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MISD Thematic Units to Teach Michigan’s ELA GLCE’s—Unit 8.1 Appendix RevisedDisposition: Reflective Inquiry—Theme: Familiarity alters perception.1a. Disposition, Theme, and Unit Essential Questions [Lesson 1]1b.Prompt [Lesson 1]2aPeer Editing Questions [Lesson 2]2b.Review of Writing: Publishing Final Copy [Lesson 2]2c.Rubric [Lesson 2]3a.Talking to the Text [Lessons 3, 6, 7, 9, 14, and 15] 3b.Talking to the Text Rubric [Lessons 3, 6, 7, 9, 14, and 15] 3c1-3. Linking text: “Brainy Echidna Proves Looks Aren’t Everything” [Lesson 3]3d1-3.“Brainy Echidna Proves Looks Aren’t Everything” Close and Critical [Lesson 3]3e.Quick Write Procedure [Lesson 3]3f.Vocabulary in Context Strategy [Lessons 3, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16]4a.Strategies That Work [Lesson 4]4b.Procedure for Think Aloud [Lessons 4 and 6]4c1-2.Genre: Realistic Fiction and Student Bookmark [Lesson 4] Character Chart [Lesson 5]6a.Character Interactions [Lesson 6]6b1-3 Focus Question #1, Focus Question Directions, and Rubric [Lessons 6, 8, 10, 11, 12, 16]6c1-4. Alike But Different Procedure and Example [Lesson 6, 7]7a1-3. 2 Column Notes Procedure and Example [Lesson 7] 7b. Focus Question #2 [Lesson 7]7c1-2. Grammar Research and Inquiry Grammar Lesson Plan7c3. Participial Phrases [Lesson 7]7d1-3. Linking text: “Does Familiarity Breed Contempt” [Lesson 7]7e1-3. “Does Familiarity Breed Contempt” Close and Critical [Lesson 7] 7f1-5. Linking Text: “Raymond’s Run” [Lesson 7]7g1-3. “Raymond’s Run” Close and Critical [Lesson 7] 8a1-2. Escalation of a Problem chart and discussion questions [Lesson 8]8b. Focus Question #3 [Lesson 8]9a1-3. “Nothing Gold Can Stay,” Group Summary, and Optional Close and Critical Reading [Lesson 9]10a. Focus Question #4 [Lesson 10]11a1-2. Chapter 7 Readers Theater Script [Lesson 11]11b1-2.Dashes and Colons [Lesson 11]11c.Focus Question #5 [Lesson 11]12a1-5. “The Anthropology of Belonging,” Highlighting Activity, and Jigsaw Activity [Lesson 12]12b1-2.The Infinitive [Lesson 12] 12c.Focus Question #6 [Lesson 12] 13a. The Gerund [Lesson 13]13b.List of Character reasons for fighting [Lesson 13]14-15a.List of Conflicts by Chapter [Lesson 14-15]14-15b1-3Chapter 11 Close and Critical [Lesson 14-15]16a1-2Focus Question #7 and poem interpretation [Lesson 14-15]17-18a. Attacking the Prompt [Lesson 17-18] 17-18b. Focus Question #8 [Lesson 17-18]17-18c.Response to Literature Rubric [Lesson 17-18]19a1-3.Research on Socio-Economic Classes: The Outsiders [Lesson 19]20a1-7.The Outsiders Movie Review, ACT Prompt and Rubrics [Lesson 20]20b. Highlight Activity for Movie Review [Lesson 20]20c1-3. Movie Review Close and Critical Reading [Lesson 20]20d. Music Extension [Lesson 20]Themes and Essential QuestionsDisposition: Reflective InquiryThemeTheme: Familiarity alters perspectiveEssential QuestionsHow do I learn to learn?How do I discover new knowledge?How do I pursue a problem to the solution?How do I apply my learning?How do I see all situations in a bigger context?How do I respond to new situations or individuals different from myself?Appendix #1aDirections:Getting along with others is important in life, but sometimes we don’t like someone or they do not like us because we are different in some way. This is sometimes called prejudice. Prejudice means forming an opinion without looking at the facts carefully—like saying, “He has a tattoo, so he must be a crook.” Or “She got arrested, so she must be guilty.” Or “She doesn’t wear cool clothes, so she must be a loser.” Prejudice is often directed at different races (black and white), different social classes (rich and poor) and/or different religions (Catholic, Protestant, Jewish, Muslim, etc.).Write about the theme: prejudiceDo one of the following: Write about a time, when you or someone you know faced prejudice.ORDiscuss what a person can learn from dealing with prejudice.ORPersuade readers that prejudice is wrong. (Give specific examples).ORWrite about the theme in your own way.You may use examples from real life, from what you read or watch, or from your imagination. Your writing will be read by interested adults. Use the paper provided for notes, freewriting, outlining, clustering, or writing your rough draft. If you need to make a correction, cross out the error and write the correction above or next to it. You should give careful thought to revision (rethinking ideas) and proofreading (correcting spelling, capitalization, and punctuation). Use the rubric and checklist provided to help improve your writing. (Optional: You may use a dictionary, thesaurus, spelling book, and/or grammar book.)Appendix #1bPeer Editing QuestionsIs the central idea or point of the writing clear?Is the central idea or point supported by important