Multiple Pathways to Success Quarter 3 Learning Module Aligned with Maryland State Standards English English 12

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1 1 Multiple Pathways to Success Quarter 3 Learning Module Aligned with Maryland State Standards English English 12 Prince George s County Public Schools Board of Education of Prince George s County, Maryland

2 2 QLM Overview: Part 1: Introduction to Poetry and Poetic Devices Part 2: Literary Analysis: Narrative Elements Quarter 3 Maryland College and Career Ready Standards CCSS.ELA-LITERACY.RI.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS.ELA-LITERACY.RI.2 Determine a central idea of a text and analyze 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. CCSS.ELA-LITERACY.RI.3 Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them. CCSS.ELA-LITERACY.RI.6 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. CCSS.ELA-LITERACY.RI.8 Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning. CCSS.ELA-LITERACY.W.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. CCSS.ELA-LITERACY.W.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. CCSS.ELA-LITERACY.W.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. CCSS.ELA-LITERACY.W.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience CCSS. ELA-LITERACY.W.9 Apply grades 9-10 Reading standards to literary nonfiction (e.g., "Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning"). CCSS.ELA-LITERACY.SL.3 Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.

3 3 Part I: Introduction to Poetry We know poetry when we see it. One way to define it is as maximum impact from minimum words. Poetry is highly artistic and expressive. It deals with emotions and contains a high level use of figurative language. Poems come in all forms - sonnets, haikus, concrete - and many come in no form at all as free-verse poem. Some can be long epics, like Gilgamesh, the Iliad, and the Odyssey, and some can be short like, On the Antiquity of Microbes, which goes as follows Fleas / Adam had em. The thing to note about poetry is that it is a tool that a writer can fashion to his or her ability and taste to express their emotions in the most artistic way one can in writing. Poems can t always fit neatly into categories, but most contain at least one of the three elements below: Figurative language Sound devices Rhythm and Form Let s see how these elements function in poems

4 1.1 Figurative Language 4

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7 7 Concept Check 1.1 Got it? Let s review! Read the lines below and identify if it is an example of metaphor, simile, imagery, personification, or symbolism. Read... Look at... Identify as... From N. Scott Momaday: What did we say to each other That we are now as the deer From William Shakespeare s Sonnet 18 Nor shall Death brag thou wander st in his shade From Robert Hayden s Those Winter Sundays and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made From Edgar Allan Poe s The Raven Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; From Luis Lloréns Torres Love Without Love When you climb up my mansion, enter so lightly, that as you enter the dog on my heart will not bark. the comparison using the deer Death Hayden s use of blueblack, cracked hands that ached and weekday weather darkness The dog of my heart

8 8 Lastly, explain how the figurative devices can be used to convey an idea for three of the example above. Consider the comparison or representation that is occurring and how it can help a reader better understand the idea being presented. Example 1 (identify here) Example 2 (identify here) Example 3 (identify here) 1.2 Sound Devices

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11 11 Concept Check 1.2 Got it? Let s review! Complete the chart below Read... Ask yourself... Identify sound and device From V for Vendetta In view, a humble vaudevillian veteran, Cast vicariously as both victim and villain By the vicissitudes of faith. From Tupac Shakur s A Rose that Grew From Concrete Funny it seems, but by keeping its dreams It learned to breathe fresh air What sound is being repeated? What do you call that type of repetition? What sound is being repeated? What do you call that type of repetition? From Edgar Allan Poe s Annabel Lee It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; What sound is being repeated? What do you call that type of repetition? Now let s identify rhyme scheme. Read Shakespeare s Sonnet 18 and identify the rhyme scheme by writing the letter that corresponds with a sound. We did the first two, now do the remaining 12: Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. A B That s an interesting pattern, isn t it? That s how these types poems are constructed. Now answer this prompt: How do sound devices help make poetry artisitc?

12 1.3 Rhythm and Form 12

13 13 Concept Check 1.3 Got it? Let s review Below is Shakespeare s Sonnet 18. His sonnets were written in iambic pentameter. Iambic (refer to the preivous chart) means that there are two syllables with the first one being unstressed ( as marked with a U) and the second being stressed (marked with a / ). That makes one foot of syllables. Pentameter means that there are five feet of syllables. So, one line of a sonnet contains 10 syllabus with every other syllable being stressed. For each line of the sonnet, denote the stressed and unstressed syllables. We did the first line for you as an example. U / U / U / U / U / Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course,untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. Now in the space below, describe the effect of iambic pentameter. Be sure to consider the rhythm of the syllables.

