Table Of Content

Advanced Students Differentiated Instruction for Advanced Students, British Tradition Care has been taken to verify the accuracy of information presented in this book. However, the authors, editors, and publisher cannot accept responsibility for web, e-mail, newsgroup, or chat room subject matter or content, or for consequences from application of the information in this book, and make no warranty, expressed or implied, with respect to its content. Trademarks: Some of the product names and company names included in this book have been used for identification purposes only and may be trademarks or registered trade names of their respective manufacturers and sellers. The authors, editors, and publisher disclaim any affiliation, association, or connection with, or sponsorship or endorsement by, such owners. ISBN 978-0-82193-235-3 © 2009 by EMC Publishing, LLC 875 Montreal Way St. Paul, MN 55102 E-mail: [email protected] Website: www.emcp.com All rights reserved. No part of this publication may be adapted, reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher. Teachers using Mirrors & Windows: Connecting with Literature, British Tradition may photocopy complete pages in sufficient quantities for classroom use only and not for resale. Printed in the United States of America 18 17 16 15 14 13 12 11 10 09 1 2 3 4 5 6 7 8 9 10 GGrr1122__AAddvvSSttuuddeennttss__FFMM..iinndddd iiii 55//2200//0099 33::0000::3300 PPMM CONTENTS Introduction vi Unit 1 The Conversion of King Edwin, from Ecclesiastical History of the English People 1 Historical Context Project: The Early Middle Ages from Beowulf 2 Literary Form Activity: Epics The Head of Humbaba, from Gilgamesh 5 World Literature Study: Folk Epics of the World The Seafarer 7 Comparing Literature Activity: Find Points of Comparison and Contrast Unit 2 Bonny Barbara Allan 8 Literary Form Activity: Experiment with Poetic Form The Prologue, from The Canterbury Tales 9 Literary Connection Study: The Frame Tale from Everyman 10 Archetypal Character Study: Everystudent Federigo’s Falcon, from The Decameron 12 World Literature Project: Familiar Motifs Unit 3 Whoso list to hunt / With how sad steps 13 Literary Form Study: The Sonnet Let me not to the marriage of true minds (Sonnet 116) 15 Literary Criticism Activity: An Author’s Life and Time The Passionate Shepherd to His Love / The Nymph’s Reply to the Shepherd 16 Comparing Literature Activity: A Fictional Dialogue Eve’s Apology in Defense of Women, from Salve Deus Rex Judaeorum 18 Literary Response Project: Responding as a Group Unit 4 The Tragedy of Macbeth 19 Historical Context Project: Witchcraft in Renaissance Britain from The Analects 21 World Literature Study: Studies in Leadership from The Tragical History of Doctor Faustus 22 Literary Connection Activity: Genesis and the Faustian Bargain Monologues and Soliloquies from Shakespeare’s Plays 23 Comparing Literature Activity: Monologues and Soliloquies © EMC Publishing, LLC Differentiated Instruction for Advanced Students BR TRADITION iii GGrr1122__AAddvvSSttuuddeennttss__FFMM..iinndddd iiiiii 55//2200//0099 33::0000::3311 PPMM Unit 5 How soon hath Time (Sonnet VII) 24 Primary Source Study: Literature as a Primary Source from Oroonoko 25 Cultural Connection Study: Kingdoms of West Africa from The Diary of Samuel Pepys / from A Journal of the Plague Year 26 Literary Form Project: The Diary from The Diary of Fanny Burney 28 Informational Text Activity: Answering Questions Asked by a Text Unit 6 Kubla Khan 29 Historical Context Activity: Reinventing the Past She Walks in Beauty 30 Author’s Style Study: Analyzing Byron’s Style The Lorelei 31 World History Activity: History Tour of the Rhine from Introduction to Frankenstein 32 Literary Context Study: Gothic Fiction Unit 7 from Great Expectations 34 Literary Form Study: Characters in a Novel The Lagoon 35 Theme Study: Implied Themes The Lady of Shalott 37 Art Connection Project: Pre-Raphaelite Painting When I Was One-and-Twenty 39 Music Connection Activity: Music and Poetry Unit 8 The Rising of the Moon 41 Primary Source Project: Theater Reviews from A Room of One’s Own 42 Literary Criticism Activity: A Woman’s Voice The Music of Poetry 44 Literary Connection Project: Sound, Sense, and Nonsense War Poet / Words 46 Comparing Literature Activity: War Poetry iv BR TRADITION Differentiated Instruction for Advanced Students © EMC Publishing, LLC