and relevant details, examples, and/or anecdotes?Does the writing begin with an interesting and engaging lead, continue with a middle that supports and develops the point, and conclude with an ending that summarizes the point?Is the writing interesting with engaging words and different sentence lengths and types?What do I, as the listener, think is good about the writing?Do I have questions and/or suggestions for the writer?Appendix #2aReview of Writing: Publishing Final CopyDIRECTIONS:Now you will be doing three things: revising your paper (which means to rethink your ides); polishing your paper (which means to edit and proofread); and recopying your paper as neatly as possible. Use the following checklist as you revise and edit the writing that you have done. When you are finished revising, you must make a final copy of your paper. Then, proofread your final copy to make sure that all of your revisions have been made. CHECKLIST FOR REVISION:Do I have a clear central idea that connects to the topic?Do I stay focused on my central idea?Do I support my central ideas with important and relevant details/examples?Do I need to take out details/examples that DO NOT support my central idea?Is my writing organized and complete, with a clear beginning, middle, and end?Do I use a variety of interesting words, phrases, and/or sentences? CHECKLIST FOR EDITINGHave I checked and corrected my spelling to help readers understand my writing? Have I checked and corrected my punctuation and capitalization to help readers understand my writing? CHECKLIST FOR PROOFREADING:Is everything in my final copy just the way I want it? Reread your writing. You should cross out or erase any errors you make. You will have as much time as you need. Appendix #2bRubricWriting from Knowledge and ExperienceCharacteristics654321Content and IdeasThe writing is exceptionally clear and focused. Ideas and content are thoroughly developed with relevant details and examples where appropriate.The writing is clear and focused. Ideas and content are well developed with relevant details and examples where appropriate.The writing is generally clear and focused. Ideas and content are developed with relevant details and examples where appropriate, although there may be some unevenness.The writing is somewhat clear and focused. Ideas and content are developed with limited or partially successful use of examples and details.The writing is only occasionally clear and focused. Ideas and content are underdeveloped.The writing is generally unclear and unfocused. Ideas and content are not developed or anizationThe writer’s control over organization and the connections between ideas move the reader smoothly and naturally through the text.The writer’s control over organization and the connections between ideas effectively move the reader through the text.The response is generally coherent, and its organization is functional.There may be evidence of an organizational structure, but it may be artificial or ineffective.There may be little evidence of organizational structure.There may be no noticeable organizational structure.Style and VoiceThe writer shows a mature command of language including precise word choice that results in a compelling piece of writing.The writer shows a command of language including precise word choice.The writer’s command of language, including word choice, supports meaning.Vocabulary may be basic.Vocabulary may be limited.ConventionsTight control over language use and mastery of writing conventions contribute to the effect of the response.The language is well controlled, and occasional lapses in writing conventions are hardly noticeable.Lapses in writing conventions are not distracting.Incomplete mastery of over writing conventions and language use may interfere with meaning some of the time.Limited control over writing conventions may make the writing difficult to understand.Lack of control over writing conventions may make the writing difficult to understand.Not ratable if: a) off topic b) illegible c) written in language other than English d) blank/refused to respond Appendix #2cTalking To the TextWhat is T4? Tending to tough teenagers? Taking time to tango? Teaching turtles time travel? an acronym, one of those alphabetic abbreviations that can confuse but save timean RA reading strategybased on the process of Thinking Aloudthus, it is a metacognitive conversation that makes thinking visiblean activity through which readers make meaning by considering the words, context, schema, etc. of a passagenot done with the mouth, not done with the eyes, it’s a brain functionasks readers to question, predict, visualize, connect, summarize,and fix upa skill that can start tentatively and grow to increase understanding, becoming as intense as a presidential