amiel’s definition of heroism, including parallel structure, juxtaposition, repetition, and diction in their definitions. Designed by Lisa Boyd, Luella High School: Page5
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 2 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How do authors use literary devices to develop themes about complex abstract concepts? Standards 
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ELACC9‐10RL1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RL2: Determine a theme or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RL4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place). ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. ELACC9‐10W9: Draw evidence from literary or informational texts to support analysis, reflection, and research. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students will independently state theme of a poem and select and explain textual evidence that best supports that theme. This formative assessment will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐
response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) To begin the lesson, the teacher will ask students to independently define the term “courage.” Teacher will then ask for volunteers to share their definitions and record key ideas. Then, teacher will place students into groups and give each group an abstract concept graphic organizer (included in document at end of lesson). Students work collaboratively to record positive and negative examples of courage as it looks and sounds. After groups have recorded multiple examples of what courage is and is not, together they construct a definition for “courage.” Each group selects a spokesperson who shares their constructed definition with the class while teacher records definitions. Designed by Lisa Boyd, Luella High School: Page6
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Teacher leads a whole‐discussion about similarities and differences in groups’ definitions and guides students to work together to craft a definition that articulates the complexity of the word and incorporates ideas from all the groups. Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work WORK SESSION Before coaching students in a close‐reading, teachers would benefit from watching a close‐reading lesson in action. Douglas Fisher and Nancy Frey of the International Reading Association have posted a YouTube video that provides a clear example of the concept: “Grade 10 Close Reading Lesson” (https://www.youtube.com/watch?v=XFRClI2q18Y&index=4&list=PLmOKj_YOWrC0HINNUYO9Ve6TaiW
p‐o7rb). Based on students’ prior experience with close‐reading, the teacher may need to develop a mini‐lesson to provide scaffolding for students before they practice. Teachers may choose to show students to following videos on close‐reading and annotating or may choose to develop their own mini‐lesson on these topics:  “How to Do a Close Reading” by Eberly Writing Center (Dickinson College) featuring Seuss’s Oh, the Places You’ll Go as the text. (https://www.youtube.com/watch?v=adXdTXEzmzE&index=3&list=PLImEm52DQHlOppZryUWx
XUH6Ewv_4eYMZ)  “Annotating a Text” by HaynesEnglish (https://www.youtube.com/watch?v=pf9CTJj9dCM) Teachers may also find these handouts useful:  A Reader’s Guide to Annotation from the Dripping Springs Independent School District (http://www.dsisd.txed.net/DocumentCenter/Home/View/14072)  Making Annotations guide from NCTE’s ReadWriteThink (http://www.readwritethink.org/files/resources/lesson_images/lesson1132/AnnotationGuide.p
df) According to students’ prior knowledge of literary terminology, teachers may also need to instruct students about specific literary devices that they will need to know for effective annotation of the poem: figurative language, colloquial diction, point of view, and pronoun usage (it and you). Teachers might consult the website Literary Devices for definitions and examples (http://literarydevices.net/).
Step 5: Have students use the new information (Student‐Centered Lesson) Teacher distributes copies of Anne Sexton’s “Courage” (included in document at end of lesson) or another thematically relevant poem of teacher choice, formatted so that students have room to annotate effectively. Students independently annotate for ten to fifteen minutes, noting particularly Sexton’s use of diction, repetition, syntax, and figurative language as well as to mark any words about which they are unsure with their predicted meaning based on the context. Teacher should monitor students as they work and encourage them to write their reactions and reasons for marking the text, rather than simply underlining phrases and circling words. Then, students should spend two minutes to independently formulate an initial statement of the poem’s main idea. Teacher moves students into small groups and instructs groups to share their annotations and to work collaboratively on more close‐reading (thirty minutes or more of focused exploration) with the purpose of analyzing three elements of the poem: structure, pronoun use, and theme. 1. In their groups, students make notes about the structure of the poem and formulate a Designed by Lisa Boyd, Luella High School: Page7
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Helping students make sense of their learning CLOSING statement of the main idea or focus of each of the four stanzas. After constructing their four statements, groups should contemplate why Sexton has chosen to order the poem as she does. 2. Groups make notes about Sexton’s repeated use of forms of the pronouns “it” and “you.” Students should contemplate why Sexton begins her poem with this statement: “It is in the small things we see it.” Groups should also think about the possible purpose and effect of Sexton’s use of forms of “you.” 3. After reading closely and analyzing collaboratively, each group composes a statement of the poem’s theme. Throughout the group close‐reading process, teacher moves from group to group to discuss each group’s ideas with them and to guide students in analysis. After focused group discussion about structure, pronoun use, and theme, teacher leads whole‐class discussion about the poem’s theme how the theme is reinforced by the author’s use of various devices. Step 6: Make sure they do it (Summary) During the final ten minutes of the lesson, each student states the theme of the poem, making clear the complex meaning of the abstract concept of courage, and selects and explains (using domain‐specific language to discuss literary devices) three pieces of textual evidence that best support the poem’s theme. Step 7: Have students explore further (Independent Practice – Extended Learning) Students independently close‐read and annotate another thematically‐linked poem whose structure and pronoun use helps to reinforce theme (suggestion: Percy Shelley’s “Song: Men of England,” which is included at end of lesson). Students compose a statement of theme, select the three details that best support the poem’s theme, and explain each piece of evidence. Abstract Concept Graphic Organizer What it looks like What it sounds like What it does not look like What it does not sound like Designed by Lisa Boyd, Luella High School: Page8
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
What it is
Courage Anne Sexton It is in the small things we see it. The child's first step, as awesome as an earthquake. The first time you rode a bike, wallowing up the sidewalk. The first spanking when your heart went on a journey all alone. When they called you crybaby or poor or fatty or crazy and made you into an alien, you drank their acid and concealed it. Later, if you faced the death of bombs and bullets you did not do it with a banner, you did it with only a hat to cover your heart. You did not fondle the weakness inside you though it was there. Your courage was a small coal that you kept swallowing. If your buddy saved you and died himself in so doing, then his courage was not courage, it was love; love as simple as shaving soap. Later, if you have endured a great despair, then you did it alone, getting a transfusion from the fire, picking the scabs off your heart, then wringing it out like a sock. Next, my kinsman, you powdered your sorrow, you gave it a back rub and then you covered it with a blanket and after it had slept a while it woke to the wings of the roses and was transformed. Later, when you face old age and its natural conclusion your courage will still be shown in the little ways, each spring will be a sword you'll sharpen, those you love will live in a fever of love, and you'll bargain with the calendar and at the last moment when death opens the back door you'll put on your carpet slippers and stride out. Song: Men of England Percy Bysshe Shelley Designed by Lisa Boyd, Luella High School: Page9
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Men of England, wherefore plough For the lords who lay ye low? Wherefore weave with toil and care The rich robes your tyrants wear? Wherefore feed and clothe and save, From the cradle to the grave, Those ungrateful drones who would Drain your sweat—nay, drink your blood? Wherefore, Bees of England, forge Many a weapon, chain, and scourge, That these stingless drones may spoil The forced produce of your toil? Have ye leisure, comfort, calm, Shelter, food, love's gentle balm? Or what is it ye buy so dear With your pain and with your fear? The seed ye sow another reaps; The wealth ye find another keeps; The robes ye weave another wears; The arms ye forge another bears. Sow seed,‐‐but let no tyrant reap; Find wealth,‐‐let no imposter heap; Weave robes,‐‐let not the idle wear; Forge arms, in your defence to bear. Shrink to your cellars, holes, and cells; In halls ye deck another dwells. Why shake the chains ye wrought? Ye see The steel ye tempered glance on ye. With plough and spade and hoe and loom, Trace your grave, and build your tomb, And weave your winding‐sheet, till fair England be your Sepulchre!
