TPA (2013) Lesson Plan #

1. Teacher Candidate	Ethan Whitney	Date Taught	2/27/17
Cooperating Teacher		School/District
2. Subject	ELA	Field Supervisor
3. Lesson Title/Focus	Faulkner’s The Hill	5. Length of Lesson	20min
4. Grade Level	12th

6. Academic & Content Standards (Common Core/National)	RL4 - Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful.
7. Learning Objective(s)	Students will see how word choice contributes to the development of meaning in a story by analyzing specific word choices in their assigned paragraphs from Faulkner’s the hill. As a subsidiary objective, students will ideally add a few words to their vocabulary.
8. Academic Language demands (vocabulary, function, syntax, discourse)	Vocabulary: sibilant, perpendicularly, ludicrously, mesmerized, whimsical, futile, azure, extravagance, compulsion, precarious, mosaic, salacities, vanities, sonorous, anvil, mediocrity, portent, elude, quibble, plunged, nymph, faun, abasement, conflagration, toil.   Function: analyze and understand Discourse: students will have to discuss with their partner and then present their findings to me and the rest of the class.

9. Assessment

There will be two key assessment opportunities Formative: after they have been assigned their page from the GC wait to see that within the first minute or so they comprehend the assignment and are following the directions. If not à ask the class why no one is working and if they know what they are supposed to be doing. If they do start working à keep walking around listening and watching. Once a group has sufficient student product to assess, insert yourself into the group and observe what words they chose, or if they are using a dictionary to look up unknown words, or if they are chiefly using single words or phrase on the stickies. Suggest a challenge word from the vocabulary list if they have not already. If a group has not created enough student product to assess by the halfway point ask if they are stuck and provide assistance. Summative: once the provided work time is up each group will present what they labeled and why to the class. Make a note for yourself of what each group labeled and how it may differ from the earlier assessment. Of course at the end of each stage in the lesson inquire if there are any questions or points of confusion.

10. Lesson Connections

This lesson is the second in a 5 lesson unit specifically on “The Hill” by William Faulkner. In the previous lesson there was an overview of the text identifying the unique qualities of it and then giving some background on Faulkner and his works, focusing on the context of this story as a prelude to the “apocryphal county”. Then I read the text to the class and we drew the plot structure together using specific lines to identify each part (rising action, conflict, climax et cetera). This is the first time they will have seen the Graphic Canon version. They will already know what the GC is. The lesson subsequent to this one will expand upon the reflections they made on the worksheet. On page 122-3 in Teaching Literature to Adolescents the authors advocate for the contextualized vocabulary instruction and close reading of a text seen in this lesson plan. By forcing students to analyze intently the portrayal of words and assess their own definitions and conceptions it will help them to derive meaning from a text. Really, apart from the challenge words, this is a fairly accessible text that does not take great effort after close reading to ascertain the author’s tone towards the drudged of life. Hence it serves as a good text to explore multiple CCSS with. Graphic novels are increasing in the estimation of popular culture and the Graphic Canon’s rendition of Faulkner’s prose is quite nice. Thus this selection should prove as a nice bridge from pop culture to the classics.

