Category Archives: English Language Arts

This category contains domain-specific material–reading and writing expository prose, interpreting literature etc.–designed to meet the Common Core standards in English language arts while at the same time being flexible enough to meet the needs of diverse and idiosyncratic learners.

Cultural Literacy: Dark Ages

Here is a Cultural Literacy worksheet on the Dark Ages.

In posting this document, I understand that I’m dealing with a contested term. In fact, in the nineteenth and twentieth centuries, as the period became better understood, historians began restricting its use to the Early Middle Ages, generally the first few centuries following the fall of Rome. When I was teaching global studies in New York, one of the concepts that was chronically overlooked while my co-teacher droned on in a recitation of decontextualized historical facts was the difference between periods of intellectual enlightenment and intellectual repression–indeed, the active promotion of ignorance and superstition.

If one looks at intellectual history, this oscillation between lightness and darkness, as Petrarch framed it, recurs fairly regularly (in fact, we’re arguably in the middle of such a period as I write this). I always thought that in teaching global studies, we ought to use the trial and death of Socrates as an illustration of the contest between intellectual freedom and the superstition and ignorance which opposes it. Once we accomplished that, we can cite this phenomenon everytime it expresses itself in history. It would make introducing the Carolingian Renaissance, the Renaissance itself, and the Enlightenment (and its antithesis, Romanticism) a simpler and deeper conceptual endeavor at once. In United States history, this dynamic expresses itself, I submit, in everything from the First and Second Great Awakenings to the McCarthy Era.

And we end up with those big concepts in historical inquiry that Claude Levi-Strauss called binary oppositions: faith and reason, law and anarchy, science and religion, knowledge and ignorance, and so forth. Those pairs, I think, are what Grant Wiggins and Jay McTighe had in mind when they talked about identifying (and helping students to understand) “big ideas” in instructional planning.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Abstract

“Abstract, (noun) A text summarizing the matter or principal points of a book, article, record, or speech, especially of an official or technical document; abbreviated or concentrated version; condensation. Noun: abstractor; Verb: abstract.”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

A Concluding Assessment Lesson on Adjectives

If you search “lesson plan on adjectives” on this blog, you will find that there are a total of 11 lesson plans dealing with this part of speech; here is the concluding assessment lesson plan.

This lesson opens in my classroom with this Everyday Edit worksheet on Lucy Cousins’ Maisy books–and if your students enjoy the satisfaction of completing these exercises in correcting grammar, style, and spelling in another person’s prose (mine generally have), you can find a yearlong supply for download at no charge from the good people at Education World. This lesson generally extends across two days, so here is a Cultural Literacy worksheet on malapropisms. Finally, here is the structured worksheet that closely follows the sequence of the 11 lessons that comprise this unit and serves as their concluding assessment.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Rotten Reviews: The Wapshot Scandal

“Fatally flawed.”

Hilary Corke, New Republic

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.    

Skyscrapers

Here is a reading on skyscrapers along with its accompanying vocabulary-building and comprehension worksheet. 

If memory serves, I wrote this, along with some other materials, for a student who possessed a considerable interest, bordering on obsession, with tall buildings. Like most of the materials based on Intellectual Devotional readings you’ll find on this site, this is a short but thorough general introduction to the topic. Keep an eye on it, though: this is one of those articles in which information can quickly go out of date. Indeed, I have revised this reading a couple of times as buildings get taller and taller.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Allegory

“Allegory: A series of symbols existing harmoniously in a larger system of meaning. While a symbol most often takes the place of a letter, word, or image, such as the cross as a symbol of Christianity, allegory takes symbolism one step further by using images and/or stories to stand in for other ideas or abstract concepts. Picasso’s Guernica, rooted in events from the Spanish Civil War, works as an allegory for total war. (Disputed symbols include the wounded horse and the bull, representing Republican Spain and fascism, respectively.) From the mid-1950s to the mid-1970s, the primacy of abstract art made the use of allegory seem out of date. But with the advent of postmodernism and a return to figurative and narrative works, allegory has again flourished. Modernists Giorgio de Chirico, Max Ernst, and Jose Clemente Orozco make use of allegory, as do postmodernists Anselm Kiefer and Francisco Clemente.“

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Fathom (vi/vt)

Alright, here is a context clues worksheet on the verb fathom, which is used both intransitively and transitively.

Inasmuch as this can mean “to penetrate and come to understand,” it is a learning word students probably ought to know and be able to use.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Apposition

“Apposition: A syntactic relation in which an element is juxtaposed to another element of the same kind. Especially between noun phrases that do not have distinct referents: e.g. Lucienne is in apposition to my wife in Do you know my wife Lucienne? Thence of other cases where elements are seen as parallel but do not have distinct roles in a larger construction: e.g. Smith is said to be apposed to Captain in Do you know Captain Smith?”

Excerpted from: Matthews, P.H., ed. The Oxford Concise Dictionary of Linguistics. New York: Oxford University Press, 2014.

The Weekly Text, April 9, 2021: A Lesson Plan on Using the Indefinite Pronoun

This week’s Text is a lesson plan on using the indefinite pronouns.

I open this lesson with this Cultural Literacy worksheet on the proverb “any port in a storm.” In the event the lesson continues into a second day, I keep this Everyday Edit (and if you like these, the good people at Education World give away a year’s worth of them) worksheet on Duke Ellington handy. This scaffolded worksheet on using the indefinite pronouns is the mainstay of the lessons. Here is a learning support on subject-verb agreement when working with the indefinite pronouns that students can both use with the work of this lesson and carry away for future reference. And, finally, here is the teacher’s copy of the worksheet to make delivering this lesson a little bit easier.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Book of Answers: Dante’s Inferno

“According to Dante’s Inferno (1321), who is at the bottom of hell? In the lowest circle of hell, the place for traitors, a three-faced Satan chews on three people: Brutus and Cassius, betrayers of Julius Caesar, and Judas Iscariot, betrayer of Jesus Christ.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.