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SBL English Department Scheme of WorkYear 12 World War One LiteratureAims and ObjectivesAS LiteratureYear 12Duration: 5 termsAIM: Students will deepen their understanding of and ability to read for meaning. The emphasis of the course is on the development of an informed, independent reader of literary texts of WW1, through a course of wide and close reading. The centrality of the unprepared (‘unseen’) text is the key test of the student’s ability to synthesise the main knowledge, understanding and skills of the course. Students will be expected to be able to link, connect and compare a wide range of texts, both fiction and non-fiction. Prior LearningStudents may have: Studied WW1 in Yr 9 HistoryEngaged in commemoration servicesCompleted a Creative and Media project on Private PeacefulCompleted the English Year 9 WW1 poetry SOWLanguage for LearningThroughout this unit students will be taught to analyse literature using a range of critical vocabulary. They will be expected to understand how to analyse, evaluate, synthesise and make sophisticated connections. Key terms will include: genre, wide reading, connect, terminology, form, structure, language, context, personal response, critical theory, analysis and interpretation.ResourcesWW1 wide reading resources (fiction and non-fiction)A selection of DVDs and audiotapes (documentaries, authentic footage, film etc)AS Literature HandbookAS Literature Blog (sblwarlit.)Key Assessment Objectives:AO1Articulate creative, informed and relevant responses to literary texts, using appropriate terminology and concepts, and coherent accurate written expression.AO2Demonstrate critical understanding in analysing the ways in which structure, form and language shape meanings in literary texts.AO3Explore connections and comparisons between different literary texts, informed by interpretations of other readers.AO4Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received.Literacy: Students will learn to use critical language. Terminology will be accurate and sophisticated. Accurate SP&G is a pre-requisite for a minimum B grade. Assessment: Q&A, Blooms, diagnostic and end of term assessments (unseen Q1-style questions), formative and summative assessments (coursework, exam practice).Extension and enrichmentOut of lesson time, students should be encouraged to: Record their wide reading on student logs maintained by student and teacherParticipate in trips to IWM, war memorials and WW1 related performanceResearch an aspect of the war that particularly interests them from the 6 prescribed themesContribute to the sblwarlit blog by writing guest postsTeach a poem to a small group of Year 9 G&T studentsExpectationsAfter studying the requirements of this course:All students will: have experienced a range of fiction and non-fiction texts in all three genres. They will begin to read for meaning and understand how authors use form, structure and language to create effects and to manipulate reader response. They will use quotations as evidence for their points in essays using PEEL. They will understand the importance of a well-written introduction and conclusion. Students will draft multiple copies of coursework, and be able to critique their own and each others’ work. Students will have read at least one other novel and a selection of non-fiction as part of their wider reading.Some students will not have made as much progress and will: need to progress beyond writing at GCSE level. Writing will show only straightforward assimilation of knowledge and understanding, and terminology will lack sophistication. Writing may lack the sense of a coherent argument and references to context may still be ‘bolted on’. Wider independent reading will be slower and more sporadic. Motivation may be lacking.Some students will have progressed further and will: show perception and maturity in their writing and arguments; arguments will be thorough and conceptualized; there may be the sense of reading an undergraduate essay. Confidence, sensitivity and maturity will single these students out as being able to read the highest grades. Motivation will be high. Students will read independently and analytically, making connections to the work carried out in class. E-LearningContribute to Yr 12 blogCreate presentations to share with the groupHave access to their own file using googledocs By the end of this course, a student will reach Band ** if work is/contains: 1: rudimentary, inaccurate, assertive, impossible to follow at times, few, irrelevant, limited, inconsistent, basic, lapses, simplistic2: superficial, several lapses, mainly accurate, generalized, obvious, beginning to demonstrate, straightforward, appropriate, better3: relevant, clear, appropriate, effective4 lower: secure, detailed, systematic, well-chosen, structured, organized, confident, cogent, exploration, analysis4 upper: sophisticated, perceptive, analytical, very organized, cogent, mature, coherent, highly appropriate, critical, academic, conceptualisedSBL English Department Scheme of WorkYear 12 World War One LiteratureMedium Term PlanTeacher ATeacher BNotesTerm 1Diagnostic assessmentFeedback and AO1/Literacy targets set for termAims of course Assessment ObjectivesWorking with TextsHistorical/political contextIntroduction to WW1 poetry (from Anthology)Critical (literary) thinking exercises and written tasksAO1: written expressionAO4: Historical contextIntroduction to RegenerationPat Barker biography, interviews, written context Begin Regeneration Study – initial reading, characters, plot Term 