GGrr1122__AAddvvSSttuuddeennttss__FFMM..iinndddd iivv 55//2200//0099 33::0000::3311 PPMM Unit 9 Shooting an Elephant 47 Historical Context Activity: Britain’s Empire Do Not Go Gentle Into That Good Night 48 Literary Form Study: Reconstruct a Villanelle from Balzac and the Little Chinese Seamstress 49 World Literature Activity: Political Oppression Dead Men’s Path 50 Cultural Context Project: Indigenous Rights Answer Key 52 © EMC Publishing, LLC Differentiated Instruction for Advanced Students BR TRADITION v GGrr1122__AAddvvSSttuuddeennttss__FFMM..iinndddd vv 55//2200//0099 33::0000::3311 PPMM Introduction Universities and employers have found that many incoming students and entry- level employees lack the reading and writing skills needed to succeed in their new endeavors. Some blame this problem on a lack of rigor in the language arts programs at the high school level. Studies show that most students want to be challenged to gain the high-level skills that will help them succeed in college and in the workplace. This is especially true for advanced students. Differentiated Instruction for Advanced Students provides multiple opportunities to engage students and to teach them the skills necessary to excel in college-level, literature-based reading, thinking, discussion, and writing tasks. This supplement contains extended lessons for four selections from each unit in the Mirrors & Windows: Connecting with Literature Student Edition. These lessons integrate a variety of resources and media to help students analyze, compare, and appreciate literature from diverse cultures. The activities are designed to prepare students to move beyond a basic understanding of what is occurring in the literary text. Knowledge of characters, plot, and theme becomes the starting point rather than the goal. Students are challenged to extend their comprehension skills and to focus on critical analysis. Each lesson focuses on a particular selection in the textbook. The lesson expands on an aspect of that selection, often in many cases taking students outside the textbook and connecting them with other pieces of literature or fields of study. Students are then asked to respond by creating products, such as written essays and research papers, multimedia presentations, and works of art and performance. A broad range of activities are offered to motivate students and encourage independent inquiry and learning, literary analysis and criticism, genre study, and in-depth exploration of primary sources and informational texts. Differentiated Instruction for Advanced Students provides students with opportunities to hone their reading, writing, and research skills as they explore the rich world of literature and beyond. The activities are not busywork, but meaningful exercises of the mind that build skills students will need as they progress through college and careers. The assignments help students become deep thinkers, critical readers, and independent problem-solvers. As they are challenged to meet higher expectations, they will come closer to realizing their ever-expanding potential. In addition to the wealth of meaningful lessons in this book, you will find enrichment activities for every literature selection in the Differentiated Instruction boxes located in the bottom margins of the Annotated Teacher’s Edition. vi BR TRADITION Differentiated Instruction for Advanced Students © EMC Publishing, LLC GGrr1122__AAddvvSSttuuddeennttss__FFMM..iinndddd vvii 55//2200//0099 33::0000::3311 PPMM Name: ____________________________________________________ Date: __________________ The Conversion of King Edwin from Ecclesiastical History of the English People, page 11 HISTORICAL CONTEXT PROJECT The Early Middle Ages Saint Bede the Venerable lived during the Early Middle Ages, a period that began in about 476 ce. The period was once called the Dark Ages because of the relative lack of written history. Literacy and security declined throughout Europe. From a historical point of view, things fell silent. In reality, though, life during the Early Middle Ages was far from quiet. Wars spread like bushfires as local and national leaders rose and fell. The Catholic Church maintained a vigorous spiritual and artistic life in its many monasteries. Of course, ordinary people did what people always do—working hard to improve their lot and enjoying life whenever possible. In this project, you will work with a group to cast a little light on