Designed by Lisa Boyd, Luella High School: Page10
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 3 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How can a writer use precise language to clearly convey his or her understanding of the complexity of an abstract concept? Standards 
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ELACC9‐10RL4 & ELACC9‐10RI4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone. ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. ELACC9‐10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students will define an abstract concept using a range of general academic vocabulary that shows the varying degrees and intensities of the concept. They will also explain how a writer’s command of vocabulary allows him or her to explain complex abstract ideas. These formative assessments will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) To begin the lesson, the teacher will give each student a copy of a short passage that conveys the complexity of the term “anger,” printed so that students have room to annotate (at least double spaced). Teachers might choose to use the following: “Anger is like gasoline. If you spray it around and somebody lights a match, you’ve got an inferno. [But] if we can put our anger inside an engine, it can drive us forward.” —Scilla Elworthy (http://www.ted.com/talks/scilla_elworthy_fighting_with_non_violence.html) Students annotate the quotation, particularly noting Scilla’s use of figurative language and logical reasoning. Teacher leads a discussion of how Scilla uses precise language to make her point and how her writing clearly conveys her understanding of the complexity of the concept of “anger.” Designed by Lisa Boyd, Luella High School: Page11
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work WORK SESSION In order to complete the work session activities, students need to better understand word nuance and degree. Teacher needs to model the exploration of the complexity of word meaning with abstract concepts. Begin with a common but abstract word, such as love. First, determine the antonym for the word and add that to the vertical arrangement of words in a space at the other end of the thermometer. Using reference sources, the group works collaboratively to fill in varying degrees of the concept on the thermometer from most intense synonym to the most intense antonym. With guidance from the teacher, the class should eventually produce a thermometer that resembles this one: adoration love interest tolerance indifference aversion hatred abhorrence Step 5: Have students use the new information (Student‐Centered Lesson) 1. Teacher places students into groups to create abstract concept thermometers for the central concepts of the unit: courage, anger, morality, and change. If time allows, each group should create its own thermometer for each of the abstract concepts; however, if time is limited, the teacher might assign one or two concepts to each group. Groups present their thermometers to the class and defend their placement of each word in the vertical arrangement. Teacher should allow for and encourage debate and discussion between the groups. ______________ ______________ ______________ ______________ ______________ ______________ ______________ ______________ 2. Teacher then distributes copies of a quotation that defines an abstract concept printed so that students have room to annotate. Teachers might choose to use the following: “What’s morality, she asked. Judgment to distinguish right and wrong, vision to see the truth, and courage to act upon it, dedication to that which is good, integrity to stand by the good at any price.” —Ayn Rand, Atlas Shrugged. Students annotate the quotation independently before they move into groups to discuss their annotations and participate in more focused close‐reading about the quotation’s diction and parallelism, among other potential devices. Groups should discuss the how Rand reveals “morality” to Designed by Lisa Boyd, Luella High School: Page12
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Helping students make sense of their learning CLOSING be an abstract concept through her writing. 3. In groups, students collaboratively compose a multi‐sentence definition of courage, anger, or change. The definition must show the complexity of the word and should contain at least three words from the abstract concept thermometer, including one opposing terms. Step 6: Make sure they do it (Summary) As a ticket‐out‐the‐door, students submit a written explanation of how command of general academic vocabulary allows a writer to clearly convey the complexity of abstract concepts. Step 7: Have students explore further (Independent Practice – Extended Learning) Students compose a multi‐sentence definition of one of the two abstract concepts that their group did not define. The definition must show the complexity of the word and should contain at least three words from the abstract concept thermometer, including one opposing terms. Designed by Lisa Boyd, Luella High School: Page13
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 4 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How can we convey in writing the central message of a speech about a complex abstract concept? Standards  ELACC9‐10RI2: Determine a theme or central idea of text and analyze in detail its development over the course of 
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the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RI6: Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. ELACC9‐10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students independently summarize the author’s purpose and central idea of an essay. This formative assessment will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) Teacher projects an image of an event or events that show anger and courage united to bring about social change: potentially images of the protests of Arab Spring, Tiananmen Square, American Civil Rights Movement, South African Anti‐Apartheid. Students reflect upon and write about what inspires individuals to act courageously in these situations. Teacher leads a discussion of the topic and may provide background knowledge for students about the events depicted in the images. Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
In order to be able to summarize main idea effectively, students will need direct instruction about the process. They need to learn about important aspects of summarizing:  determining author’s purpose and central point  paying particular attention to first and last parts of a text  identifying key and repeated words Designed by Lisa Boyd, Luella High School: Page14
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
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chunking text and isolating key ideas of each part Releasing students to do the work Step 5: Have students use the new information (Student‐Centered Lesson) Helping students make sense of CLOSING WORK SESSION The teacher may choose to develop his or her own lesson on summarizing or may use YouTube videos for this direct instruction.  “How to Write a Summary” from Howcast (https://www.youtube.com/watch?v=‐zgKOguRrRs).  “How to Write a Summary” by SmrtEnglish (https://www.youtube.com/watch?v=eGWO1ldEhtQ)  “How to Summarize and Critically Respond to an Article” by Paola Brown (https://www.youtube.com/watch?v=1gZsmNGScH8) Step 6: Make sure they do it (Summary) Students list and rank three summarizing strategies, explaining why these strategies were effective for them during the lesson and justifying their ranking of the three. Teacher plays for students the Stuff You Should Know podcast, “Can Anger Be a Good Thing?” (http://www.stuffyoushouldknow.com/podcasts/can‐anger‐be‐a‐good‐thing/). The teacher chunks the podcast for students, pausing and allowing them to take notes after each section. In small‐groups, students complete this multi‐stage summarizing activity (concept derived from http://www.smekenseducation.com/writing‐simple‐summaries‐and‐determining‐main‐idea.html): 1. Teacher distributes to each group a 4X6 index card and allows students to write as much as they want to summarize the speech. 2. After they have completed step 1, teacher gives each group a square sticky note (3X3). Without looking back at the notes they took while listening to the speech, students rewrite their summary, utilizing only the most important elements from the original 4X6 card. 3. At the end of step 2, teacher provides each group with a single sentence‐strip of paper (1X3). They have to revise their 3X3 sticky note summaries as single, main idea sentences on the 1X3 strip. Teacher shows students Scilla Elworthy’s TED Talk, “Fighting with Non‐Violence” ((http://www.ted.com/talks/scilla_elworthy_fighting_with_non_violence.html). As before, the teacher chunks the talk for students, pausing and allowing them to take notes after each section. Individually, students complete the multi‐stage summarizing activity: 1. Teacher distributes to each group a 4X6 index card and allows students to write as much as they want to summarize the speech. 2. After they have completed step 1, teacher gives each group a square sticky note (3X3). Without looking back at the notes they took while listening to the speech, students rewrite their summary, utilizing only the most important elements from the original 4X6 card. 3. At the end of step 2, teacher provides each group with a single sentence‐strip of paper (1X3). They have to revise their 3X3 sticky note summaries as single, main idea sentences on the 1X3 strip. Teacher leads a whole‐class discussion during which students share their summaries and examine Elworthy’s central idea about non‐violence. Students also discuss what they have learned about the process of summarizing. Designed by Lisa Boyd, Luella High School: Page15
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Step 7: Have students explore further (Independent Practice – Extended Learning) Students select an essay from National Public Radio’s This I Believe series. They listen to and read the essay, and follow the three summary steps in the essay to draft and refine a summary.  “Getting Angry Can Be a Good Thing” by Cecilia Muñoz (http://thisibelieve.org/essay/2/)  “The Serenity to Change the Things I Can” by Mark Olmsted (http://thisibelieve.org/essay/39990/)  “The Strength of a Man’s Soul” by Jeff Carnes (http://thisibelieve.org/essay/14949/) Designed by Lisa Boyd, Luella High School: Page16