1 assessment (Regeneration)Start wider reading logHalf-term homework: Wide Reading projectTerm 2Journey’s End Introduction to Sherriff Contextual background – historical and socialTerm 2 assessment: PoetryRegeneration study – themes, AO1, AO2 Form Structure and Language Coursework titles chosen (creative/transformational or analytical)First draft of coursework completeWR logNOTE: no AO3 necessary for prose study (linking will come in drama/prose comparison)Christmas homework: response to first draft c/w marking for RegenerationTerm 3Journey’s End and linking to Regeneration 2nd coursework draft Thematic studies (non-fiction):Realities of war Stallworthy AnthologyRegeneration study - 2nd coursework draftThematic studies (non-fiction): Politics Role of women and the Home Front Stallworthy AnthologyWR logHalf-term homework: response to 2nd draft c/w marking for Prose and for Drama/Prose comparisonTerm 4 Thematic studies (non-fiction):Physical, mental, spiritual consequences of warStallworthy selectionPreparation for Q2 AnthologyFinal coursework draft by EasterThematic studies (non-fiction): horrors of warAO3 – wide reading AO4 - contextPreparation for Q1Final coursework draft by EasterWR logEaster homework: mock paper (2 hours) Term 5Exam Prep: AnthologyMock papersExam Prep: Context questionMock papersTerm 6Begin A2 course : Love Through the AgesSOW and MTP suppliedSBL English Department Scheme of WorkYear 12 World War One LiteratureShort Term PlansTeacher A: Journey’s End/War Poetry/Unseen extract preparationTERM 1 (18 hours)Topic outlineSuggested teaching and homework activitiesSuggested resources/NotesIntroduction to A Level English Literature and to AS course(2 hours)AIM: introductory activities / class-building / discussion / prior knowledgeIntroduce course and expectations using handbook. Show website on board and ask students to have ‘followed’ the blog by the next lesson. Homework and resources will all be set and situated on the website. Commentary will be mandatory. Give dates for Wide Reading conversationsRights of the Reader – Daniel Pennac. Which of these rights do they think is the most important? Start discussion about reading and the study of literature. Explore different views about reading and the study of literature. Work in groups to sort statements about reading out into a continuum. Report back on the statement they feel most strongly about. Write a short personal statement about their own reading using ppt prompts and teacher-model as an example. How much do students already know? Each student to brainstorm 3 words they associate with WW1 from their reading of My Dear over the summer. Collate on board and see if patterns develop. Challenge what constitutes WW1 Literature: look at the handbook – Wider Reading page. Comment on this list (what characteristics do they note; can they identify any obvious literary gaps?) Why has this event had such an enduring influence on writers, authors and historians? Introduce first homework research task to answer questions about the historical and political context of the warHandbooksblwarlit.PPT 1Card statementTeacher modelWW1 Book boxNotesStress importance of wider reading on this course and take a look at the books in the book box. Students should refer to their WR logs and decide themselves how much to do independentlyCourse Framework(1 hour)AIM: to develop understanding of the framework of the course; to recap on poetic techniquesHand out selection of writings about the war. What are the assumptions of three of the texts? In pairs, choose any one of the texts and answer: ‘If you were an alien and knew nothing about warfare, what would this text lead you to believe about war?’Hear results – which aspects of the language have led them to their conclusions? Show images of WW1. Which aspects of their texts do or do not conoinced with these visual images?Make mind map of everyone with a vested interest in the war. How would their interests affect the language they use about the war?Show ppt of poetic terms to recap. Chosen text: how can a vested interest be identified in the language – quote and explain to the class.Hear results – discuss what they should look at, not only images and adjectives but also structure, sound effects, persuasive language, emotive language. Hand out Reading for Meaning laminated crib-cards and use these to write their response. Write a response: ‘Explain how the language of your extract reveals a set of values about war.’ This will be used as diagnostic assessment 1 and must be finished for homework.Writings about war bookletPPT 2WW1 images (laminated)Reading for Meaning Crib CardsAssessment objectives(1 hour)AIM: to develop understanding of the assessment objectives and to set targets for the term Introduce assessment objectives using coloured strips and ppt. Explain how work will be mark and assessed, especially coursework, using assessment objectives – refer to handbook for Assessment Sheet template. Hand back diagnostic assessment (unmarked photocopies). Set up critique partners, mark each other’s work by making an initial judgement using simplified versions of AOs. This will start to get them used to AO terminology.Hand out marked diagnostic assessments with targetsHand out an AS essay from Florence last year (A grade) to demonstrate top band AO1.SRT (student response time) on assessment sheet AO coloured stripsPPT 3: AOs/critiquePhotocopied assessmentsMarked assessmentsFlorence’s essayIntroduction to coursework(1 hour)AIM: to introduce the framework for the coursework folderPut up ppt with requirements of the