debateSteps to T4First:Model and practice Think Alouds, with the bookmark in your packet, until students “get” the meaning of question, predict, visualize, connect, summarize, and fix upSecond: Show the models in this packet to your students. Then model T4 with a short piece of your content, from a textbook or an article.Third: Assess student work with the rubric in your packet, on the overhead or Elmo, as a class, then in pairs. Then introduce the Self-Assessment. Four: After three T4s, have students select their best effort and staple it with a self- assessment on top of the others, and turn them in to the teacher.Five:The teacher keeps these in files in a classroom crate. At progress report time they are checked to see if there is improvement.Six:The teacher puts the material on a quiz or test to see if the T4s are enhancing learning. Teacher can give extra credit points for evidence of T4 on tests.Seven: Repeat, adding skills as students are ready for them. Appendix #3aTalking To the Text (T4) RubricTalking to the text, thinking about your thinking, making the invisible visible, metacognitionYou will earn a grade of 1-5 based on how well you critically think about the text and how well you show that thinking.Student: ___________________________Text: ____________________ScoreExplanationHas not completed the assignment and made no attempt at metacognition.Attempts very little talking to the text. Presents little evidence of interacting with the text. Uses one or two strategies, perhaps only summarizing information, or just circling the “big words.”Presents evidence of some interaction with the text, clearly trying to use strategies such as questioning and connecting, Focuses on surface or literal meaning. Struggles to “dig deep.”Presents a reasonable demonstration of thought process. Mature thinking is obvious. Two or more of these are clear: summarizing main ideas, questioning, commenting, connecting, predicting. Interacts with text in a reflective, thoughtful, and insightful way. (Or Presents reflective, thoughtful, insightful interaction with text.) Very clearly and thoroughly demonstrates most or all of the following: synthesizing main ideas, questioning, commenting, connecting (text to me/text/world), predicting and confirming. T4 comments go beyond the text; graphic notes aid in thinking.(Courtesy of Amy Jo Yeokum UCS)Appendix #3bMISD Literature Unit 8.1—Reflective Inquiry—Linking TextTHEME: Familiarity alters perspective. Brainy Echidna Proves Looks Aren’t Everything by Natalie Angier, June 9, 2009Auscape InternationalA MIXED BAG The long-beaked echidna is hard to find but easy to appreciate. If you wanted to push yourself to the outermost chalk line of human endurance, you might consider an ultramarathon, or a solo row across the Atlantic Ocean, or being nominated to the United States Supreme Court. Or you could try studying the long-beaked echidna, one of the oldest, rarest, shyest, silliest-looking yet potentially most illuminating mammals on earth. Muse Opiang was working as a field research officer when he became seized by a passion for the long-beaked echidna, or Zaglossus bartoni, which are found only in the tropical rain forests of New Guinea and a scattering of adjacent islands. He had seen them once or twice in captivity and in photographs — plump, terrier-size creatures abristle with so many competing notes of crane, mole, pig, turtle, tribble, Babar and boot scrubber that if they didn’t exist, nobody would think to Photoshop them. He knew that the mosaic effect was no mere sight gag: as one of just three surviving types of the group of primitive egg-laying mammals called monotremes, the long-beaked echidna is a genuine living link between reptiles and birds on one branch, and more familiar placental mammals like ourselves on the next. Mr. Opiang also knew that, whereas members of the two other monotreme genuses, the duck-billed platypus and short-beaked echidna, had been studied for years — last May, the entire genetic code of the platypus was published to great fanfare — the life of the long-beaked echidna remained obscure and unsung.Appendix #3c1“We knew nothing about it,” he said in a phone interview. “Scientists had written that it was impossible to study,” he said, adding with a laugh, “I took that as a challenge.” In a recent issue of The Journal of Mammalogy, Mr. Opiang offers the first glimpse of the natural history and ecology of an immaculately private nocturnalist with a surprisingly well-endowed brain. And while Mr. Opiang’s report shows that the doubters were technically wrong, the grueling details of his field methods suggest that as a workaday rule, “impossible to study” still suits Zaglossus quite well. “Muse has amazing perseverance,” said Debra Wright, who was Mr. Opiang’s