11. Instructional Strategies/Learning Tasks to Support Learning
Learning Tasks and Strategies Sequenced Instruction 1.     Introduction and divide into groups 2min 2.     Directions for assignment 3 min 3.     Group work time 10 min 4.     Share products with class 4 min   5.     Summation and reflection 1 min
Teacher’s Role 1.     Ask for the class’s attention and inform them they will be doing group work on the Faulkner story from yesterday. 2.     Divide them into groups of two. 9 pages in the graphic canon and 18 students in the full class. Tell them to take out their texts once they are in groups. If there is an absent student make a group of three with two pages assigned. By dividing students into groups first it will ideally allow them to go straight from instruction to working rather than the distraction of getting settled into groups. 3.     Regain the class’s attention and begin describing the lesson while passing out the worksheet. 4.     On the projector bring up the CCSS, learning objective and copy of the assignment on a in this order. State SLO and CCSS to the class and use the transition phrase “to accomplish this we will” analyze the word choice in “The Hill”. 5.     Now describe what they are supposed to do using the worksheet as a guide. Tell them they are free to use their phones for the sole task of finding definitions. Keep an eye open for questions or confused faces. 6.     Model the task using “sibilant invisibility” as an example. Pretend you do not know the word sibilant and look it up using OED quick search, the preferred app. Now that you know the word, write it and a “D” for denotative meaning then place it on the clouds. In the margin next to the first paragraph on the handout note “this is not how I imagine a “sibilant invisibility”. Also verbally note to the class how it might be difficult to visually depict “invisibility” 7.     Reiterate the SLO CCSS then ask the class if there are any questions and start passing out the sticky notes. Answer the questions if so. 8.     Tell them to begin working and start analyzing their page in the GC by first reading it in their groups. 9.     Keep a vigilant eye and ear to monitor for confusion and progress. As part of the assessment procedure ensure to verbally/visually assess their work. 10.  Once the time is up inform the class and ask for a volunteer from the first paragraph to present their page and then move through the rest. 11.  Give positive reinforcement for their efforts and bravery addressing the class. 12.  Restate the SLO and sum student products in the frame of “what we learned today”. Before you let them go ask to see thumbs up/middle/down in terms of how close they are to meeting the SLO. Thumbs up being I feel I met it.	Students’ Role 1.     Heed the teacher’s instruction and recall information from yesterday’s lesson 2.     Form into groups 3.     Pay attention to the instructor 4.     Identify the SLO and recognize the familiar CCSS 5.     Note the directions for the assignment and underline or circle crucial segments 6.     Observe the instructor’s model as further direction for the assignment. 7.     Note the correlation between the SLO and the assignment concerning how word choice develops meaning 8.     Get to work. Check with partner to see how much they remember from yesterday, and reread the paragraph together circling the important word choices. Take out phone if necessary. 9.     Communicate progress with the instructor 10.  Decide on a volunteer and present, referring to notes in the margin 11.  Be reassured by the instructor’s affirmation. 12.  Listen to the instructor’s summation noting the essentials on the hand out. 13.  Respond with understanding level.
Student Voice to Gather At each stage in the lesson ask the class if they understand. Particularly when they are unleashed on the main task to make sure they understand the procedure and how it relates to the SLOs by visiting each group. Always be engaged with students to verbally collect their understanding of how identifying the visual representation of words/phrases requires them to “determine the meaning” either by using a dictionary or context.

12. Differentiated Instruction

To access the core literary material of “The Hill” students can use the visual element of the Graphic Canon and the interactive/auditory element of group work.

13. Resources and Materials

Beach, R., Appleman, D., Fecho, B., & Simon, R. (2016). Teaching Literature To Adolescents. New York: Routledge. Kick, R. (2013). The Graphic Canon. New York: Seven Stories Press. Attached handout with The Hill text.

14. Management and Safety Issues

No safety issues. As ever it will be important to keep students on task during group work. This should be easily accomplished due to the nature of the formative assessment.

15. Parent & Community Connections

In the weekly emailed newsletter there will be two references to this lesson: one, a general description of the Graphic Canon, and two, a scan of the first page of “The Hill” from it. In addition to the scan, the CCSS, SLOs from, and a general description of, this lesson will be included to inform parents of what is going on in their child’s education. There will also be a note to the parents encouraging them to discuss this material with their child, and perhaps see if the student can teach them an element of this lesson.

Directions: This clean copy of Faulkner’s “The Hill” is for you to write on. In this lesson we are focusing on how specific word choices help to create meaning in a literary work. To accomplish this we will break into groups and analyze an artist’s interpretation of the story into a graphic medium. Identify what words or phrases from the text influenced a specific visual choice by the artist and whether you think that visual choice was correct. To do this, take your provided sticky notes and write the word or phrase then place it next to the corresponding image. You will also have to choose what type of meaning is used; place a D, F, or C somewhere on the note to indicate which type of meaning you believe it is. Once you have exhausted your sticky note supply, write on this paper, next to your paragraph, reflect on how similar or dissimilar your “image” of the text was to the Graphic Canon.    

