Title III Technology Literacy Challenge Grant

Learning Unit

Overview | Content Knowledge | Essential Questions | Connection To Standards | Initiating Activity | Learning Experiences | Culminating Performance | Pre-Requisite Skills | Modifications | Schedule/Time Plan | Technology Use

OVERVIEW

The term "poetry" is typically feared and despised by high school students, including those who have been exposed to it in previous grades. Initially, the key to this unit is to provide students with a connection between poetry and the "real world". Students will then be reminded of the elements used in poetic interpretation, and use them to analyze various texts. The final element involves research, and is truly the focus of the unit. It will be used to increase the students' analytical and organizational abilities, and introduce them to the "New Historical" (as opposed to the standard "New Critical") method of interpreting the text. Instilling the proverbial "love" for lyricism may not be possible, but we can teach them an appreciation for the art itself.

CONTENT KNOWLEDGE

ESSENTIAL QUESTIONS

Why is poetry an important part of a society?

How does poetry reflect the times?

How does the Internet influence our learning?

Why might different critics use different forms of interpretation?

CONNECTIONS TO NYS LEARNING STANDARDS
List Standard # and Key Idea #: Write out related Performance Indicator(s) or Benchmark(s)

MST #2, Key idea #1:

• Access, select, collate, and analyze information obtained from a wide range of sources, such as research data

ELA #1: Language for Information and Understanding

• Reading -- Read from informational texts such as reference materials, primary and secondary sources, periodicals, biographies and autobiographies, and online and electronic databases and websites -- Locate and use school, public, academic, and special library resources for information and research -- Skim texts for overall information and scan texts for particular information -- Interpret and evaluate data, facts, and ideas in informational texts -- Identify and evaluate the reliability and validity of informational sources -- Analyze and synthesize information from different sources by making connections and showing relationships to other texts, ideas, and subjects, and to the world at large
• Writing -- Write the following in order to transmit information: research reports of approximately eight to ten pages, thesis/support paper -- Use both primary and secondary sources of information for research -- Select and limit topics for informational writing -- Analyze and integrate data, facts, and ideas to communicate information -- Apply new information in different contexts and situations -- Cite primary and secondary sources of information in bibliography and footnotes, using an approved style sheet -- Define the meaning and understand the consequences of plagiarism -- Use paraphrase and quotation in order to communicate information most effectively -- Use the language of research such as documentation, source, paraphrase, citation, bibliography, and footnote
• Listening -- Listen to the following to interpret information and ideas in: small and large group discussions, multimedia presentations -- Listen to and follow complex directions or instructions -- Determine the need for more information for clarification -- Synthesize information from different sources by condensing, combining, or categorizing data, facts, and ideas -- Recognize appropriate tone, voice, diction, and syntax
• Speaking -- Speak to share information and ideas in: small and large discussion groups, presentations or multimedia presentations -- Ask and respond to probing and challenging questions to acquire information

ELA #2: Language for Literary Response and Expression

• Reading -- Read, view, and interpret imaginative texts and performances in every medium from a wide variety of authors, subjects, and genres, such as: poems, literary criticism -- Read, view, and respond independently to literary woks that represent a range of social, historical, and cultural perspectives -- Read literary criticism to increase comprehension and appreciation of imaginative texts -- Recognize a range of literary elements and techniques and use these elements to interpret the work -- Recognize how the author uses tone to express attitude toward the subject matter or the audience -- Distinguish between different forms of poetry and recognize how the author uses poetic form to convey message or intent -- Read imaginative works aloud to convey an interpretation of the work -- Interpret literary texts based on understanding of the genre and the literary period -- Interpret multiple levels of meaning and subtleties in the text -- Recognize relevance of literature to contemporary and/or personal events and situations
• Writing -- Write interpretive and responsive essays in order to: express judgements and support them through reference to the text, using direct quotations and paraphrase, explain how the author's use of literary devices affects meaning, use literary criticism to expand personal analysis of the literary text -- Use resources such as personal experience, knowledge from other content areas, independent reading to create interpretive texts
• Listening -- Listen to comprehend, interpret, and respond to imaginative texts and performances such as: dramatic readings, reviews and critiques of literary works -- Interpret and respond to texts from a variety of authors and subjects -- Recognize and respond to historical and contemporary social, political, and cultural conditions in the presentation of a literary text -- Identify how format and language are used in presentations to communicate the author's message and to evoke a response -- Recognize how presentation style affects emotional response of listener -- Connect imaginative texts to prior knowledge, personal experience, and contemporary situations
• Speaking -- Speak to present interpretations and responses to imaginative texts and performances in: small and large discussion groups -- Express opinions and support them through specific references to the text -- Describe the features of the genre and the period to interpret and respond to imaginative texts -- Ask and respond to questions and follow-up questions to clarify interpretation