14 14 Assessment Read these two poems, which were written in 1860 and 1945 respectively. I Hear America Singing Walt Whitman, I hear America singing, the varied carols I hear, Those of mechanics, each one singing his as it should be blithe and strong, The carpenter singing his as he measures his plank or beam, The mason singing his as he makes ready for work, or leaves off work, The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck, The shoemaker singing as he sits on his bench, the hatter singing as he stands, The wood-cutter s song, the ploughboy s on his way in the morning, or at noon intermission or at sundown, The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing, Each singing what belongs to him or her and to none else, The day what belongs to the day at night the party of young fellows, robust, friendly, Singing with open mouths their strong melodious songs. I, Too Langston Hughes, I, too, sing America. I am the darker brother. They send me to eat in the kitchen When company comes, But I laugh, And eat well, And grow strong. Tomorrow, I ll be at the table When company comes. Nobody ll dare Say to me, Eat in the kitchen," Then. Besides, They ll see how beautiful I am And be ashamed I, too, am America. Annotate the poems by highlighting: Things that help you understand what the poem is about Words you don t know (which you will then look and define) Things that confuse you Any use of figurative language Any use of sound devices Any use of rhythm and form

15 15 Now complete the chart below by identifying the poetic elements in each box. Consider your previous lessons as support. Poetic Elements I Hear America Singing I, Too Figurative Language Sound Devices Rhythm and Form

16 16 Part 2: Literary Analysis 2.1 Setting The setting is where the story takes place. It might include historical background, time, local color. Local color is characteristics that sets the place apart and makes it different from other places. Often the author doesn t say the story takes place in a certain location, at a certain time, instead the author provides details describing the location and the time. It allows the readers to paint a picture in their mind. Concept Check 2.1 Close Reading Read this excerpt from Tell Them Not to Kill Me! by Juan Rulfo and underline the portions of text from which describe the setting. Tell the sergeant to let you see the colonel. And tell him how old I am-- How little I m worth. What will he get out of killing me? Nothing. After all he must have a soul. Tell him to do it for the blessed salvation of his soul. Justino got up from the pile of stones which he was sitting on and walked to the gate of the corral. Then he turned around to say, All right, I ll go. But if they decide to shoot me too, who ll take care of my wife and kids? Providence1 will take care of them, Justino. You go there now and see what you can do for me. That s what matters. They d brought him in at dawn. The morning was well along now and he was still there, tied to a post, waiting. He couldn t keep still. He d tried to sleep for a while to calm down, but he couldn t. He wasn t hungry either. All he wanted was to live. Now that he knew they were really going to kill him, all he could feel was his great desire to stay alive, like a recently resuscitated man. Who would ve thought that old business that happened so long ago and that was buried the way he thought it was would turn up? That business when he had to kill Don Lupe. Not for nothing either, as the Alimas tried to make out, but because he had his reasons. He remembered: Don Lupe Terreros, the owner of the Puerta de Piedra-- and besides that, his compadre-- was the one he, Juvencio Nava, had to kill, because he d refused to let him pasture his animals, when he was the owner of the Puerta de Piedra and his compadre too. At first he didn t do anything because he felt compromised. But later, when the drought came, when he saw how his animals were dying off one by one, plagued by hunger, and how his compadre Lupe continued to

17 17 refuse to let him use his pastures, then was when he began breaking through the fence and driving his herd of skinny animals to the pasture where they could get their fill of grass. And Don Lupe didn t like it and ordered the fence mended, so that he, Juvencio Nava, had to cut open the hole again. So, during the day the hole was stopped up and at night it was opened again, while the stock3 stayed there right next to the fence, always waiting-- his stock that before had lived just smelling the grass without being able to taste it. Apply: Brief Constructed Response: How does the author describe the setting, and what mood does the author s description of the setting create? 2.2 Characterization Characterization is a literary device that is used step by step in literature to highlight and explain the details about a character in a story. 1. Direct or explicit characterization This kind of characterization takes a direct approach towards building the character. It uses another character, narrator or the protagonist himself to tell the readers or audience about the subject. 2. Indirect or implicit characterization This is a more subtle way of introducing the character to the audience. The audience has to deduce for themselves the characteristics of the character by observing his/her thought process, behavior, speech, way of talking, appearance, and way of communication with other characters and also by discerning the response of other characters. Concept Check 2.2 Read the selected portion of text, and underline the names of each of the characters mentioned. Who would ve thought that old business that happened so long ago and that was buried the way he thought it was would turn up? That business when he had to kill Don Lupe. Not for nothing either, as the Alimas tried to make out, but because he had his reasons. He remembered: Don Lupe Terreros, the owner of the