coursework folder including the set texts and timeframe. Discuss their experience of coursework/controlled assessment from GCSE. Look again at the Assessment Objectives for A Level with different banding. In pairs, discuss the teaching and requirements of GCSE and A Level c/w and make a list of possible differences and similarities. What do they need to work on most? Refer to Florence’s essay. Go through ppt – how to approach the coursework tasksLook at examples of coursework folder drafts from last year (marked) and discuss. What are students at AS being asked to do independently?PPT 4Examples of coursework drafts from last yearIntroduction to the exam(1 hour)AIM: to explain the requirements of the exam including the Poetry Anthology and the unseen context questionExplain using second half of PPT 4 the importance of the context question, and that everything that is studies (including coursework) leads to the opportunity to demonstrate and use all the knowledge gained from the reading that has been done. Go though PPT to explain how the context question will be set and worded. Link to all 4 AOs and use coloured strips to recap these. Introduce the term ‘typicality’ – how do you decide what is ‘typical’ and ‘not typical’? Group into 4s, then give each group an aspect of writing to consider: mood, language, attitude and context. Mind-map what might be expected to ‘typical’ of writing during the first 4 months of the war. Read extract of Max Arthur’s Last Post and in pairs, answer series of questions that address all 4 AOs. Hear results; then watch WWW1 Myths Uncut and discuss the importance of challenging some of what we read and hear about the war. What really makes something ‘typical’ is how often it reoccurs in literature – theme, message, language, mood, attitude. Need to challenge ourselves to consider why some of the ‘other’ themes and attitudes etc might be atypical. Second half of ppt 4Coloured AO stripsExtract of Max Arthur’s Last PostMyths Uncut on youtubeStarting to explore texts and intertextuality(2 hours)AIM: to work with and talk about texts / to use analytical skills / to make connections with concepts of genre, intertextuality and the literary traditionPool knowledge of sonnet form – true/false statements to categoriseIntroduce Shakespeare’s sonnet 130 In which way does this exemplify or subvert the sonnet form? Give 2 groups the sonnet with the statement: ‘this is a great sonnet’ to one, and ‘this is a terrible sonnet’ to the other (annotate on flip-chart paper), then ask them to share with each other. Ask each group to prepare a set of three questions to challenge the other group. Introduce Owen’s Anthem for Doomed Youth – context, background. How has what they found out about the political and historical background help them to interpret the poem? Into four smaller groups – each one working on one aspect of the poem (language, rhyme scheme, specific context, structure)Note how the sonnet form has been used consciously by Owen to make sense of his experience. Now answer the question: is this a great sonnet or a terrible sonnet?Homework: unseen extract from Observer war diaries. What is the chaplain’s attitude to the ‘conchie’ and what do you learn about the effect of the war in this extract? (Assessment 2)Sonnet statementsSonnet 130Anthem for Doomed YouthObserver magazine extractNotes: Link questions to targets from diagnostic assessment and begin to use AO terminology to identify where they are using them correctlyA historical introduction to trench warfare in WW1(2 hours +)AIM: for students to understand the circumstances of trench warfare and how this was particular to WW1; physical and psychological effects of trench warfare on soldiers in WW1; making connections with the attitudes to war shown in reading so far and to come2 hour masterclass delivered by RPr on historical and political context of trench warfareAfter the masterclass, students discuss in groups the effect that they envisage this had on the writing of the time and brainstorm some of the words/imagery that they might expect to come acrossHow does their reading of My Dear support these expectations? Compare the novel (written in the 21st century) with Owen’s sonnet (written during his stay at Craighlockhart). Discuss, question and challenge attitudes. Read Jean Bernier’s The Sacrifice (finish for homework). What connections and links can you make between the reading you have done in the last 2 weeks? What ‘typicalities’ are beginning to emerge? RPrGive students a copy of Jean Bernier’s short story ‘The Sacrifice’. Notes:Start WR log with this text; students can now log a range of WR so far from two genres – they must identify the genre that is missing so farLanguage and lexis of WW1(2 hours)AIM: to analyse closely the language and lexis of those who wrote about the warRefer back to the extracts we looked at in the first week. Create 4 groups: each group completes a table for these extracts which identifies one of the following: vocabulary, imagery, tone, mood. Recap on latter two if necessary. When finished, each group presents their findings while the other groups complete their tablesDiscuss findings: how does the language change according to the extract? What is the writer trying to do? Who is the reader? Is there a message? Read extract from Paul Fussells ‘the Great War and Modern Memory’, illustrating the change in poetic vocabulary that occurred because of men’s real experiences with the war. Discuss whether this was a good or bad thing.On post-it notes, write down all the words from the extracts that are associated with