ELA #3: Language for Critical Analysis and Evaluation

• Reading -- Read to analyze and evaluate ideas, information, opinions, issues, and experiences from academic and nonacademic sources, such as: literary texts, editorials, literary criticism, periodicals, and electronic resources -- Form opinions and make judgements about the validity and accuracy of informational, interpretive, imaginative, and persuasive texts -- Analyze and evaluate nonfiction texts including: determine significance and reliability of information; determine writer's perspectives, purposes, and intended audiences; identify tone, style, and use of language; recognize format and its significance to content --Analyze and evaluate poetry in order to recognize the use and effect of: rhythm, rhyme, sound pattern, repetition, sensory imagery, figurative language, verse form, and the differences between the language of the poem and the everyday language of readers -- Select, reject, and reconcile ideas and information in light of prior knowledge, experiences, beliefs, and biases -- Make judgements about the quality of literary texts and performances by applying personal and academic criteria, such as that found in literary criticism, political, historical, and scientific analyses -- Analyze and evaluate the intellectual and/or emotional impact on the reader of specific texts
• Writing -- Write the following to analyze and evaluate ideas, information, issues, and experiences: literary critiques, expository essays -- State an opinion, or present a judgement, by developing a thesis and providing supporting evidence, arguments and details -- Develop critiques from more than one perspective, such as historical, cultural, social, and psychological -- Analyze a variety of texts using resources such as recognized experts, knowledge from school subjects and reading, and personal experience
• Listening -- Listen to analyze and evaluate information, ideas, opinions, issues, themes, and experiences from a range of academic and nonacademic presentations, including: small and large group discussions -- Determine points of view, clarify positions, make judgements, and form opinions
• Speaking -- Speak to present opinions, judgements, ideas, information, issues, and experiences in small and large group presentations -- Express opinions or make judgements about ideas, information, experience, and issues in literary works -- Articulate personal opinions to clarify stated positions, persuade or influence groups, or state preference about topics -- Present reasons, examples, and details from sources cited to defend opinions or judgements -- Respond to constructive criticism

ELA #4: Language for Social Interaction

• Reading -- Share reading experiences to build a relationship with a peer or adult; for example, by reading together silently or aloud, by discussing reactions to texts -- consider age, gender, and cultural traditions of the writers
• Writing -- Develop a personal voice that enables the reader to get to know the writer
• Listening -- Respect age, gender, position, and cultural traditions of the speaker -- Listen for multiple levels of meaning, articulated and unspoken --Encourage the speaker with appropriate facial expressions and gestures --Withhold judgement --Appreciate a speaker's uniqueness
• Speaking -- Respect age, gender, position, and cultural traditions of the listener -- Provide feedback by asking questions designed to encourage further conversation -- Respond to the listener's interests, needs, and reactions to social conversations -- Use courtesy and avoid: sarcasm, ridicule, dominating conversation, and interrupting -- Select language and behavior appropriate to the purpose, occasion, and listener -- Respond respectfully

INITIATING ACTIVITY

Students will sit in circles of 6-8. The teacher will provide each child with a piece of paper folded over seven times (so that it is about 1¼" x 8½"), then re-opened.

"Listen to the following musical excerpts. After the first one, you will write an original, creative phrase or sentence based on that piece of music. This is to be written just BELOW the first crease on the paper in front of you. Then, you will fold the top piece of the paper down so that your line cannot be seen, and pass the paper to your right. We will then listen to another piece of music, and you will respond to that on the paper you just received, and pass THAT one to the right, and so on. Try to use imagery, but remember that you will only have 30 seconds after each piece has stopped to write your phrase and pass the paper."