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 5 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How does a reader effectively read and analyze an extended text that explores a complex thematic idea? Standards 
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ELACC9‐10RL1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RL2: Determine a theme or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RL4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone. ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. ELACC9‐10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. ELACC9‐10W10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. Duration one or two class periods for the initial lesson activities depending on scheduling model employed; four to six weeks for completion of the reading and analysis of extended text Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students will repeatedly use domain‐specific literary vocabulary and cite textual evidence by composing dialectical journal entries for the extended text. These formative assessments will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) The teacher presents the following scenario to the class: “You are assigned to read a novel of almost 300 pages over six weeks. On the reading due date, your teacher informs you that you must compose an essay about the novel’s theme and explain how the author’s use of literary devices enhances that theme. Your essay must include a minimum of six pieces of textual evidence.” Students write about the potential struggles they would encounter in thoroughly and successfully completing these tasks. Designed by Lisa Boyd, Luella High School: Page17
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English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Students share their struggles, and teacher leads a whole‐class discussion in which students suggest strategies to avoid struggling through reading and analyzing an extended text. Students may mention setting smaller deadlines for sections of the text (chunking), taking notes during reading, annotating the text, using graphic organizers to sort ideas. Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work WORK SESSION In order to effectively engage in the close‐reading of an extended text, students need instruction in how to write dialectical journals. Teachers may choose to design their own dialectical journal format and create their own introductory mini‐lesson or they may choose to use the following YouTube video with students:  “Dialectical Journal” by Jen Jonson (https://www.youtube.com/watch?v=YaPSyxibs‐Q) with a modeled example from chapter one of Suzanne Collins’s The Hunger Games Step 5: Have students use the new information (Student‐Centered Lesson) Teacher introduces the extended text or text options for students in this unit. Suggested titles that are thematically appropriate and meet the Common Core text complexity expectations for grades 9‐10 are:  Antigone by Sophocles  The Book Thief by Marcus Zusak  Cry, the Beloved Country by Alan Paton  Fahrenheit 451 by Ray Bradbury  Les Miserables by Victor Hugo  Night by Elie Wiesel Helping students make sense CLOSING Students read the first chapter or scene of the text (or a smaller section selected by the teacher). Teacher may choose to group students for reading based on readiness: 1. students who read independently 2. students who read collaboratively in a small group 3. students who need guided reading with teacher While reading, students use the dialectical journal graphic organizer (included at end of the lesson) to record:  quotations, diction, and literary devices AND accompanying reactions, commentary, and questions  events, conflicts, character development AND thoughts and predictions  central idea  intertextual connections Teacher leads a whole‐class wrap‐up discussion in which students share their ideas. Step 6: Make sure they do it (Summary) As a ticket‐out‐the‐door, students write about how the dialectical journal could assist them to read and write about the text more effectively. Designed by Lisa Boyd, Luella High School: Page18
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Step 7: Have students explore further (Independent Practice – Extended Learning) 1. Students read sections of the extended text as assigned by the teacher and complete a dialectical journal for each. 2. After completing the reading and analysis through dialectical journal of the extended text, students compose an essay about the extended text in which they respond to a passage from a New York Times editorial entitled “Courage and Cowardice,” published on April 14, 1861:  There is, then, some other element in courage than mere indifference to danger; cowardice is something more than a mere shrinking away from danger. If we examine the subject more closely, we shall find that two moral qualities—faithfulness to duty and self‐control—are, no less than bravery, our tests of courage. A man may be brave, absolutely fearless, and yet lack courage; not moral courage, but physical courage of the higher kind. Indeed, the man who does not know the sensation of fear (and there are men so constituted) can never be truly courageous. His bravery lacks moral quality; it is instinctive, like that of the bull‐dog, which sends him headlong at the bull's nostrils at his first sight of the animal, and shuts his laws with grip that even death does not unloose. Such bravery is mere indifference to danger; and mere indifference has no moral quality, good or bad. No act is laudable that is not the consequence of volition; no moral state is virtuous that is not the result of self‐control. The truly courageous man is he, who being sensible to fear, yet from faithfulness to duty and from self‐respect conquers his fear and faces his enemy. And the greater his nervous apprehension of danger, the higher the quality of his courage; and, if he have attained absolute self‐command, the more serviceable is it, because the more completely and sensibly does its possessor appreciate the dangers which he is called upon to overcome. In their essays, students argue whether or not the protagonist’s actions illustrate the editorial’s complex description of courage. In the essay, students discuss the protagonist’s central moral conflict and his or her courageous reaction(s) to this conflict, and explain how these actions convey the text’s theme. Dialectical Journal for Extended Texts Name: Text: Section of Text: Text Notes Quotations/Diction/Literary Devices (7 or more) Important Events/ Conflicts/ Reactions/Commentary/Questions Thoughts/Predictions Designed by Lisa Boyd, Luella High School: Page19
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Zackory Kirk, Ed. D., Coordinator
Character Development Central Idea (MIT: Most Important Thing) What is the most important aspect of this section? Why? Connect the Dots Relate an element of this section to your personal experience or to another text you have read. Designed by Lisa Boyd, Luella High School: Page20
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 6 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How do authors use ethos, pathos, logos, and rhetorical strategies to convey their persuasive purpose? Standards 
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ELACC9‐10RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RI6: Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students complete close‐reading examining rhetorical elements as well as compose a succinct argument about the effectiveness of an argument for purpose, topic, and intended audience. These formative assessments will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) Teacher selects one or more of 11 commercials that use ethos, pathos, and logos for persuasive purpose (https://www.youtube.com/watch?v=8ULR68LTmbw&list=PL9w5RljUmm9zMlfjYJaI1thmzMTHimQ8v). Students view the commercials and then compose a brief analysis in which they identify the target audience and explain why the commercial is effective or not for that target audience. Teachers leads a whole‐class discussion about the commercials and their effectiveness. Designed by Lisa Boyd, Luella High School: Page21
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work Step 5: Have students use the new information (Student‐Centered Lesson) In small groups, students read “Moral Courage: An Inquiry into the Hearts of Kings” by Andrew Groft from The Statesman, George Whyte University (http://newsletter.gw.edu/archive/FeaturedArticle/2), chunking the essay into sections to analyze each part for elements of the rhetorical triangle and rhetorical devices. Students collaborate to read closely and annotate the text, identifying rhetorical triangle elements: purpose, subject, and intended audience as well as the appeals of ethos, pathos, logos. (Students may need to consult reference sources such as http://literarydevices.net/ for additional assistance with rhetorical elements.) Teacher could provide the rhetorical triangle graphic organizer (included at end of lesson) to students for note‐taking purposes. Teacher creates posters for purpose, subject, intended audience AND ethos, pathos, logos in “Moral Courage: An Inquiry into the Hearts of Kings”. Each group contributes one piece of textual evidence to each poster and cannot duplicate the evidence of previous groups. Each group must be prepared to explain their textual evidence during teacher‐led whole‐class discussion. Independently or in pairs (teacher choice based on formative assessment of student readiness), students read “Some Profiles of Courage” by Shane Lopez from In Character: a Journal of Everyday Values (http://incharacter.org/archives/courage/some‐profiles‐of‐courage/), chunking the essay into sections to analyze each part for elements of the rhetorical triangle and rhetorical devices. Students read closely and annotate the text, identifying rhetorical triangle elements: purpose, subject, and intended audience as well as the appeals of ethos, pathos, logos. Teacher leads whole‐class discussion about the rhetorical elements Lopez employs in “Some Profiles of Courage.” Helpin
g CLOS