glory, honour, pride, duty, England. Put them up on the 1914 sheet on the wall. What do they tell us about the beginning of the war? What assumptions can we make about the style and tone of writings about that time? Hand out table of raised/high language vs modern equivalents. Answer written question (finish for hw if necessary): what does this language tell us about the country’s view of battle and warfare prior to 1914? (Assessment 3)Extracts from Week 1Table to complete on A3 sheetExtract from The Great War and Modern MemoryPost-It notesNotes: Add Paul Fussell extract to WR logAnthology poems: Men Who March Away, Peace and The Deadpatriotism/glory(2 hours)AIM: to critically analyse and compare three poems from the Anthology which demonstrate patriotism (AO2/AO3/AO4)Introduce the War Anthology: start with the following quote from Stallworthy’s introduction on the board: ‘The War was greeted in some quarters with a curious gaiety and exhilaration’. Discuss the words ‘gaiety’ and ‘exhilaration’. Add them to the 1914 poster. Short biographical introduction to Thomas Hardy and Rupert Brooke – make notes (or to save time hand out for files, and read for hw)Read The Men Who March Away and go through cricital analysis – questioning and annotating. Explain that this is the level of annotation required but that in subsequent poems they will be expected to follow a similar line of enquiry individually, in pairs or in groups. Tick off each poem in the contents list as we go on. Hand out copies of Peace and The Dead on flip chart paper. Individually, students read the poems, then write down questions in the margin. Share your questions with a partner, then categorise the questions into types by examining what each one has in common (meaning of specific words, questions about context, observations about rhyme or structure). There must be one final question on the overall effect of the poem on the student him/herselfMake sure everyone has had a chance to discuss the poem then start the critical analysis of both poems, using clean copies. Recap by gathering those words on post-its from the poems that link to ‘gaiety’ and ‘exhilaration’. Copies of poems on flip-chart paperClean copies of poems on A4Post-It notesNotes: Make sure students are keeping their poems organized in their filesAnthology poems(2 hours)AIM: to critically analyse two poems from the Anthology which demonstrate patriotism and valourWrite down ‘patriotism’ and ‘nationalism’ on the board. Students discuss the difference. Read extract from Brooke’s ‘Unusual Young Man’. What thoughts and feelings are being expressed? Mind-map all the ways in which patriotism can be shown in the 21st Century. Do you agree with the notion of an ‘England’? Explain where it came from. Why might it have been important at the beginning of the war?Read and annotate ‘The Soldier’. What do we learn about Brooke’s attitude to his country? Is he a patriot or a national? ‘ Now read Asquith’s The Volunteer. How is this different to The Soldier? What is the predominant imagery here and how does it compare to that of Brooke’s?Finish with an extract from Birdsong. What is Sebastian Faulks saying about the meaning of King and Country? Are we beginning to see discrepencies between the beginning of the war and the subsequent months after the end of 1914? Rupert Brooke extract ‘An Unusual Young Man’ Youtube clip of Copies of The Soldier and the VolunteerBirdsong extractTerm recap and assessment(1 or 2 hours)AIM: to reflect on learning at the end of Term 1 and to set targets for Term 2What have we learnt about: Trench warfareThe political contexthow writers used FSL to express their feelings and attitudes about the warthe differences between 1914 and 1915what is neeed for a Band 4 analysisEnd of term assessment 4 (one hour): Unit 1 style unseen extract questionTERM 2: Journey’s EndWide Reading Log conversationTeacher B: Regeneration/War Poetry/Unseen extract analysisTERM 1 (14 sessions)Topic outlineSuggested teaching and homework activitiesSuggested resources/NotesCritical Thinking4/5 hours?AIM: to encourage students to challenge themselves and each other in preparation for independent, personal response during the courseA series of activities in this first session designed to challenge perceptions and attitudes towards war in general. Questioning in pairs, then whole-class, responding to a set of statements about WW1, deliberately controversial to make students debate/argue. Eg: the Centenary is too much money spent on a cause that was fought too long ago – no one cares now, there are other wars still going on. Homework: come up with one question to put to rest of the class which is designed to provoke a reactionSelection of writings (could be about conscientious objectors, deserters, the upper class, the Generals, the Great Lie etc)This topic could be spread over 4 or 5 hour lessonsRegeneration(2 hours)AIM: to introduce Pat Barker and the idea of the ‘dual’ context (writing about the war in a contemporary context)Could use Paul Fussell’s ‘the Great War and Modern Memory’(2 hours)AIM: to read the first chapters of the novel and to familiarize ourselves with the context and charactersTES ppt for context and relationships(2 hours)AIM: To begin to look closely at the structure of the novel: characters and relationships(1 hour)AIM: To explore Barker’s questioning of class structure(1 hour)AIM: To explore and compare the language of the novel(1 hour)AIM: To discuss and analyse the language of two accounts of trench warfare ................
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