At this point the teacher should quickly review imagery, and then demonstrate the process. Below is an example of the demonstration. 

Lyrics from Pink Floyd's song "Mother" "Hush, my baby, baby, don't you cry. Momma's gonna make all of your nightmares come true. Momma's gonna put all of her fears into you. Momma's gonna keep you right here under her wing. She won't let you fly, but she might let you sing. Momma's gonna keep Baby cozy and warm. Oooo Babe."

Original Line Based on "Mother" The midnight moonlight had faded, and the starlight's shine sank beneath the assault of the fast, furious clouds.

Point out to the students that the music and lyrics only PROMPTED the line. Therefore, not understanding the words does not limit their responses. Have students listen to eight (to allow for an occasional 'mind blank') "snippets" of songs based on "love", without telling them of the common theme. The students should continue to fold and pass the papers to their right until they are filled. After the filled pages are collected, the teacher should follow the same format using eight songs of "lust", and eight of "losers" (in life, love, luck, et al). Each section of song should be no longer then 30 seconds, and the students are only allowed an additional 30 seconds to write their line before passing the paper.

After the works have all been collected, pass them back to a DIFFERENT group. Each student will receive three unfolded "poems". Ask the students to read through the works in front of them, and choose their favorite to read aloud to the class, announcing a possible main idea, or theme. Be prepared for the silly, as often the lines simply do not flow together well.

If well planned and executed, this part of the lesson should take about 38-40 minutes: 3-4 minutes introduction and demonstration, 24 minutes music and writing, 10 minutes reading aloud, and an extra few shuffling the papers back and forth. Eliminating a selection or two from each section will obviously shorten the lesson. During the final few minutes of class, the teacher should indicate the fun that can be had with writing lyrics, and link poetry into the popular music culture.

Below are a list of artists and songs that you may wish to use. PREVIEW ALL MUSIC CAREFULLY!

LEARNING EXPERIENCES
In chronological order including acquisition experiences and extending/refining
experiences for all stated declarative and procedural knowledge.

PART I. --NEW CRITICAL ANALYSIS

Part I. Lesson 1

• Remind students of introduction and discuss the power of music and verse as well as the emotions they elicit from us. Why is it important that we are able to effectively convey our emotions? Is it as important to be able to understand the emotions of others? Discuss Plato's statement that literature should both "entertain and inform".
• Pass out the following worksheet to the students. Please note that the worksheet is very long and requires a fair amount of writing; although this space does not provide the option, it would work better on two to three (2-3) landscape formatted papers.

Element ------------------- Definition ---------------- Example ---------------------------------------

Imagery

Simile

Metaphor

Personification

Onomatopoeia

Hyperbole

Synecdoche

Alliteration

Assonance

Consonance

End Rhyme

Rhyme Scheme

Tone

Mood

Theme

Speaker

Rhythm

-iamb

-trochee

-anapest

-dactyl

-spondee

-pyrrhic

Work with students to define each of the above terms (with which they should already be familiar), and to create an example. As a practice, have the students write Original/Music in the space to the right of Example on the worksheet. With any time remaining in class, and for homework, have the students either create an original example of as many of the terms as possible, AND/OR find them in the lyrics of their songs. Do not expect this to be finished. They are to complete as many as possible, but this is only a review so that they have the opportunity to re-familiarize themselves with the terms and their functions.

Part I. Lesson 2 

• Begin by spending a few moments asking for volunteers to read examples from the homework. Assess these with the help of the students. Check for completion and have students place these into their folders or notebooks for future reference.
• In their notebooks, have students record the following information, provided as a lecture.

Poetry can be broken down into various styles, based primarily on line count, rhythm, rhyme, and content. Give the following diagram.

• Discuss the varying lengths of the poems, and explain that the class will not be spending any time working with the epic, due to its length.
• Define each of the above forms and the reasons a poet might have chosen a certain style. Then provide examples of each (excluding the epic).
• In pairs, have the students work to identify the examples you have provided. They may obviously use their notes and the lists created yesterday as guides.
• When they have finished identifying the poems, discuss their answers in class and their reasons for each. If there are disagreements, allow the students to talk it out amongst themselves before giving the correct answer.
• Wrap lesson up by providing students with two poems to read overnight: "O Captain! My Captain!" by Walt Whitman, and "The Road Not Taken" by Robert Frost. They are to determine the style of each poem, as well as the rhyme scheme, and rhythm(s).