honors thesis adviser. “I don’t think that anyone else on earth could have done what he did.”The research and Mr. Opiang’s training were initially supported by the Wildlife Conservation Society of the Bronx Zoo, but Mr. Opiang, who pronounces his first name Moo-say and is now working on his doctorate through the University of Tasmania, has since cofounded his own organization, the Papua New Guinea Institute of Biological Research.Reproductively, monotremes are like a VCR-DVD unit, an embodiment of a technology in transition. They lay leathery eggs, as reptiles do, but then feed the so-called puggles that hatch with milk — though drizzled out of glands in the chest rather than expressed through nippled teats, and sometimes so enriched with iron that it looks pink. Monotreme sex determination also holds its allure. In most mammals, a single set of XX chromosomes signifies a girl, a set of XY specifies a boy. For reasons that remain mysterious, monotremes have multiple sets of sex chromosomes, four or more parading pairs of XXs and XYs, or something else altogether: a few of those extra sex chromosomes look suspiciously birdlike. Another avianlike feature is the cloaca, the single orifice through which an echidna or platypus voids waste, has sex and lays eggs, and by which the group gets its name. However they conduct their affairs, monotremes do it remarkably well. Not only are they the oldest surviving mammalian group, but individual monotremes can live 50 years or longer. Peggy Rismiller of the University of Adelaide has studied the short-beaked echidna, or spiny anteater, since 1988. “One of the females we’ve been radiotracking since 1988 is at least 45, and she’s still reproducing,” Dr. Rismiller said.Dr. Rismiller also pointed out that short-beaked echidnas are Australia’s most widely distributed mammals, adapting to life in the desert, along on the coast, in the rain forest, up above the snowline, all the while feeding on any invertebrates they can disinter. Even in summer they maintain their internal body temperature at a temperate 88 degrees Fahrenheit, and on a winter night they may lapse into a torpor, their core body thermostat dropping down as low as 40 degrees — a cryogenic skill of interest to surgeons and space enthusiasts alike. Echidnas keep their cool, all right. “They’re one of the most pacifistic mammals,” Dr. Rismiller said. “Nobody bothers them; they don’t bother anybody. There’s a lot we could learn from them.” And in that level head sits a mighty brain. Among humans, the neocortex that allows us to reason and remember accounts for 30 percent of the brain; in echidnas, that figure is 50 percent. Appendix #3c2If only they could stand to teach us. Short-beaked echidnas put up with people, however grudgingly, but as Mr. Opiang learned, the long-beaks of New Guinea shun all signs of human habitation, perhaps because, being twice the size of short-beaked echidnas, they are prized as bushmeat by local hunters and their dogs. “They’re not attracted to baits,” he said. “You can’t catch them with traps for tagging.” To reach them, you must hike for miles into the highlands, on treacherously steep and slippery terrain where it rains 275 inches a year. “It’s one of the wettest places on earth,” Dr. Wright said. That rain also wipes away signs of echidna foraging and denning. It took Mr. Opiang months of searching before he found his first echidna. Then he discovered that if he followed trails of freshly dug nose pokes at night — the holes that echidnas made with their beaks as they foraged for earthworms — he could find a den where a sated echidna would be hiding. He learned to grab them under the stomach, where there were no spines. “If you hold them against yourself, they’re friendly and they won’t struggle,” he said. Over five years he managed to capture, measure and, in most cases, attach radio transmitters to 22 individuals. Among his intriguing early findings: unlike most mammals, the females are bigger than the males, and the toothless, hairless tubular beaks through which they aim their ribbony tongues are longer, too. Once again, the long-beaked echidna pokes fun at all the rules.Home Copyright 2009 The New York Times CompanyFrom #3c38.1 Close and Critical Reading—“Brainy Echidna proves Looks Aren’t Everything”—StudentDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.What does the text say? (Briefly summarize the excerpt from “Brainy Echidna Proves Looks Aren’t Everything” at the literal level.) How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?) What does the text mean? (What message/theme/concept is the author trying to get across?) So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or to the lives of others?) Appendix #3d18.1 Close and Critical Reading—“Brainy Echidna proves Looks Aren’t Everything”—StudentDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.