/re /racticum 3/ Grad /1 0 +e..

on #em1late
Name: ____Daltrey Abney__________ School: ____St. Columbkille__________ Startin! and "ndin! #ime: ____ to ____
$%"&%'"( $) #*" +"SS$N ,A Curriculum )rame-ork.: With regard to how this lesson fits into the big picture of the students long-term learning, which MA framework does the lesson most clearly address? his lesson is part of a larger unit that focuses on introducing different genres of literature and their respecti!e literary elements" #or $ctober students will be using %dgar Allan &oes works as e'amples of poetry and prose" hey will analy(e the elements of his work to build a greater understanding of the genres" his will not only help students better comprehend future te'ts, but will also help students write their own te'ts in these genres as well in the future" his lesson in particular focuses on the literary elements of mood and how diction, setting, plot, imagery, and figurati!e language play a part the de!elopment of that element" MA )*++,)*-*M #+AM%W$+. /" 0etermine the meaning of words and phrases as they are used in a te't, including figurati!e and connotati!e meanings1 analy(e the impact of a specific word choice on meaning and tone"

Date: ____10/8/13____________ Grade: _____ th__

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'n.tructional $b2ecti3e.: 9y the end of the lesson, :5; what concept, information, skill, or strategy will the student:s; learn and :3; how will they demonstrate that knowledge? 9efore reading, students will be able to demonstrate understanding of the meaning of mood and how it is created in writing by defining mood as a class" 0uring reading, students will demonstrate their understanding of what an ad!erb is by gi!ing a thumbs-up e!ery time they hear an ad!erb" After reading, students will be able to demonstrate knowledge about the placement of ad!erbs by using an e'ample sentence from the te't and mo!ing the ad!erb to another appropriate spot with their group on their poster paper" After reading, students will be able to demonstrate understanding of the terms diction, setting, plot, imagery, and figurati!e language by pro!iding e'amples of one of these literary de!ices from the te't with their group on poster paper, and then completing a worksheet on their own about the other literary de!ices that other groups address" A..e..ment: What specific, tangible e!idence will show that each student has met this ob<ecti!e? Informal assessment: -)hecking to see if students understand ad!erbs by looking at their thumbs-up signal during reading -)irculating the room during the group work to make sure all students are participating in the work and understand the content Formal assessment: -)lass de!eloped definition and e'amples of mood -=roup poster papers -,ndi!idual worksheets> (hat ,ake. a ,ood4

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Academic +an!ua!e $b2ecti3e: 9y the end of the lesson, :5; what lan!ua!e, relating to the lesson and lesson content, will the student:s; know or learn, and :3; how will they demonstrate that knowledge? +efer to W,0A and hree iers of 7ocabulary" Vocabulary: (note that some of this vocabulary is not newly introduced, but is reinforced through the lesson) 9efore reading, students will be able to demonstrate understanding of the meaning of mood and how it is created in writing by defining mood as a class" After reading, students will be able to demonstrate understanding of the terms diction, setting, plot, imagery, and figurati!e language by pro!iding e'amples of one of these literary de!ices from the te't with their group on poster paper, and then completing a worksheet on their own about the other literary de!ices that other groups address" 5,ood: The atmosphere that pervades a literary work with the intention of evoking a certain emotion or feeling
from the audience. In drama, mood may be created by sets and music as well as words; in poetry and prose, mood may be created by a combination of such elements as SETTING, VOICE, TONE and THEME. The moods evoked by the more popular short stories of Edgar Allen Poe, for example, tend to be gloomy, horrific, and desperate. 5Diction: The choice of a particular word as opposed to others. A writer could call a rock formation by many words--a stone, a boulder, an outcropping, a pile of rocks, a cairn, a mound, or even an "anomalous geological feature." 5Settin!: The locale, time, and CONTEXT in which the ACTION of a literary work takes place. "It was a dark and stormy night . . ." is a clich example of setting. 5'ma!ery: The use of pictures and description to visualize a mood, idea or character. Imagery may involve all the senses, but usually involves the sense of sight. The imagery of William Carlos Williams' poetry, for example, tends to involve the appearances of everyday, ordinary objects like a "red wheel / barrow / glazed with rain / water . . . ." 5/lot: A plot is an account of the ACTION and all of the motivations lying behind the action in a literary work. A plot may include such elements as the "exposition," where the SETTING is established, the CHARACTERS are introduced, and background information is provided; the "CONFLICT"; the "climax," where the action comes to its moment of greatest tension; and the "denouement," where the action finally resolves.