Part I. Lesson 3

• Check work from previous night with a quick quiz in which the students may use only their homework as a guide.

QUIZ -- What is the predominant rhythm in "O Captain! My Captain"? What is the general rhyme scheme in "The Road Not Taken"? Name the poetic style of each work.

• Define the term "critic" as it relates to interpretation.
• Provide students with the following definitions, examples, and reminders--preferably to be copied into their notebooks.

• "There are various methods used to analyze poetry. We are going to explore two of them, and for the next few days, we will be focusing on the method with which you will be most comfortable. At some point in your high school careers you have probably been asked to 'interpret' a poem using the various poetic tools (clarify if necessary). This is very similar to what critics refer to as the 'New Critical' method of interpretation."
• Discuss methods that can be used to interpret a poem from a "New Critical" viewpoint.

• Analyze the meanings of each important word. The New Critical thought is that most poets choose each word very carefully, and so it must be important.
• Observe the rhyme scheme and rhythm. They provide "feeling."

Iambic rhythms: "The bábbling bróok begán to bénd."

Iambic with spondaic: "The bábbling bróok bént báck."

Discuss the differences in the phrases.

• Remind students of the reasons various styles of poetry are used.
• Ask students to also consider the other elements of poetry used, including metaphor, simile, alliteration, et al.

• Break the class into groups of three. Give half of the groups "O Captain! My Captain!" and half "The Road Not Taken". Tell them to spend the rest of the class working together to break down the various elements of their respective poems using the chart below. Also explain that they will be graded on how well they work together within their groups--review the rubric beneath the worksheet with the students before they begin.

• At the end of class, collect all of the work the students have completed. Inform them that they will have some time tomorrow to finish.

Part I. Lesson 4

• Allow students half the class to finish work begun the day before (continue to assess students using the rubric).
• Provide each student with a fresh copy of EACH poem. During the second half of the class have the students present their work to the other groups. Allow (encourage) students to discuss and debate as they write new information on the fresh sheets.
• Finish the class by reminding students that the analyses they have just completed generally follow the "New Critical" method of analyzing text.

PART II. -- RESEARCH PAPER & NEW HISTORICAL ANALYSIS

Part II. Lesson 1

• Bring students a cart of various poetry books…the more the better.
• Allow them the period to find a poet whose work they thoroughly enjoy. The catch for the teacher, of course, is to provide the students with poets who have an interesting history, which should in some cases be applicable to their work.
• By the end of the period, students should have chosen a poet and one to three works by that poet on which to focus. They should either be allowed to make photocopies, or mark the books so that the teacher may.

Part II. Lesson 2

• By their senior year, one would hope that most students are familiar enough with writing a research paper that they do not need much guidance. Spend roughly half the period reviewing your expectations of the students. Some teachers at this point only expect the final product, while others collect source cards, note cards, and outlines. Below are two handouts: a research biography assignment and a final rubric for that product. If you choose to require intermediary information, be certain to incorporate additional appropriate rubrics.
• Spend the remainder of the period reviewing the two handouts below. Pay particular attention to the students' understanding of Historicism.

HANDOUT 1

Periodic and Biographical Research Paper

Historical information relating to a poet and his or her time often provides the interpreter with sources that enhance the understanding of the poem. Two types of critics in particular use this style of interpretation: Old Historical and New Historical. The former generally use a number of literary works to discuss the various influences of an era, while the latter do the reverse--use the era's influences, as well as the probable beliefs of the poet to aid in the understanding of a single work. You are to approach this research paper with the New Historical mindset.

In that regard you should try to discover as much of the following information as possible. Do NOT, though, limit yourself to the elements listed here.

Concerning the poet

• Early life: Parents, siblings, ailments, concerns, education, early loves

• Young adult: Love, marriage, affairs, children, battles, works, drugs

• Middle age on: Awards, loss of loved ones, love, careers, death

Concerning his or her era

• Political happenings in country

• Political happenings out of the country

• General religious beliefs (life, death, supernatural)

• Social occurrences

• Great inventions of the world

Concerning the paper

• Considering the extensive nature of this paper, fewer than five pages will be unacceptable. It is probably to your benefit to incorporate the "world-view" into either the introduction, or better yet, the body, of your paper. Do not leave it for the conclusion, as it will appear "tacked-on".

