For a student with certain interests, broadly, arts and culture, but narrowly, dance, bohemianism, and women’s history, this reading on Isadora Duncan and its accompanying vocabulary-building and comprehension worksheet have turned out to be high-interest materials.
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.
It was 52 degrees at 5:00 this morning here in southwestern Vermont, which sure felt like an harbinger of fall. It’s warming up slowly. I feel like, as I did in my late teens and early twenties, that I should be preparing to begin a six-week apple harvest. I can’t imagine, at my age, what picking 120 bushels of apples a day would do to my body and mind.
Ok, that said, here is a lesson plan on the Crime and Puzzlement case “Buried Gold.” I open this lesson with this Cultural Literacy worksheet on the proverb “Hell hath no fury like a woman scorned.” This is often attributed to Shakespeare; in fact, it comes from the pen of the Restoration dramatist William Congreve from his play The Mourning Bride. I actually posted this short exercise with a parts of speech lesson elsewhere on this blog, so be on the lookout.
Here is the scan with the illustration, reading, and questions that you’ll need to conduct your investigation and therefore teach this lesson. And here, at last, is the typescript of the answer key so you can solve your case and bring the offender to the bar of justice–so to speak.
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.
“According to Aristotle, what elements are necessary to a play? There are six: plot, thought, character, diction, music, and spectacle.”
Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.
Posted in English Language Arts, Quotes, Reference, Social Sciences
“Deus Ex Machina: (Lat, “god from the machine) A theatrical device used in Greek tragedy. In several plays of Euripides, a god appears at the last moment to provide the solution to the tangled problems of the main characters. The god is let down from the sky on a sort of crane. The phrase has come to refer to a playwright’s use of external means to solve the problems of his characters—a practice generally frowned upon.”
Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.
This lesson plan on the Greco-Roman social is the eleventh–see below–or an eleven-lesson unit on the origins of religion and philosophy. I grabbed this from a social studies teacher with whom I worked for several years in Lower Manhattan. The raw documents, which I typed and formatted Microsoft Word, looked like they came from someplace on the Internet similar to Mark’s Text Terminal.
In any case, I attached this Cultural Literacy worksheet on Aesop’s fables as wells as this one on the idiom “When in Rome, Do as the Romans Do” as openers for this lesson, which can easily go for two or even three days. In order to get this activity started, you’re students will need this list of participants in the social and the student worksheet and organizer that will serve as their dance card, so to speak, in this activity. I’ll include this teacher’s copy of the list of participants in the Greco-Roman social as well. I regret that the page numbers given for the readings are for a long-forgotten textbook that my co-teacher and I used for this enterprise. It shouldn’t be hard to replace my page numbers with those from whatever textbook your district uses for globals studies and geography.
As I worked my way through posting this unit, I realized I wanted these lessons to span two days so I could get a look at kids’ short-term memories, whether something they’d read the day before remained with them, and if they could apply that knowledge the next day. This guided my planning and suggested to me what I might do in the way of support for the students I served. Let me reiterate once more than these lessons are the basis for a series of lessons that I recut every year to fit the fashions of the New York State Global Studies and Geography Regents Examination.
In the final analysis, I see a lot of room for improvement in these lessons. You probably will too. Remember that just about everything you download from Mark’s Text Terminal is in Microsoft Word, so you may alter this material to your students’ and your own needs.
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.
“…the play sounds like George Burns and Gracie Allen trying to keep up a dinner conversation with Wittgenstein…I have never seen such desperately ingratiating smiles on the faces of actors.”
Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.
Posted in English Language Arts, Quotes, Reference
Tagged drama/theater, humor, literary oddities, philosophy/religion
This week’s Text, is a lesson plan on the simple past tense of verbs. I begin this lesson after a class change with this Cultural Literacy worksheet on the famous proverb “Hell Hath No Fury Like a Woman Scorned” (I’ve often heard this expression attributed to Shakespeare, but it actually comes from a play by Restoration dramatist William Congreve, “The Mourning Bride“). If circumstances necessitate a second day for this lesson, then here is another do-now exercise, this one a homophones worksheet on the worksheet on the adjectives veracious and voracious. You’ll need this scaffolded worksheet which is the primary work of this lesson; you and your students might also find useful this learning support and word bank. Finally, here is teacher’s copy of the worksheet.
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.
“Illusion: The semblance of reality and verisimilitude (q.v.) in art which most writers seek to create in order to enable the reader to think that he is seeing, feeling, hearing, tasting and smelling, or, conceivable, having some extra-sensory or kinesthetic experience. The creation of illusion is a cooperative act between writer and reader. It brings about in the reader what Coleridge called “the willing suspension of disbelief” (q.v.). However, the writer also destroys illusion, sometimes for a specific purpose: for example, to address the reader directly—a not uncommon practice among 18th and 19th century novelists. The contrast helps the illusion and at the same time sharpens and clarifies the impression of things happening at a distance. Illusion should be distinguished from delusion and hallucination.”
Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.
“agitprop Agitation propaganda, a theatrical device employed by the left-wing in Europe and the USA during the 1950s; in the 1960s it developed into what is now termed ‘street theater.’ Its purpose was to convey a political message, or political education, by seeking to interest and entertain.”
Excerpted from: Cook, Chris. Dictionary of Historical Terms. New York: Gramercy, 1998.
“A confusing jamboree of piercing noise, routine roller skating, misogyny and Orwellian special effects, Starlight Express is the perfect gift for the kid who has everything except parents.”
Excerpted from: Winokur, Jon, ed. The Big Curmudgeon. New York: Black Dog & Leventhal, 2007.
Posted in English Language Arts, Quotes, Reference, Social Sciences
Tagged drama/theater, humor, literary oddities
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