5)i!urati3e +an!ua!e:
SIMILE: A comparison of two different things, usually using the words "like," "as" or "as if." The simile "Oh, my love is like a red, red rose," for example, serves as the title and first line to a poem by Robert Burns. METAPHOR: A comparison of two different things, which states that the two are actually the same thing, often through a form of the verb "to be." The metaphor "Black Poets / Are / The Trumpets of Black Warriors," for example, is used by Etheridge Knight in his poem For Black Poets Who Think of Suicide.

?definitions taken from http>88web"cn"edu8kwheeler8lit@terms@0"html and http>88rwc"hunter"cuny"edu8reading-writing8on-line8lit-terms"htmlA Word level: Ad3erb. 0uring reading, students will demonstrate their understanding of what an ad!erb is by gi!ing a thumbs-up e!ery time they hear an ad!erb" Sentence Level: Ad3erb /lacement After reading, students will be able to demonstrate knowledge about the placement of ad!erbs by using an e'ample sentence from the te't and mo!ing the ad!erb to another appropriate spot with their group on their poster paper"
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Content: What are the specific details of the lessons content knowledge? At this point in the unit students will ha!e already learned about %dgar Allan &oe" hey will ha!e e'perience with his poem The Raven, and will ha!e learned about elements of poetry through reading it" hey also will already ha!e learned definitions of mood, setting, B plot and other literary elements" ,t will be important for this lesson that students ha!e an understanding of this !ocabulary" herefore, dispelling any misconceptions about the meanings of these words at the beginning of the lesson is important"

/&$C"D6&"S )$& #*" +"SS$N ,n this section, pro!ide specific directions, e'planations, rationales, Cuestions, potential !ignettes8scenarios, strategies8methods, as well as step-by-step details that could allow someone else to effecti!ely teach the lesson and meet the lesson ob<ecti!es" $1enin! :@54-5D@ minutes;: Eow will you introduce the instructional ob<ecti!e to the students, pre-teach8 pre!iew !ocabulary, and prepare them to engage with the lesson content? =o o!er e'pectations with students 5" +espect me and others by raising your hand when you would like to speak and not talking o!er others 3" Fit up, be attenti!e, and participate 6" 0o not complain G we will be working in groups with assigned roles" 0o not complain about the role you are gi!en +e!iew8 eaching of literary terms 5" Ftudents will participate in a class discussion about the definitions of the terms mood, diction, imagery, plot, setting, and figurati!e language" 9e sure to ask for e'amples alongside definitions" *se on ob<ect in the room as a <umping off point for e'amples" :i"e" ask the students if the were to write a story about their pencil-what would an e'ample of plot be in that story? What would be the setting? What is an e'ample of figurati!e language they could use?; 3" he teacher will write down the words and definitions on the board, and then reinforce the definitions the class gi!es with the definitions on the &ower&oint"