ING WORK SESSION To effectively complete the work session of this lesson, students need to knowledge of the rhetorical triangle (ethos, pathos, logos) and rhetorical analysis. Teachers may choose to design their own mini‐lessons about the rhetoric, or might show these YouTube videos and discuss them with students.  “Ethos, Pathos, Logos” by Shmoop (https://www.youtube.com/watch?v=LwOTGeRwQqY)  “Introduction to Ethos, Pathos, and Logos” by Texas A&M Writing Center (https://www.youtube.com/watch?v=oKtQEnERhSY)  “Ethos, Pathos, and Logos in Persuasion/Advertising/Writing” by HSLanguageArts (https://www.youtube.com/watch?v=rFcCFEeOEeg)  “Using the Rhetorical Triangle and Rhetorical Appeals” by David Wright, Furman University (https://www.youtube.com/watch?v=5ODwmSYb3Tw)  “Ethos, Logos, Pathos” (https://www.youtube.com/watch?v=x4tTugqBkJU)  “Rhetorical Analysis” by Shaun Roundy (https://www.youtube.com/watch?v=s84EDd8jFgw) from the University of Life Writing Center (http://UofLIFE.com/writing) Step 6: Make sure they do it (Summary) Students choose which essay is most effective for purpose and intended audience. Teacher groups students Designed by Lisa Boyd, Luella High School: Page22
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English/Language Arts
Zackory Kirk, Ed. D., Coordinator
according to their selection of most effective essay, and each group constructs a succinct argument addressed to a classmate in the opposing group asserting and supporting with textual evidence and rhetorical devices why the chosen essay is more convincing. Step 7: Have students explore further (Independent Practice – Extended Learning) Students independently read “True Courage is Knowing You’re Wrong But Refusing to Admit it” by Ryan Arrington in The Onion (http://www.theonion.com/articles/true‐courage‐is‐knowing‐youre‐wrong‐but‐refusing‐
t,33742/). Armed with the knowledge that The Onion is a satirical (genre of texts that uses humor and mockery to highlight the weaknesses and flaws of humanity for the purpose of bringing about social change) news site, students analyze the essay about “courage,” identifying and explaining the rhetorical triangle elements: purpose, subject, and intended audience as well as the appeals of ethos, pathos, logos. The Rhetorical Triangle Ethos  moral appeal Speaker/Purpose (response based on ethics, morals, and beliefs) Pathos  emotional appeal Audience/Reader (emotional response) Logos  logical appeal Subject/Topic (logical response) Designed by Lisa Boyd, Luella High School: Page23
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 7 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How does an author effectively employ rhetorical elements to aid him or her in achieving the rhetorical purpose? Standards 
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ELACC9‐10RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RI2: Determine a theme or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RI4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone. ELACC9‐10RI6: Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students complete textual annotation, engage in rhetorical analysis conversation with peers, and complete a graphic organizer comparing two speeches. These formative assessments will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) Teacher displays the commonplace phrase “ignorance is bliss,” first articulated by Thomas Gray in his “Ode on a Distant Prospect of Eton College” (1742). Students write in response to this phrase: explaining what it means and how it relates to the unit’s central issues of courage, anger, morality, and change. Teacher leads a whole‐class discussion of the phrase, guiding students to consider its complexity (both its positive and negative consequences). Designed by Lisa Boyd, Luella High School: Page24
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work WORK SESSION To effectively complete the work session of this lesson, students need to build upon their understanding of the rhetorical triangle and examine tone (particularly irony) in more depth. Teachers may choose to design their own mini‐lessons about the impact of tone and counterclaim on argument, or might show the following YouTube videos and discuss it with students.  “What is Tone?” by Lindsay Stephenson (https://www.youtube.com/watch?v=QZwcwPWF2V0)  “Four Tones: sincere, benevolent, sarcastic, ironic” by Kevin Brookhouser (https://www.youtube.com/watch?v=dFn4vc9VibM)  “How to Teach Counterclaim” (https://www.youtube.com/watch?v=2SrFQ6CA5yw)  Counterclaim and Rebuttal Paragraph Example” by Adam Jones (https://www.youtube.com/watch?v=2SrFQ6CA5yw) Step 5: Have students use the new information (Student‐Centered Lesson) Teacher shows the class a video of Elie Wiesel’s 1999 White House Millennium Lecture, “The Perils of Indifference” (https://www.youtube.com/watch?v=yVnVHW3MGoQ). Students then engage in close reading and annotation of Wiesel’s speech (http://www.historyplace.com/speeches/wiesel.htm), identifying and analyzing rhetorical triangle elements: purpose, subject, and intended audience as well as the appeals of ethos, pathos, logos. Teacher leads a whole‐
class discussion about the rhetoric of Wiesel’s speech, filling in gaps in students’ annotation and analysis. After students’ initial analysis and annotation, the teacher distributes specific close‐reading tasks for groups to complete: 1. Determine Wiesel’s tone in the following paragraph, and explain how diction and other rhetorical elements contribute to the tone: “Of course, indifference can be tempting—more than that, seductive. It is so much easier to look away from victims. It is so much easier to avoid such rude interruptions to our work, our dreams, our hopes. It is, after all, awkward, troublesome, to be involved in another person's pain and despair. Yet, for the person who is indifferent, his or her neighbors are of no consequence. And, therefore, their lives are meaningless. Their hidden or even visible anguish is of no interest. Indifference reduces the other to an abstraction.” 2. Analyze Wiesel’s use of counterclaim in this paragraph, and explain how the counterclaim strengthens his main idea and aids him in achieving his purpose: “In a way, to be indifferent to that suffering is what makes the human being inhuman. Indifference, after all, is more dangerous than anger and hatred. Anger can at times be creative. One writes a great poem, a great symphony, one does something special for the sake of humanity because one is angry at the injustice that one witnesses. But indifference is never creative. Even hatred at times may elicit a response. You fight it. You denounce it. You disarm it. Indifference elicits no response. Indifference is not a response.” Designed by Lisa Boyd, Luella High School: Page25
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Helping students make sense of their learning CLOSING Step 6: Make sure they do it (Summary) Teacher shows student‐produced rhetorical analysis Prezi presentations to class:  http://prezi.com/t9fyni0wjlzr/elie‐wiesel‐the‐perils‐of‐indifference/  http://prezi.com/6tqzvaqfkts‐/the‐perils‐of‐indifference‐by‐elie‐wiesel/ In small groups, students create an outline for a Prezi about the rhetorical elements of Wiesel’s “The Perils of Indifference.” Students must determine Wiesel’s purpose and select the five central elements they will highlight as most important in aiding Wiesel to achieve his purpose. Step 7: Have students explore further (Independent Practice – Extended Learning) Students view Margaret Heffernan’s TED Talk, “The Dangers of ‘Willful Blindness’” (http://www.ted.com/talks/margaret_heffernan_the_dangers_of_willful_blindness). Students complete a comparison of the TED Talk and Wiesel’s speech through a rhetorical analysis comparison graphic organizer (included at end of lesson). Students compose a paragraph about how Wiesel and Heffernan would respond to the common phrase, “ignorance is bliss.” Rhetorical Analysis Comparison Graphic Organizer similarities & differences Wiesel’s “The Perils of Indifference” key concepts & titles rhetorical elements tone(s) central idea Heffernan’s “The Dangers of ‘Willful Blindness’” Designed by Lisa Boyd, Luella High School: Page26
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
CCGPS Unit 1 Lesson Plan 8 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How do crafting open‐ended questions and engaging in focused rhetorical conversation help a writer to craft the elements of an effective argument? Standards  ELACC9‐10SL1: Initiate and participate effectively in a range of collaborative discussions (one‐on‐one, in groups, 
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and teacher‐led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. ELACC9‐10SL6: Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate. ELACC9‐10W1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. a. Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence. b. Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level and concerns. ELACC9‐10RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. Duration two or three class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students make multiple arguments and provide evidence from multiple sources during focused conversation with peers. These formatives assessment will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) Teacher provides the class with the following scenario: “Your class is examining the abstract concept of heroism in a nine‐week unit of study. At the end of the unit, you must select your focused topic and compose an argument including claim, counterclaim, logical reasoning, and development through evidence from multiple sources.” Students write about the potential struggles they would encounter in thoroughly and successfully completing this writing task. Students share their struggles, and teacher leads a whole‐class discussion potential solutions and strategies. Designed by Lisa Boyd, Luella High School: Page27
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work WORK SESSION Teacher needs to provide instruction for students in composing effective essential questions based on thematic concepts and readings. Drawn from Dan Rothstein and Luz Santana’s Make Just One Change: Teach Students to Ask Their Own Questions (Harvard, 2011), the process of composing effective questions involves three steps. Step 1: Producing Questions Working in small groups, students follow four essential rules as one group member records during a five‐minute question‐generating session:  Ask as many questions as you can.  Do not stop to discuss, judge, or answer the questions.  Write down every question exactly as it is stated.  Change any statements into question form. Step 2: Improving Questions Continuing in small groups, students categorize the questions as closed‐ or open‐ended by writing C or O next to each question they generated in Step 1.  Closed‐ended questions can be answered with yes or no or with one word.  Open‐ended questions require an explanation and cannot be answered with yes or no or with one word.