18 18 Puerta de Piedra-- and besides that, his compadre-- was the one he, Juvencio Nava, had to kill, because he d refused to let him pasture his animals, when he was the owner of the Puerta de Piedra and his compadre too. At first he didn t do anything because he felt compromised. But later, when the drought came, when he saw how his animals were dying off one by one, plagued by hunger, and how his compadre Lupe continued to refuse to let him use his pastures, then was when he began breaking through the fence and driving his herd of skinny animals to the pasture where they could get their fill of grass. And Don Lupe didn t like it and ordered the fence mended, so that he, Juvencio Nava, had to cut open the hole again. So, during the day the hole was stopped up and at night it was opened again, while the stock stayed there right next to the fence, always waiting-- his stock that before had lived just smelling the grass without being able to taste it. And he and Don Lupe argued again and again without coming to any agreement. Until one day Don Lupe said to him, Look here, Juvencio, if you let another animal in my pasture, I ll kill it. And he answered him, Look here, Don Lupe, it s not my fault that the animals look out for themselves. They re innocent. You ll have to pay for it, if you kill them. And he killed one of my yearlings. This happened thirtyfive years ago in March, because in April I was already up in the mountains, running away from the summons. The ten cows I gave the judge didn t do me any good, or the lien on my house either, to pay for getting me out of jail. Still later they used up what was left to pay so they wouldn t keep after me, but they kept after me just the same. That s why I came to live with my son on this other piece of land of mine which is called Palo de Venado. And my son grew up and got married to my daughter-in-law Ignacia and has had eight children now. So it happened a long time ago and ought to be forgotten by now. But I guess it s not.

19 19 Apply: List the characters, and identify the character traits shown in this portion of text. Provide textual evidence for your response. Character Character Trait Evidence Narrator Don Lupe Juvencio Nava 2.3 Symbolism Concept Check 2.3 Choose one of the selected novels for this unit and identify two symbols, explain the significance of the symbol and the evidence from the text to support the symbol. Novel Symbol Explanation Evidence 2.4- Conflict Definition of Conflict In literature, conflict is the result of competing desires or the presence of obstacles that need to be overcome. Conflict is necessary to propel a narrative forward; the absence of conflict amounts to the absence of story. There are three main types of conflict identified in literature: man versus man, man versus nature, and man versus self. Note that these standard classifications use man as a universal term, including women as well. Let s take a closer look at these three definitions of conflict.

20 20 Man versus man: A situation in which two characters have opposing desires or interests. The typical scenario is a conflict between the protagonist and antagonist. This is an external conflict. Most thrillers and mysteries have this type of conflict, such as Dan Brown s The Da Vinci Code and Agatha Christie s And Then There Were None. Man versus nature: In this type of conflict, a character is tormented by natural forces such as storms or animals. This is also an external conflict. Ernest Hemingway s The Old Man and the Sea and Moby Dick by Herman Melville are examples of this type of conflict. Man versus self: This conflict develops from a protagonist s inner struggles, and may depend on a character trying to decide between good and evil or overcome self-doubts. This conflict has both internal and external aspects, as obstacles outside the protagonist force the protagonist to deal with inner issues. William Shakespeare s Hamlet is an example. Man versus society: In this type of conflict, a character must take on society itself, and not a single person. The character stands at odds with societal norms and realizes the necessity to work against these norms. This is an external conflict. Conflict examples are John Steinbeck s The Pearl, Ralph Ellison s Invisible Man, and The Catcher in the Rye by J. D. Salinger. Man versus fate: This situation results from a protagonist working against what has been foretold for that person. While this conflict was more prevalent in stories where gods could control fate, such as in ancient Greek dramas, there are still examples of this type of conflict in more contemporary literature. An example would be Kurt Vonnegut s Slaughterhouse Five. 1 Concept Check 2.4: Consider each type of conflict, and explain how that conflict can be seen in the selected novel for your school. Type of Conflict Explanation Evidence from the text Man vs. Man Man vs. Nature 1 "Conflict - Examples and Definition of Conflict - Literary Devices." Mar <

21 21 Man vs. Self Man vs. Society Man vs. Fate Grade 12 Quarter 3 Learning Module Grading Sheet Module Section Points Earned Part 1- Poetry Concept Check 1.1 Figurative Language Concept Check 1.2 Sound Devices Concept Check 1.3 Rhythm and Form Assessment Practice /5 Apply /5 Practice /5 Apply /5 Practice /5 Apply /5 Practice /5 Apply /5 Part 2- Literary Analysis Concept Check 2.1Setting Concept Check 2.2 Characterization Practice /5 Apply /5 Practice /5 Apply /5

22 22 Concept Check 2.3 Symbolism Concept Check 2.4 Conflict Total Points Practice /5 Apply /5 Practice /5 Apply /5 /80 PARCC Rubric - Use for BCR Reading Comprehensio n of Key Ideas and Details Use for Concept Check The student response provides an accurate analysis of what the text says explicitly and inferentially and cites convincing textual evidence to support the analysis, showing full comprehension of complex ideas expressed in the text(s). The student response provides a mostly accurate analysis of what the text says explicitly and inferentially and cites textual evidence to support the analysis, showing extensive comprehensio n of ideas expressed in the text(s). The student response provides a generally accurate analysis of what the text says explicitly or inferentially and cited textual evidence, shows a basic comprehension of ideas expressed in the text(s). The student response provides a minimally accurate analysis of what the text says and cited textual evidence, shows limited comprehension of ideas expressed in the text(s). The student response provides an inaccurate analysis or no analysis of the text, showing little to no comprehension of ideas expressed in the text(s).

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