the so-called Dark Ages. Organize and Research For this activity, think of the Early Middle Ages as if it consisted of concentric circles. In the central circle is the Venerable Bede—or another such monk—around the year 700 ce. Encircling him are the farms, villages, and castles of rural England. A larger circle still encompasses all of Britain, where warring nations fight for supremacy. The fourth and largest circle encompasses life in the European continent. Work with three other students to research the following topics, each representing a circle described above. Have each group member research one topic. • The Monasteries. What was the importance of the monasteries? What was life like inside them? • Domestic Life in England. How did people live outside the sheltered monasteries? How was society organized? • Britain as a Whole. What people had invaded and settled Britain? Where did they live? Who held the power? • The Shape of Europe. What was happening on the continent? What great leaders had emerged? What countries had formed or fallen apart? Research and take notes on your topic. Then share your findings with your group. Your group’s assignment will be to present to your class an overview of Britain and Europe during the Early Middle Ages. See Language Arts Handbook 7.3, Collaborative Learning and Communication, in your textbook, for guidelines on creating a group project. Present Choose a way to present your knowledge of the Early Middle Ages to your classmates. Instead of reading four reports, endeavor to entertain your audience. Consider using one of the following methods: a panel discussion; a PowerPoint presentation; a question-and-answer session; a scripted and filmed student documentary; or a series of interviews with “experts” from the period. © EMC Publishing, LLC Differentiated Instruction for Advanced Students BR TRADITION, UNIT 1 1 GGrr__1122__aaddvvaanncceedd ssttuuddeennttss..iinndddd 11 55//2200//0099 33::0011::1111 PPMM Name: ____________________________________________________ Date: __________________ from Beowulf, page 23 LITERARY FORM ACTIVITY Epics Beowulf is widely acknowledged as one of the finest epics in recorded history. An epic is a long narrative poem that portrays the heroic acts of legendary figures and mythical gods. This type of poem follows the format of a narrative or story, with characters, setting, plot, and conflict, but its purpose is more than just entertainment. With its roots in the oral tradition of storytelling, an epic also reflects a period of history and therefore provides a portrait of an entire culture’s legends, beliefs, laws, arts, and ways of life. Epic Hero Central to the narrative of an epic is the main character, known as the epic hero. An epic hero is an archetype, or a type of character that has appeared in the literature of the world from ancient times until today. Historically, an epic hero was a male of royal lineage who possessed certain personal qualities that helped him, and sometimes hindered him, in his quest to conquer evil. More frequently in contemporary literature, the hero is a woman. Below is a list of these common epic hero qualities: • courage • resourcefulness • vulnerability • integrity • intelligence • resilience • arrogance or pride • physical strength • sacrifice • altruism • faithfulness • leadership Although epic heroes embody these human characteristics, they appear larger- than-life because they also have extraordinary or supernatural abilities that allow them to conquer monsters and other villains. Contemporary literature is filled with heroes modeled after this archetype, including Harry Potter in the Harry Potter series and Frodo in Lord of the Rings. Some consider Joan of Arc to be an epic hero. Movies, such as Braveheart, Gladiator, Rob Roy, Spartacus, and Star Wars, also pay homage to the epic hero. Epic Hero Cycle In addition to the archetypal epic hero, the structure of an epic follows a distinctive pattern known as an epic hero cycle. In an epic hero cycle, the hero is charged with a quest that tests his or her worthiness. This quest typically involves a battle with an evil force. Along the journey, the hero is assisted by many mythical creatures and typically enters a supernatural world. Just when the hero feels defeated, the hero’s fortitude is resurrected, and the hero takes his or her place on the family throne. 