“Brainy Echidna proves Looks Aren’t Everything” by Natalie Angier—June 9th, 2009 What does the text say? (Briefly summarize the excerpt from “Brainy Echidna proves Looks Aren’t Everything” at the literal level.) The article states that the monotreme long-beaked echidna could teach us a great deal despite its outward apprearance. It states that Muse Opiang, a field research officer, was passionate about studying the echidna after seeing them in captivity once or twice. He felt that they were a “link” between egg-laying mammals and humans. Opiang wrote a report for the Journal of Mammalogy that helped familiarize people with the previously unknown echidna. The article discusses how his research showed the animal to be an example of the transition from laying eggs to reproducing through live birth. It also states that the animal is similar to humans in that they nurture their “puggles” with milk. The echidna is similar to birds for several reasons as well. Monotremes have proven that they can stand the test of time, as they are the oldest surviving mammalian group. Individual monotremes can live up to 50 years. In addition, short-beaked echidnas can adaptable to varied environments such as the desert, the coast, rain forest--feeding on whatever they can find. Echidnas are an animal that doesn’t fight with others. Nothing bothers the animal and it doesn’t bother anyone else. Echidnas use 50% of their neocortex (the portion of the brain that reasons and remembers) while humans use only 30% of their neocortex. It took months of research before Opiang figured out how to track the animal. After five years, he captured, tagged, and attached radio transmitters to almost all of 22 echidnas. He found them to be friendly if he held them close to his body. Because he persisted in his almost-impossible research, we now know far more about the echidna. How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?) The genre is an informational article. The article includes pictures of the long beaked echidna to provide the reader with a visual image. The article points out various traits of the animal while also discussing the animal’s potential. For example, “It is one of the oldest, rarest, shyest, silliest-looking yet potentially most illuminating mammals on earth.” The author also spends time describing Muse Opiang and his determination and focus on the animal. It mentions how he went from training that was funded by the Wildlife Conservation Society of the Bronx Zoo to working on his doctorate and co-founding an organization. His honors thesis adviser said that “Muse has amazing perseverance. I don’t think that anyone else on earth could have done what he did.” The author underlines the titles of journals: “Journal of Mammalogy.” The author also uses direct quotations from specialists to validate the story and the sources: “‘One of the females we’ve been radiotracking since 1988 is at least 45, and she’s still reproducing,’ ” Dr. Rismiller said. The author also uses an effective simile to convey the uniqueness of this mammal: “Reproductively, monotremes are like a VCR-DVD unit, an embodiment of a technology in transition.” The author’s title is catchy and emphasized by the photography directly beneath: “Brainy Echidna Proves Looks Aren’t Everything.” The article proves that the most amazing traits of the Echidna are not related to its looks at all. The article uses scientific language, but language that is known to the lay person: “In most mammals, a single set of XX chromosomes signifies a girl, a set of XY specifies a boy. The tone of the article is instructional, but the mood is one of wonder: “Among humans, the neocortex that allows us to reason and remember accounts for 30 percent of the brain; in echidnas, that figure is 50 percent.” The author uses several types of organizational formats throughout the article. For example, she uses description: “Among his intriguing early findings: Appendix #3d2unlike most mammals, the females are bigger than the males, and the toothless, hairless tubular beaks through which they airm their ribbony tongues are longer, too.” The author also uses compare and contrast. She compares and contrasts the echidna to birds, reptiles, and long-beak and short-beak echidnas. For example, “They lay leathery eggs, as reptiles do, but then feed the so-called puggles that hatch with milk – though drizzled out of glands in the chest rather than expressed through nippled teats, and sometimes so enriched with iron that it looks pink.”What does the text mean? (What message/theme/concept is the author trying to get across?) Familiarity alters perception. So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or to the lives