If we consult RL-4, we will find there are three different meanings of a word we should consider. You must decide which is used in the artist’s interpretation. If you do not know a word feel free to use the dictionary app on your phone to look up the denotation of it.

Types of meaning à Denotative: dictionary definition. Figurative: metaphorical meaning. Connotative: what you think of when you read the word. 

THE HILL

[Page1] Before him and slightly above his head, the hill crest

was clearly laid on the sky. Over it slid a sibilant invisibility

of wind like a sheet of water, and it seemed to him

that he might lift his feet from the road and swim up-

ward and over the hill on this wind which filled his

clothing, tightening his shirt across his chest, flapping

his loose jacket and trousers about him, and which

stirred the thick uncombed hair above his stubby quiet

face. [Page 2] His long shadow legs rose perpendicularly and fell,

ludicrously, as though without power of progression, as

though his body had been mesmerized by a whimsical

God to a futile puppet-like activity upon one spot, while

time and life terrifically passed him and left him behind.

At last his shadow reached the crest and fell headlong

over it.

[Page 3] The opposite valley rim came first into sight, azure

and aloof, in the level afternoon sun. Against it, like

figures rising in a dream, a white church spire rose, then

house-tops, red and faded green and olive half hidden in

budded oaks and elms. Three poplars twinkled their

leaves against a gray sunned wall over which leaned

peach and apple trees in an extravagance of fragile pink

and white; and though there was no wind in the valley,

bent narrowly to the quiet resistless compulsion of April

in their branches, then were still and straight again except

for the silver mist of their never ceasing, never escaping leaves.

[Page 4] The entire valley stretched beneath him,

and his shadow, springing far out, lay across it, quiet

and enormous. Here and there a thread of smoke balanced

precariously upon a chimney. The hamlet slept,

wrapped in peace and quiet beneath the evening sun,

as it had slept for a century; waiting, invisibly honey-

combed with joys and sorrows, hopes and despairs, for

the end of time.

[Page 5] From the hilltop the valley was a motionless mosaic

of tree and house; from the hilltop were to be seen

no cluttered barren lots sodden with spring rain and

churned and torn by hoof of horse and cattle, no piles

of winter ashes and rusting tin cans, no dingy hoardings

covered with the tattered insanities of posted salacities

and advertisements. There was no suggestion of striving,

of whipped vanities, of ambition and lusts, of the drying

spittle of religious controversy; he could not see that

the sonorous simplicity of the court house columns was

discolored and stained with casual tobacco. [Page 6] In the valley

there was no movement save the thin spiraling of smoke

and the heart-tightening grace of the poplars, no sound

save the measured faint reverberation of an anvil.

The slow featureless mediocrity of his face twisted to

an internal impulse: the terrific groping of his mind. His

monstrous shadow lay like a portent upon the church,

and for a moment he had almost grasped something alien

to him, but it eluded him; and being unaware that there was

anything which had tried to break down the barriers

of his mind and communicate with him, he was unaware

that he had been eluded. [Page 7] Behind him was a day of harsh

labor with his hands, a strife against the forces of nature

to gain bread and clothing and a place to sleep, a victory

gotten at the price of bodily tissues and the numbered

days of his existence; before him lay the hamlet which

was home to him, the tieless casual; and beyond it lay

waiting another day of toil to gain bread and clothing

and a place to sleep. In this way he worked out the

devastating unimportance of his destiny, with a mind

heretofore untroubled by moral quibbles and principles,

shaken at last by the faint resistless force of spring in a

valley at sunset. [Page 8]

The sun plunged silently into the liquid green of the

west and the valley was abruptly in shadow. And as the

sun released him, who lived and labored in the sun, his

mind that troubled him for the first time, became quieted.

Here, in the dusk, nymphs and fauns might riot to a

shrilling of thin pipes, to a shivering and hissing of cymbals

 in a sharp volcanic abasement beneath a tall icy

star. [Page 9] * * * Behind him was the motionless conflagration

 of sunset, before him was the opposite valley rim

upon the changing sky. For a while he stood on one horizon

and stared across at the other, far above a world of

endless toil and troubled slumber; untouched, untouchable;

forgetting, for a space, that he must return. * * *

He slowly descended the hill.