Students then revise questions, transforming all closed‐ended questions into open‐ended questions and collaboratively improving the clarity and diction of all questions. Step 3: Prioritizing Questions Groups choose the three most important questions: 1. 2. 3. Then, students articulate why these three questions are the most important. Step 5: Have students use the new information (Student‐Centered Lesson) Following the three‐step process, student groups work collaboratively to craft, improve, and finally prioritize three thought‐provoking, open‐ended questions about the unit’s thematic concepts: courage, anger, morality, change. Example Essential Questions for unit’s thematic concepts: 1.
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How are the risks and dangers of physical courage different from those of moral courage? How has the moral courage of others shaped our cultural attitudes and beliefs? How has the moral courage of others paved the way for change? When is the fear of social isolation stronger than the fear of physical harm? In what ways is morality both innate and socially constructed? What is the difference between personal morality and public morality? How is courage both an instinctual reaction and a conscious decision? In what ways can anger be a positive force? How can a person use anger to create a rational argument? How might non‐violence ultimately be a more powerful reaction and response to anger than violence? Designed by Lisa Boyd, Luella High School: Page28
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Zackory Kirk, Ed. D., Coordinator
11. How can the courage of one person lead to social change? 12. In what ways might the price of social change be so high that it can deter the human spirit? When groups have revised and prioritized their three questions, each group shares the three questions, and the teacher leads a whole‐class discussion during which the class ultimately selects the three best questions for students to discuss during the rhetorical mixer activity. Each student spends approximately 15 minutes independently completing the rhetorical mixer graphic organizer (included at end of lesson). Students can draw evidence from their extended text as well as any shorter texts they have read during the unit. Students should be encouraged to cite precise quotations and to draw from at least two sources.
During the rhetorical mixer, students engage in brief and focused one‐on‐one conversations with different classmates to practice their skills in making and developing an argument. The purpose of the activity is to give students practice in formulating quick but thoughtful responses and supporting those responses with effective evidence. During each round of the mixer, students spend no more than five minutes with one classmate asserting a claim, offering counterclaim, providing the most compelling evidence, and making rhetorical appeals. Students should be given two minutes between each round to allow them to add notes to their graphic organizer based on the responses of their discussion partner. Rhetorical Mixer Rounds: 1.
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Question 1, Partner 1 Question 1, Partner 2 Question 2, Partner 3 Question 2, Partner 4 Question 3, Partner 5 Question 3, Partner 6 Helping students make sense of their learning CLOSING At the end of the rounds, teacher leads a whole‐class discussion in which students create a master list of all claims and evidence (recording duplicates). Class discusses why some claims and evidence are repeated in multiple groups. In small groups, students evaluate the quality of the claims and evidence. Each group creates a ranked list of four most effective claims and evidence. Step 6: Make sure they do it (Summary) At the end of the lesson, students use Socrative (http://www.socrative.com/) student‐response system with any web‐enabled device to complete an Exit Ticket so that the teacher can review a report of all students’ responses to plan remediation and further instruction. Through Socrative’s Exit Ticket, students respond to the following questions: 1. Multiple‐Choice: How well did you understand today’s lesson? 2. Short‐Response: What did you learn in today’s lesson? 3. Short‐Response: Answer the question posted on the board. Though it is easy to set up an account and use the one‐question features of the student‐response system, teachers may choose to view YouTube videos about Socrative and read applicable sections of the user guide: Designed by Lisa Boyd, Luella High School: Page29
Department of Learning and Leadership Services
English/Language Arts
Zackory Kirk, Ed. D., Coordinator
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Socrative Complete User Guide (http://www.socrative.com/materials/SocrativeUserGuide.pdf) Socrative 2.0 (https://www.youtube.com/watch?v=_EoJtCtOhio) Socrative video introduction (https://www.youtube.com/watch?v=XYURj1QU0Ls) New Features in Socrative (https://www.youtube.com/watch?v=80psYr6T240) Socrative in the Classroom (https://www.youtube.com/watch?v=yntmFaD9O90) Step 7: Have students explore further (Independent Practice – Extended Learning) Students independently go through the question‐production process in response to the quotation:  “We must adjust to changing times and still hold to unchanging principles.” —Julia Coleman as quoted by Jimmy Carter in his 2002 Nobel Peace Prize Laureate lecture (http://www.nobelprize.org/nobel_prizes/peace/laureates/2002/carter‐lecture.html) Then students select one question and complete a column on the rhetorical mixer graphic organizer (included at end of lesson). Rhetorical Mixer Graphic Organizer Question Claim Counterclaim Evidence Rhetorical Element (ethos, pathos, logos) CCGPS Unit 1 Lesson Plan 9 Getting students ready to learn OPENING Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question Standards 
ELACC9‐10W1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. Designed by Lisa Boyd, Luella High School: Page30
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a. Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence. b. Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level and concerns. c. Use words, phrases, and clauses to link the major sections of the text, create cohesion, and clarify the relationships between 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 they are writing. e. Provide a concluding statement or section that follows from and supports the argument presented. ELACC9‐10W4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. ELACC9‐10W9: Draw evidence from literary or informational texts to support analysis, reflection, and research. Duration one or two class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students use a graphic organizer to draft an argument. The formative assessment will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) To begin the lesson, students use Socrative (http://www.socrative.com/) student‐response system with any web‐enabled device to complete quick true‐false so that the teacher can view and display all students’ responses. Teacher asks students to respond with true or false to each of the following moral imperative claims: 1. It is never right to kill another person. 2. It is always unacceptable to steal from others. 3. Lying is never acceptable. 4. It is always wrong to claim someone else’s ideas as your own. 5. An individual should never break the law. Though it is easy to set up an account and use the one‐question features of the student‐response system, teachers may choose to view YouTube videos about Socrative and read applicable sections of the user guide:  Socrative Complete User Guide (http://www.socrative.com/materials/SocrativeUserGuide.pdf)  Socrative 2.0 (https://www.youtube.com/watch?v=_EoJtCtOhio)  Socrative video introduction (https://www.youtube.com/watch?v=XYURj1QU0Ls)  New Features in Socrative (https://www.youtube.com/watch?v=80psYr6T240)  Socrative in the Classroom (https://www.youtube.com/watch?v=yntmFaD9O90) Teacher leads a whole‐class discussion about student responses to the moral imperative claims, guiding Designed by Lisa Boyd, Luella High School: Page31
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students to analyze the effectiveness of the statements for the purposes of argument. Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work Step 5: Have students use the new information (Student‐Centered Lesson) Teacher presents students with video clips from films and/or text excerpts that complicate the moral imperative claims from the opening activity. Suggestions:  closing argument from A Time to Kill (https://www.youtube.com/watch?v=ktGSct‐_HH4)  “Look Down” from 2012 Les Miserables (https://www.youtube.com/watch?v=I8WSysB5vKM)  Volume 1, Book 2, Chapter VI from Victor Hugo’s Les Miserables (http://www.online‐