of others?) Answers will vary but could resemble the following:This article reminds me of the old saying not to judge a book by its cover. Often times, the better you get to know a person or subject, the more positive your perspective on them becomes. As a teacher, there were subjects that I hated as a student. I can remember my ninth grade teacher giving us “The Bells” by Edgar Allan Poe to read. I HATED it! I thought it was the most uncreative, dumb piece of literature I had ever read. As a teacher, I saw that it was in my textbook and I was instantly trying to figure out how to avoid teaching it. Initially, I studied the author before subjecting myself to the poem again. When I finally started to analyze the poem, I was struck by multiple aspects of it. I realized it was a poem that should be heard, not read silently, and I liked it much more. I also noticed parallels between Poe’s life and the poem- which made me appreciate both the poem and the author. After years of teaching it, I have noticed something new about it each year and I now consider it one of my favorite poems. Some people are filled with prickles/spikes but have a soft underbelly. I have a friend that scares other people. She sends out emotional needles before anybody can get to know her. Her hair is pulled back starkly; not a single strand falls upon her face. Her body is stiff and her face is stern. Seldom does she smile. However, she is one of the most beautiful women I know. Some of her stern manner can be explained by the fact that she has a disease that causes constant pain in her joints. Few people know that she hurts every day. She does not want pity, but in her effort to hide this fact she can often be abrupt or curt. Some of her needles can be explained by her childhood of pain. People are always surprised that we are friends. They see me as laughing and having fun. They don’t see her beauty and it is their loss. I am in constant awe of the beauty of her soul.Appendix #3d3 Quick Write ProcedureWhat is it?Quick writes are most often used to develop fluency. In quick writes, students write rapidly and without stopping in response to literature and for other types of impromptu writing. Quick writes, provide students with a means of quickly representing their thinking. Rather than being concerned with correct spelling, punctuation, and word usage, the student is more interested in simply responding to the prompt in a personal way. Students reflect on what they know about a topic, ramble on paper, generate words and ideas, and make connections among the ideas. Young children often do quick writes in which they draw pictures and add labels. Some students do a mixture of writing and drawing.Students do quick writes for a variety of purposes:Learning logs:Immediately following a particular lesson, engaging activity, or discussion, pause and allow students to reflect in their learning logs or journals. Share responses.Constructed response to literature:--to activate prior knowledge--to reflect on a theme of a story and how it relates to them personally--to describe a favorite characterReflections on new learning:--students write an explanation of what something means --to define or explain a word on the word wallHow to do a quick writeThe teacher selects a purpose for the students. This prompt should be tied to a content area and elicit a personal response from the student.After listening to the prompt, the student is instructed to write a response by jotting down whatever comes to mind. The time limit should be no longer than 5-10 minutes in length. When students are first doing quick writes, start with 2 minutes of writing and increase the time gradually. Students write until instructed to stop. They are allowed to only finish their thought when “time” is called.Quick writes may be used several times in a day. They may provide a “nugget” for a more extended piece of writing.When it is time to share, students read their writing to a small group of four or five students. Volunteers could also share with the whole group.Appendix #3eVocabulary in Context StrategyLearning vocabulary in context is much more powerful and effective. Students understand the words better, will remember them, and will more often recognize the word and its meaning when next encountered. This is a simple vocabulary strategy that only involves dictionary work as a last resort.Procedures:Assign or let students choose partners.Display the vocabulary words with page numbers.Tell students in partners to: find each listed word, read the sentences (context) around the word, then try to figure out what the word means, check their definitions with the dictionary (if necessary), jot down their “working definition” in their own words, and also write down why this word is important to the selection.Encourage students to begin to keep a personal dictionary of new words that they might use in conversation and in writing.Appendix #3fStrategies that WorkStrategies That Work by Stephanie Harvey and Ann Goudvisasking questionsvisualizingdetermining importancesynthesizinginferringmaking connectionsrepairing comprehensionAsking questions means stopping while reading to ask questions like, ‘What is the author’s purpose or theme for this selection?’ or ‘Why did the author include that information or that event?’ Visualizing means to make pictures in your mind about what’s going on in the selection so you can understand the selection better. Determining importance is asking what is most important in a selection as opposed to the details. Synthesizing means combining new ideas from what I have read with what I already know to learn something that will help me understand a selection or my own life better. Inferring means ‘reading between the lines’ or filling in ideas and meaning that the author leaves out. It is using what you know to figure out what the author does not come right out and tell you. Making connections means putting things together from what I know, other stories I have read and/or what I have experienced and know about the world, to help me understand what I read betterRepairing comprehension means to use strategies to make sense when comprehension is interrupted. You might say something like the following: ‘As good/expert readers read, they monitor their comprehension; they repair their comprehension when it breaks down. Being aware of this monitoring/repairing and knowing and using strategies, helps readers to better understand and remember what they read. Expert readers use some or all of the following strategies when reading is not making sense:slow down—adjust reading rate,stop and think—make connections to own knowledge and experience, to related text(s) and/or to the larger world,reread—try to find the thread of meaning,continue reading—look for cues and/or use context clues,retell or summarize—think through or briefly write what has been discovered so far in reading,reflect in writing—make comments about what reader feels about what he/she has learned so far,visualize—see in one’s mind what is happening or described in the text,ask questions of the author—then predict answers and read to confirm,use text patterns or text resources, and/orconsult another student or the teacher.Appendix #4aProcedure for Think AloudMaking Thinking PublicThe Literacy Dictionary (Harris and Hodges, 1995, IRA) defines a think aloud as “1. oral verbalization, 2. in literacy instruction - a metacognitive technique or strategy in which the teacher verbalizes aloud while reading a selection orally, thus modeling the process of comprehension (Davey, 1983).”Put another way, a think aloud is making thinking public. A teacher models what an expert would be thinking as s/he were reading, visualizing, listening; or preparing to write, speak or visually represent. The goal of thinking aloud is to graphically show students what they might do to understand what they are reading, viewing or listening to, as well as, plan for writing or speaking.Following is an example of a think aloud for figuring out the meaning of an unfamiliar word in context:“It’s important while we read to be able to figure out the meaning of an unfamiliar word. When I come to a word I don’t know the meaning of, I read the words and sentences around that word to try to figure out what the word might mean.The other day I was reading this great mystery, The Westing Game by Ellen Raskin. I read the following paragraph with lots of challenging words:‘Sam Westing was not murdered, but one of his heirs was guilty – guilty of some offense against a relentless man. And that heir was in danger. From his grave Westing would stalk his enemy and through his heirs he would wreak his revenge.’It was a paragraph about Sam Westing who had just died and left a challenge behind to find his killer(s). I knew most of the words. I knew ‘relentless’ meant that Sam Westing never gave up until he got what he wanted. I knew that ‘stalk his enemy’ meant that even after death, Sam Westing would somehow go after and find his enemy. But I wasn’t sure what ‘wreak his revenge’ meant. I knew that revenge meant Sam Westing would get even with his enemy, so I figured that “wreak” must be a stronger way to say, ‘get his revenge.’I’ve heard the word ‘wreak’ before, and now I’ll keep it in my mind and may be able to use it in writing sometime. I will know it when I see it in print”.Appendix #4bGenre: Realistic FictionRealistic fiction is not a true story but it has to be believable or to seem possible. Realistic FictionDefinition:A story that attempts to portray characters and