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Durin! +e..on :@/4-D4@ minutes;: Eow will you direct, guide, and8or facilitate the learning process to support the students in working toward meeting the instructional ob<ecti!es? 5"Ad!erbs :3-6 minutes; Ask students for a definition of ad!erb and get e'amples, then show them the definition and e'amples on the &ower&oint" ell students that they should put their thumbs up any time they hear an ad!erb in the story" &ractice with a few e'ample sentences before you start reading" 3" Tell-Tale Heart :D-54 minutes; +ead the Tell-Tale Heart all the way through, checking for ad!erbs thumbs up signals" 9e sure to read the story in a way that highlights the mood of the story" 6" =roup &osters :34-3D minutes; Ftudents will work in their table groups to create a poster on one of the following elements> diction, setting, plot, figurati!e language, or imagery" =roup topics will be chosen randomly, unless the teacher sees fit that a certain group would work best with a certain topic" Within the group each member will ha!e a specific role :also chosen randomly; -3 presenters> will present the poster to the class -5 researcher> will be in charge of reading the specific e'amples the group chooses to the recorder to put on the poster -5 or 3 recorders> will write e!erything on the poster -5 ime keeper> will keep the group on task and ready to present in time %ach group will ha!e a specific set of instructions on a handout pertaining to their specific poster" All groups will also chose a sentence with an ad!erb in it and show how the ad!erb can be mo!ed around in the sentence and still make sense" /" =roup &resentation :5D-34 minutes; Ftudents will present their posters to the class" %ach group should be listening to the presenters and filling out their own (hat ,ake. a ,ood4 handout as they go"

Clo.in! :@D@ minutes;: Eow will you bring closure to the lesson and, by doing so, re!iew and determine what students ha!e learned? Ea!e students turn their indi!idual (hat ,ake. a ,ood4 handouts to the teacher and get ready to transition to the ne't class"

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)'NA+ D"#A'+S $) #*" +"SS$N Cla..room ,ana!ement: ,f teaching a small group or whole class, how will you use classroom routines, support appropriate beha!ior, and8or handle beha!ioral issues? =i!e one e'ample" Set u1 cla.. e71ectation. at the be!innin! a. li.ted in the o1enin!.

,aterial.: What are the materials that you will need to organi(e, prepare, and8or try-out before teaching the lesson? &ower&oint What Makes a Mood worksheet &oster &aper Markers )opies of ell ale Eeart

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)ollo-5u1: Eow will you and8or your ) reinforce the learning at a later time so that the students continue to work toward the lessons o!erarching goal :i"e", the MA )urriculum #ramework;? Ftudents will continue learning about the literary elements through more of &oes works and will be able to apply their knowledge of these elements when analy(ing other te'ts"

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&")+"C#'NG $N #*" +"SS$N These questions and rom ts are to be used to guide the ost!lesson evaluation and critique" #eview the $%&' to see if this reflection can be used a iece of evidence" 1. Student learnin! and en!a!ement a" What did the students learn? What e!idence do you ha!e? 0id student learning differ from what you were e'pecting? b" 0escribe how your language ob<ecti!es supported your %nglish -anguage -earners in meeting your instructional ob<ecti!e" 0escribe any changes you would make if you were to teach this lesson again" c" 0escribe the le!els of engagement of three different students" Eow do you account for these !arying le!els of engagement? Why might this ha!e happened? d" Which parts of classroom management were most and8or least effecti!e? Why? ,n what ways did instructional acti!ities help or hinder the classroom management? 8. +e..on modi9ication a" What were some of the ways you modified the lesson while teaching to address the needs of !arious students in the class" &ro!ide specific e'amples" b" ,n hindsight, how might you ha!e impro!ed or modified the lesson during the planning of the lesson" c" What specific suggestions from your super!isor or cooperating teacher were implemented or not? What was the outcome? Were they beneficial? Why or why not? 3. ,i.conce1tion. a" What were some misconceptions students had during the lesson? o what would you attribute the misconceptions? :. Stren!th. and Area. Needin! 'm1ro3ement a" ,n thinking about your lesson as a whole, what were the most effecti!e and least effecti!e parts of the lesson? b" What do you see as your teaching strengths in the lesson? c" What areas of your teaching need impro!ement or modification d" ,f you were to teach this lesson again, what would you do differently?

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