literature.com/victor_hugo/les_miserables/20/), text included at end of the lesson In small groups, students analyze the film clips and excerpts and discuss how these texts complicate the moral imperative claims and require a more complex argument and claim. Students should consider the argument element of counterclaim in relation to these texts. Independently, students select one of the moral imperative claims from the opening activity and create outline for an argument using the Argument Outline Graphic Organizer (included at end of lesson). Students should draw evidence from multiple sources and may choose to use the film clips and excerpts from the lesson as well as the extended and other texts they have read as part of the unit. Students pair up and share their outlines. The reader should offer feedback to the author with the purpose of strengthening the effectiveness of the argument and avoiding logical fallacies. Helping students CLOSIN
G WORK SESSION The teacher needs to present students with a mini‐lesson on effective claims, specifically avoiding absolute statements, which do not allow for a complex view of a topic. Students should avoid statements involving absolute words: all, every, everyone, everything, always, never, no one. Students should also critically evaluate arguments that depend upon such claims. The teacher might use this opportunity to discuss logical fallacies that hinder an effective argument and could use the following resources:  List of Common Fallacies compiled by Jim Walker (http://www.nobeliefs.com/fallacies.htm)  “20 Informal Fallacies” by TeachPhilosophy (https://www.youtube.com/watch?v=fY7g6a1A4KM)  “Logical Fallacies” (https://www.youtube.com/watch?v=WmIb2Jb‐KC8) and “Logical Fallacies, Part Two” (https://www.youtube.com/watch?v=AiUrSFAIktY) by Michael Austin  “The Fallacy Project: Examples of fallacies from advertising, politics, and popular culture” (https://www.youtube.com/watch?v=fXLTQi7vVsI)  “Minute English: Logical Fallacies” (https://www.youtube.com/watch?v=ZPtfwrI2juU) Step 6: Make sure they do it (Summary) At the end of the lesson, students use Socrative (http://www.socrative.com/) student‐response system with any web‐enabled device to complete an Exit Ticket so that the teacher can review a report of all students’ responses Designed by Lisa Boyd, Luella High School: Page32
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to plan remediation and further instruction. Through Socrative’s Exit Ticket, students respond to the following questions: 1. Multiple‐Choice: How well did you understand today’s lesson? 2. Short‐Response: What did you learn in today’s lesson? 3. Short‐Response: Answer the question posted on the board. Step 7: Have students explore further (Independent Practice – Extended Learning) Independently, students select another of the moral imperative claims from the opening activity and create a second outline for an argument using the Argument Outline Graphic Organizer (included at end of lesson). Students should draw evidence from multiple sources and may choose to use the film clips and excerpts from the lesson as well as the extended and other texts they have read as part of the unit. The following is an excerpt from the script from the 1996 drama A Time to Kill, starring Matthew McConaughey, Samuel L. Jackson, and Sandra Bullock. _____________________________ SYNOPSIS: Setting is Canton, Mississippi, “modern day.” 10‐year‐old Tonya Hailey is viciously brutalized by two white racist rednecks—James Louis "Pete" Willard and Billy Ray Cobb. Almost immediately after Tonya is found and rushed to a hospital, Pete and Billy Ray are found at a roadside bar, where they had been bragging about what they did to Tonya. Tonya's understandably distraught and enraged father, Carl Lee Hailey, remembers a case from a year ago, when four white men raped an African‐American girl in a nearby town and were acquitted. Carl (Tonya’s father) is determined to NOT let that happen in this case involving his daughter. While deputy Dwayne Powell Looney is escorting Pete and Billy Ray up a flight of stairs to a court room, Carl emerges from the building's basement with an assault rifle. He kills Pete and Billy Ray for what they did to Tonya. Lawyer Jake Brigance and his assistant must defend Carl Lee. The trial is being held in the deep South, during a revival of the of the Ku Klux Klan and the jury is made up of white citizens from the town. The following is Jake’s summation, or closing argument: I want to tell you a story. I'm going to ask you all to close your eyes while I tell you the story. I want you to listen to me. I want you to listen to yourselves. Go ahead. Close your eyes, please. This is a story about a little girl walking home from the grocery store one sunny afternoon. I want you to picture this little girl. Suddenly a truck races up. Two men jump out and grab her. They drag her into a nearby field and they tie her up and they rip her clothes from her body. Now they climb on. First one, then the other, raping her, shattering everything innocent and pure with a vicious thrust in a fog of drunken breath and sweat. And when they're done, after they've killed her tiny womb, murdered any chance for her to have children, to have life beyond her own, they decide to use her for Designed by Lisa Boyd, Luella High School: Page33
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target practice. They start throwing full beer cans at her. They throw them so hard that it tears the flesh all the way to her bones. Then they urinate on her. Now comes the hanging. They have a rope. They tie a noose. Imagine the noose going tight around her neck and with a sudden blinding jerk she's pulled into the air and her feet and legs go kicking. They don't find the ground. The hanging branch isn't strong enough. It snaps and she falls back to the earth. So they pick her up, throw her in the back of the truck and drive out to Foggy Creek Bridge. Pitch her over the edge. And she drops some thirty feet down to the creek bottom below. Can you see her? Her raped, beaten, broken body soaked in their urine, soaked in their semen, soaked in her blood, left to die. Can you see her? I want you to picture that little girl. Now imagine she's white. Les Miserables by Victor Hugo Volume 1, Book 2: The Fall Chapter VI: Jean Valjean Towards the middle of the night Jean Valjean woke. Jean Valjean came from a poor peasant family of Brie. He had not learned to read in his childhood. When he reached man's estate, be became a tree‐pruner at Faverolles. His mother was named Jeanne Mathieu; his father was called Jean Valjean or Vlajean, probably a sobriquet, and a contraction of viola Jean, "here's Jean." Jean Valjean was of that thoughtful but not gloomy disposition which constitutes the peculiarity of affectionate natures. On the whole, however, there was something decidedly sluggish and insignificant about Jean Valjean in appearance, at least. He had lost his father and mother at a very early age. His mother had died of a milk fever, which had not been properly attended to. His father, a tree‐pruner, like himself, had been killed by a fall from a tree. All that remained to Jean Valjean was a sister older than himself,‐‐a widow with seven children, boys and girls. This sister had brought up Jean Valjean, and so long as she had a husband she lodged and fed her young brother. The husband died. The eldest of the seven children was eight years old. The youngest, one. Jean Valjean had just attained his twenty‐fifth year. He took the father's place, and, in his turn, supported the sister who had brought him up. This was done simply as a duty and even a little churlishly on the part of Jean Valjean. Thus his youth had been spent in rude and ill‐paid toil. He had never known a "kind woman friend" in his native parts. He had not had the time to fall in love. He returned at night weary, and ate his broth without uttering a word. His sister, mother Jeanne, often took the best part of his repast from his bowl while he was eating,‐‐a bit of meat, a slice of bacon, the heart of the cabbage,‐‐to give to one of her children. As he went on eating, with his head bent over the table and almost into his soup, his long hair falling about his bowl and concealing his eyes, he had the air of perceiving nothing and allowing it. There was at Faverolles, not far from the Valjean thatched cottage, on the other side of the lane, a farmer's wife named Marie‐Claude; the Valjean children, habitually famished, sometimes went to borrow from Marie‐Claude a pint of milk, in their mother's name, which they drank behind a hedge or in some alley corner, snatching the jug from each other so hastily that the little girls spilled it on their aprons and down their necks. If their mother had known of this marauding, she would have punished the delinquents severely. Jean Valjean gruffly and grumblingly paid Marie‐
Claude for the pint of milk behind their mother's back, and the children were not punished. Designed by Lisa Boyd, Luella High School: Page34