2 BR TRADITION, UNIT 1 Differentiated Instruction for Advanced Students © EMC Publishing, LLC GGrr__1122__aaddvvaanncceedd ssttuuddeennttss..iinndddd 22 55//2200//0099 33::0011::1111 PPMM Get Started In this lesson, you are being charged with your own quest: to write and illustrate a children’s book that models an epic tale. Your target audience should be between the ages of seven and eleven. Remember to keep the words and actions of the story appropriate for the particular age or ages you choose. For inspiration, take a look at the following children’s books that have used a similar epic model: Saint George and the Dragon, by Margaret Hodges; The Hero Beowulf, by Eric Kimmel; Odysseus in the Serpent Maze, by Jane Yolen; Beowulf, by Gareth Hinds; and The Maiden of Northland, by Aaron Shepard. To get started, consider the following questions and write the answers in the spaces allowed: Questions Answers 1. W ho will be the hero of your tale? Do you want it to be a person (male or female), an animal, or some other type of creature? What will the hero look like? What personal qualities of the hero will be revealed at different places in your tale? 2. W hat will be the setting of your story? How will the setting reflect the culture? 3. W hat will be the hero’s quest? What mythical gods or goddesses will guide the journey? 4. W hat obstacles will the hero need to overcome in the journey? What mythical creatures will help the hero along the way? 5. W hat main battle will occur where good will triumph over evil? 6. W hat will happen to the hero at the end of your tale? Outline the Story An epic follows a certain format, as outlined in the graphic organizer beginning below. Briefly fill in details for your tale. Format Details Invocation: Introduce the epic hero and the quest or adventure that the hero has been charged with completing. The invocation also calls on a muse or god to inspire divine intervention in the narrator as he tells the tale. © EMC Publishing, LLC Differentiated Instruction for Advanced Students BR TRADITION, UNIT 1 3 GGrr__1122__aaddvvaanncceedd ssttuuddeennttss..iinndddd 33 55//2200//0099 33::0011::1111 PPMM Format Details In Medias Res: Begin the tale in the midst of action or in medias res, with the epic hero well into his journey. Start with a heroic main action and introduce an evil force. Add helpful companions or creatures who will aid the epic hero. Flashbacks: Fill in incidents that preceded the main action; add other helpers who will battle alongside the epic hero. Point of Defeat/Resurrection: Have the epic hero feel defeated but put aside his feelings and forge ahead in his quest. Journey’s End: Provide closure by revealing what happened to the epic hero at journey’s end: The hero either assumes his rightful place on his family’s throne or dies and is rewarded spiritually. Connect and Create Now you are ready to type your first draft. Use the information from your outline to guide you as you write. Also, keep your audience in mind as you choose your words and construct your sentences. As you are writing, consider adding figures of speech devices that are commonly seen in epics: similes, metaphors, kennings, and alliteration. Another literary device that is typically used in an epic is a boast, in which the epic hero brags about his noble lineage, his accomplished feats, or his personal strengths. Be sure to include a boast in your tale; this will provide the perfect place to incorporate hyperbole, or exaggeration. (To review the elements of an epic, refer to page 22 of your textbook.) Check and Reflect Now exchange your story with a classmate to get his or her reaction. Correct any errors in spelling, punctuation, and grammar that your classmate marks on your paper. Then make a final draft of your story. Publish and Present Cut apart the typed story line and use a glue stick to paste the copy in a blank book. Allow room for colorful illustrations, and be creative in your approach by using borders, fabric, pop-up figures, craft materials, and so on that will make your book unique. Keep the age of your target audience in mind as you make these additions. When you have finished the book, present your book to a friend or family member as a gift, or donate your book to the library of your local elementary school. 4 BR TRADITION, UNIT 1 Differentiated Instruction for Advanced Students © EMC Publishing, LLC GGrr__1122__aaddvvaanncceedd ssttuuddeennttss..iinndddd 44 55//2200//0099 33::0011::1122 PPMM