• The paper should use the appropriate language and structure for an essay of this magnitude. All applicable aspects of the poet's era and life should be incorporated.

Be certain you do your absolute best, as the next assignment hinges on this one!

END HANDOUT 1

HANDOUT 2

(Based on ELA Exam Rubric)

END OF HANDOUT 2

 Part II. Lesson 3+

Library and Computer Lab work.

• The students should be provided the opportunity to spend about one week in the library and one week in the computer lab (hence, the "+") to complete this phase of the unit.
• Things to keep in mind:

• This is NOT lost "Teaching Time". Instead it provides a wonderful opportunity for one-to-one instruction. In addition, each class period can be prefaced with a short reminder on aspects of the research paper: errors you are seeing in format, significant finds by other students, et al.
• Students do teach each other. A little chatting in the library is to be expected. Often, the students are not "goofing", but assisting each other. Eavesdrop a bit before butting into their conversations.
• The pitfalls and pratfalls of the computing world. Remind your students that the information they find on the Web is fallible. Sites ending in .com and .cc are COMMERCIAL, and so may have ulterior motives. Teach them to search out .gov, .org, and .edu sites instead.
• Not every child is familiar with the library and computers (although they should be by their senior year). Keep an eye out for those students. I find that those who are most adept with the technology are often the "trouble-makers" because they grow bored quickly--use them! Put them to work helping the students with weaker research and computer skills.

Part II. Lesson "4"

Begin by handing out the worksheet below. The students completed a very similar one weeks before using "O Captain! My Captain!" and "The Road Not Taken". For that analysis they used the New Critical method. Ask them to now choose a poem by the poet they researched and analyze it on the handout.

Unlike the previous interpretation, the students will have to work alone on this. Be certain that they have their research papers to assist them, and provide them with the entire period to work on it. Check at the end for accountability's sake. Those that have not finished should do so overnight.

Part III. Lesson 1

• Review the previous day's work for most of the class period, asking students to stand and read their poems, then analyses. Discuss each.
• End the lesson by asking students to consider which method of analysis they consider the most accurate--New Critical or New Historical. Be certain they understand that there is not a "right" answer.

Part III. Lesson 2 (Culminating Project)

• Discuss with students their decisions of the night before. Encourage debate over the matter, then discuss the final paper.
• Final paper: (Establish a due date, and determine whether you wish to provide students with computer lab time before discussing with the class.)

• Decide which method of analysis you feel is best. Using that method, write a 4+ page paper analyzing the poem you have chosen.

• The papers will follow proper essay style: Introduction with Thesis, Body paragraphs supporting the Thesis, Conclusion Re-stating the Thesis.
• The overall focus of the paper will be to determine, through analysis, the THEME.
• New Critical analyses will focus solely on the text, and the implicit meanings found in the use of style, sound, and language.

* Demonstrate using "The Road Not Taken"

• New Historical will focus less on the style, sound, and language, and more on the influence history has on the text.

* Demonstrate using "O Captain! My Captain"

PRE-REQUISITE SKILLS

Once again, this unit is geared toward college-bound seniors. Students should already be adept readers with strong writing skills. They should also be comfortable with the library: both off-line references and those on-line. It is assumed that they have had some exposure to poetry and the various elements thereof, as well as computers as a word processing tool.

MODIFICATIONS

  While various IEPs may be met, there is very little to which these students would be exposed that would cause them great difficulty. The word processing work would satisfy most grammar and spelling assistance requirements, the bane of most of these students. For the most part, though, this unit focuses not on the writing skills, as they are assumed. Rather it leans more toward organization, self-reliance and synthesis.

UNIT SCHEDULE/TIME PLAN

  From the initiating activity to the completion of the final paper, this unit will take four to five weeks. It is actually dependent on the students' abilities and the media facilities to which they have access.

TECHNOLOGY USE

Students will be required to use the Internet, computerized encyclopedias and catalogs, periodical databases, and various LAN sites to gather information for their research paper. In addition, it is required that each of their papers is word-processed.