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In pruning season he earned eighteen sous a day; then he hired out as a hay‐maker, as laborer, as neat‐herd on a farm, as a drudge. He did whatever he could. His sister worked also but what could she do with seven little children? It was a sad group enveloped in misery, which was being gradually annihilated. A very hard winter came. Jean had no work. The family had no bread. No bread literally. Seven children! One Sunday evening, Maubert Isabeau, the baker on the Church Square at Faverolles, was preparing to go to bed, when he heard a violent blow on the grated front of his shop. He arrived in time to see an arm passed through a hole made by a blow from a fist, through the grating and the glass. The arm seized a loaf of bread and carried it off. Isabeau ran out in haste; the robber fled at the full speed of his legs. Isabeau ran after him and stopped him. The thief had flung away the loaf, but his arm was still bleeding. It was Jean Valjean. This took place in 1795. Jean Valjean was taken before the tribunals of the time for theft and breaking and entering an inhabited house at night. He had a gun which he used better than any one else in the world, he was a bit of a poacher, and this injured his case. There exists a legitimate prejudice against poachers. The poacher, like the smuggler, smacks too strongly of the brigand. Nevertheless, we will remark cursorily, there is still an abyss between these races of men and the hideous assassin of the towns. The poacher lives in the forest, the smuggler lives in the mountains or on the sea. The cities make ferocious men because they make corrupt men. The mountain, the sea, the forest, make savage men; they develop the fierce side, but often without destroying the humane side. Jean Valjean was pronounced guilty. The terms of the Code were explicit. There occur formidable hours in our civilization; there are moments when the penal laws decree a shipwreck. What an ominous minute is that in which society draws back and consummates the irreparable abandonment of a sentient being! Jean Valjean was condemned to five years in the galleys. On the 22d of April, 1796, the victory of Montenotte, won by the general‐in‐chief of the army of Italy, whom the message of the Directory to the Five Hundred, of the 2d of Floreal, year IV., calls Buona‐Parte, was announced in Paris; on that same day a great gang of galley‐slaves was put in chains at Bicetre. Jean Valjean formed a part of that gang. An old turnkey of the prison, who is now nearly eighty years old, still recalls perfectly that unfortunate wretch who was chained to the end of the fourth line, in the north angle of the courtyard. He was seated on the ground like the others. He did not seem to comprehend his position, except that it was horrible. It is probable that he, also, was disentangling from amid the vague ideas of a poor man, ignorant of everything, something excessive. While the bolt of his iron collar was being riveted behind his head with heavy blows from the hammer, he wept, his tears stifled him, they impeded his speech; he only managed to say from time to time, "I was a tree‐pruner at Faverolles." Then still sobbing, he raised his right hand and lowered it gradually seven times, as though he were touching in succession seven heads of unequal heights, and from this gesture it was divined that the thing which he had done, whatever it was, he had done for the sake of clothing and nourishing seven little children. He set out for Toulon. He arrived there, after a journey of twenty‐seven days, on a cart, with a chain on his neck. At Toulon he was clothed in the red cassock. All that had constituted his life, even to his name, was effaced; he was no longer even Jean Valjean; he was number 24,601. What became of his sister? What became of the seven children? Who troubled himself about that? What becomes of the handful of leaves from the young tree which is sawed off at the root? It is always the same story. These poor living beings, these creatures of God, henceforth without support, without guide, without refuge, wandered away at random,‐‐who even knows?‐‐ each in his own direction perhaps, and little by little buried themselves in that cold mist which engulfs solitary destinies; gloomy shades, into which disappear in succession so many unlucky heads, in the sombre march of the human race. They quitted the country. The clock‐tower of what had been their village forgot them; the boundary line of what had been their field forgot them; after a few years' residence in the galleys, Jean Valjean himself forgot them. In that heart, where there had been a wound, there was a scar. That is all. Only once, during all the time which he spent at Toulon, did he hear his sister mentioned. This happened, I think, towards the end of the fourth year of his captivity. I know not through what channels the news reached him. Some one who had known them in their own country had seen his sister. She was in Paris. She lived in a poor street Rear Saint‐Sulpice, in the Rue du Gindre. She had with her only one child, a little boy, the youngest. Where were the other six? Perhaps she did not know herself. Every morning she went to a printing office, No. 3 Rue du Sabot, where she was a folder and stitcher. She was obliged to be there at six o'clock in the morning‐‐long before daylight in winter. In the same building with the printing office there was a school, and to this school she took her little boy, who was seven years old. But as she entered the printing Designed by Lisa Boyd, Luella High School: Page35
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office at six, and the school only opened at seven, the child had to wait in the courtyard, for the school to open, for an hour‐‐one hour of a winter night in the open air! They would not allow the child to come into the printing office, because he was in the way, they said. When the workmen passed in the morning, they beheld this poor little being seated on the pavement, overcome with drowsiness, and often fast asleep in the shadow, crouched down and doubled up over his basket. When it rained, an old woman, the portress, took pity on him; she took him into her den, where there was a pallet, a spinning‐wheel, and two wooden chairs, and the little one slumbered in a corner, pressing himself close to the cat that he might suffer less from cold. At seven o'clock the school opened, and he entered. That is what was told to Jean Valjean. They talked to him about it for one day; it was a moment, a flash, as though a window had suddenly been opened upon the destiny of those things whom he had loved; then all closed again. He heard nothing more forever. Nothing from them ever reached him again; he never beheld them; he never met them again; and in the continuation of this mournful history they will not be met with any more. Towards the end of this fourth year Jean Valjean's turn to escape arrived. His comrades assisted him, as is the custom in that sad place. He escaped. He wandered for two days in the fields at liberty, if being at liberty is to be hunted, to turn the head every instant, to quake at the slightest noise, to be afraid of everything,‐‐of a smoking roof, of a passing man, of a barking dog, of a galloping horse, of a striking clock, of the day because one can see, of the night because one cannot see, of the highway, of the path, of a bush, of sleep. On the evening of the second day he was captured. He had neither eaten nor slept for thirty‐six hours. The maritime tribunal condemned him, for this crime, to a prolongation of his term for three years, which made eight years. In the sixth year his turn to escape occurred again; he availed himself of it, but could not accomplish his flight fully. He was missing at roll‐call. The cannon were fired, and at night the patrol found him hidden under the keel of a vessel in process of construction; he resisted the galley guards who seized him. Escape and rebellion. This case, provided for by a special code, was punished by an addition of five years, two of them in the double chain. Thirteen years. In the tenth year his turn came round again; he again profited by it; he succeeded no better. Three years for this fresh attempt. Sixteen years. Finally, I think it was during his thirteenth year, he made a last attempt, and only succeeded in getting retaken at the end of four hours of absence. Three years for those four hours. Nineteen years. In October, 1815, he was released; he had entered there in 1796, for having broken a pane of glass and taken a loaf of bread. Room for a brief parenthesis. This is the second time, during his studies on the penal question and damnation by law, that the author of this book has come across the theft of a loaf of bread as the point of departure for the disaster of a destiny. Claude Gaux had stolen a loaf; Jean Valjean had stolen a loaf. English statistics prove the fact that four thefts out of five in London have hunger for their immediate cause. Jean Valjean had entered the galleys sobbing and shuddering; he emerged impassive. He had entered in despair; he emerged gloomy. What had taken place in that soul?
Argument Outline Graphic Organizer Topic Claim Counterclaim(s) Evidence Designed by Lisa Boyd, Luella High School: Page36
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& Reasons Rhetorical Appeal(s) (ethos, pathos, logos) Designed by Lisa Boyd, Luella High School: Page37
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CCGPS Unit 1 Lesson Plan 10 OPENING Getting students ready to learn Subject(s): World Literature and Composition Grade Level: 10th Step 1: Teacher and students talk about what they will learn and do (Communication of Learning Outcomes) Essential Question How does an author’s use of rhetorical techniques vary in texts to effectively achieve similar purposes concerning social change? Standards 
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ELACC9‐10RI1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text. ELACC9‐10RI2: Determine a theme or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. ELACC9‐10RI4: Determine the meaning of words and phrases as they are used in the text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone. ELACC9‐10RI6: Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. ELACC9‐10L6: Acquire and use accurately general academic and domain‐specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. Duration two or three class periods depending on scheduling model employed Step 2: How will you know when they have gotten it? (Communication of Success Criteria) Students complete a rhetorical analysis graphic organizer to compare two texts by a single author. The formative assessment will provide the teacher an opportunity to determine a student’s level of mastery and allow opportunity for remediation before the summative assessment. Students will ultimately use the skills acquired in this lesson for the multiple‐choice and constructed‐response sections of the summative assessment. Step 3: Get the students interested (Build Commitment and Engagement) Teacher presents an excerpt from a speech by President Barack Obama at the Democratic National Committee Meeting on January 8, 2008 (http://presidency.ucsb.edu/ws/index.php?pid=77023):  I will never forget that the only reason I’m standing here today is because somebody, somewhere stood up for me when it was risky. Stood up when it was hard. Stood up when it wasn’t popular. And because that somebody stood up, a few more stood up. And then a few thousand stood up. And then a few million stood up. And standing up, with courage and a clear purpose, they somehow managed to change the world. Designed by Lisa Boyd, Luella High School: Page38
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Students compose a written response to Obama’s statement and hypothesize about to whom Obama might be referring when he says “somebody, somewhere stood up for me when it was risky” and contemplate whether an individual “standing up, with courage and a clear purpose” can actually “change the world.” Teacher leads a whole‐class discussion during which students share their responses and ideas. Step 4: Give students new information (Teacher Presentation Strategies) Instruction:
Releasing students to do the work WORK SESSION Students will need to review the concepts of rhetorical analysis including subject, audience, purpose, ethos, logos, pathos, counterclaim, and tone. Teachers may choose to design their own mini‐lessons about the rhetoric, or might show these YouTube videos and discuss them with students.  “Ethos, Pathos, Logos” by Shmoop (https://www.youtube.com/watch?v=LwOTGeRwQqY)  “Introduction to Ethos, Pathos, and Logos” by Texas A&M Writing Center (https://www.youtube.com/watch?v=oKtQEnERhSY)  “Using the Rhetorical Triangle and Rhetorical Appeals” by David Wright, Furman University (https://www.youtube.com/watch?v=5ODwmSYb3Tw)  “Rhetorical Analysis” by Shaun Roundy (https://www.youtube.com/watch?v=s84EDd8jFgw) from the University of Life Writing Center (http://UofLIFE.com/writing)  “What is Tone?” by Lindsay Stephenson (https://www.youtube.com/watch?v=QZwcwPWF2V0)  “Four Tones: sincere, benevolent, sarcastic, ironic” by Kevin Brookhouser (https://www.youtube.com/watch?v=dFn4vc9VibM)  “How to Teach Counterclaim” (https://www.youtube.com/watch?v=2SrFQ6CA5yw) Step 5: Have students use the new information (Student‐Centered Lesson) Teacher groups students and distributes copies of two speeches by Martin Luther King, Jr.:  “I Have a Dream” delivered during the March on Washington in 1963 (http://www.archives.gov/press/exhibits/dream‐speech.pdf)  Nobel Peace Prize Acceptance delivered at the University of Oslo, Norway, in 1964 (http://www.nobelprize.org/nobel_prizes/peace/laureates/1964/king‐acceptance.html) Working collaboratively, student engage in close‐reading and annotation of the two texts, following the methods they have learned throughout the unit and specifically examining the texts as examples of effective argument. Then, students individually complete the Rhetorical Analysis Comparison Graphic Organizer (included at the end of the lesson), recording details and notes about the elements of the argument of the texts:  subject, audience, purpose  ethos, pathos, logos  diction and tone  dominant rhetorical devices  central idea Students share their graphic organizers with members of their groups and add notes based on the discussion. Designed by Lisa Boyd, Luella High School: Page39
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Helping students make sense of their learning CLOSING Step 6: Make sure they do it (Summary) Students compose a paragraph explaining how, based on evidence from the two speeches, Martin Luther King, Jr. is an individual who illustrates President Obama’s idea that “standing up, with courage and a clear purpose” can actually “change the world.” Step 7: Have students explore further (Independent Practice – Extended Learning) Students independently engage in close‐reading and annotation of two texts by Abraham Lincoln, following the methods they have learned throughout the unit and specifically examining the texts as examples of effective argument:  “House Divided” speech delivered to Illinois Republican Convention in 1858 (http://www.ushistory.org/documents/housedivided.htm)  Second Inaugural Address delivered at the United States Capitol in 1865 (http://www.bartleby.com/124/pres32.html) Then, students individually complete the Rhetorical Analysis Comparison Graphic Organizer (included at the end of the lesson), recording details and notes about the elements of the argument of the texts:  subject, audience, purpose  ethos, pathos, logos  diction and tone  dominant rhetorical devices  central idea The Rhetorical Triangle Ethos  moral appeal Speaker/Purpose (response based on ethics, morals, and beliefs) Designed by Lisa Boyd, Luella High School: Page40
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Pathos  emotional appeal Audience/Reader (emotional response) Logos  logical appeal Subject/Topic (logical response) Designed by Lisa Boyd, Luella High School: Page41
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Rhetorical Analysis Comparison Graphic Organizer Subject Intended Audience Purpose Ethos Logos Pathos diction tone dominant rhetorical devices central idea Designed by Lisa Boyd, Luella High School: Page42