events as they actually are (from Harris, et al. The Literacy Dictionary, IRA, 1995)Realistic fiction includes “…stories that could happen in the real world, in a time and setting that is possible, with characters that are true to life.” (Kathleen Buss and Lee Karnowski. Reading and Writing Literary Genres, IRA, 2000)Purpose:To entertainTo involve the reader in the lives of people who seem to be real and are in real life situationsForm and Features:The beginning introduces characters in a setting, conflict, problem or goal.The middle of realistic fiction develops the plot including the story’s events, the characters reactions to these events, and the roadblocks the characters encounter. Realistic fiction ends with a resolution to the conflict or problem or a conclusion.Plot: The main character’s problem makes up the plot and is the source of the conflict.Conflict, the tension that exists between the forces in the character’s life, is important in realistic fiction and can be in four forms:- Person – against – self- Person – against – person- Person – against – nature- Person – against – societyCharacters in realistic fiction are fictional, but they behave in realistic ways.The story takes place in the present time in a recognizable place.Places, events and characters are often vividly described.The character’s words or dialogue show their personalities.Appendix #4c1Realistic Fiction BookmarkRealistic Fiction BookmarkRealistic Fiction BookmarkNot a true story but must seem like it could happenNot a true story but must seem like it could happenNot a true story but must seem like it could happenName: Name: Name:Title:Title:Title:List the page number and a brief reminder of the genre characteristics you find as you read.List the page number and a brief reminder of the genre characteristics you find as you read.List the page number and a brief reminder of the genre characteristics you find as you read.Includes events that could actually happenIncludes events that could actually happenIncludes events that could actually happenp.p.p.p.p.p.p.p.p.p.p.p.Set in the present timeSet in the present timeSet in the present timep.p.p.p.p.p.p.p.p.Characters, places and events are vividly described.Characters, places and events are vividly described.Characters, places and events are vividly described.p.p.p.p.p.p.p.p.p.p.p.p.Copyright 2005, MacombISD All Rights Reserved.Copyright 2005, MacombISD All Rights Reserved.Copyright 2005, MacombISD All Rights Reserved.Appendix #9bAppendix #4c2Name ____________________________________Hour ________ Date ________________________CHAPTER 1: CHARACTERIZATIONThe opening chapter of this novel introduces the reader to many of the important characters. Fill in the following chart based upon information found in this chapter. Add to this chart as you continue to read.PHYSICAL DESCRIPTIONPERSONALITY TRAITSPonyboySodapopDarryTwo-Bit MathewsDally WinstonJohnny CadeAnswer the following questions:1. What is the setting for the story in Chapter 1?2. What is the conflict in Chapter 1?Appendix #5Character Interactionsp. 21: “That’s the greaser that jockeys for the Slash J sometimes,” she (Marcia) said, as if we couldn’t hear her.p. 21: I had heard the same tone a million times: “Greaser…greaser…greaser.” Oh yeah, I had heard that tone before too many times. (Ponyboy)p. 21: I’d seen her before; she was a cheerleader at our school. I’d always thought she was stuck-up. (Ponyboy)p. 21: I wouldn’t have felt so embarrassed if they had been greasy girls…But those two girls weren’t our kind. (Ponyboy)p. 22: I was half-scared of her. I’m half-scared of all nice girls, especially Socs. (Ponyboy)p. 23: (Cherry to Ponyboy) “What’s a nice, smart kid like you running around with trash like that for?” (assumes the worst of a group)p. 23: I felt myself stiffen. “I’m a grease, same as Dally.” (Ponyboy)p. 23: “Dropout” made me think of some poor dumb-looking hoodlum wandering the streets breaking out street lights…” (Ponyboy)p. 24: (After Cherry throws her Coke in Dally’s face) “Fiery, huh? Well, that’s the way I like ‘em.” He started to put his arm around her… (Dally)p. 25: We had picked up two girls, and classy ones at that. Not any greasy broads for us, but real Socs. (Ponyboy)p. 26: It’s a pack. A snarling, distrustful, bickering pack like the Socs in their social clubs or the street gangs in New York or the wolves in the timber. (Ponyboy)p. 28: Incidentally, we don’t mind being called a greaser by another greaser. It’s kind of playful then. (Ponyboy, Johnny, and Two-bit)p. 30: Quite a few kids turned to look at us – you didn’t see a kid greaser and a Soc cheerleader together often. (Ponyboy)p. 34: “All Socs aren’t like that,” she said. “You have to believe me, Ponyboy. Not all of us are like that.” (Cherry to Ponyboy regarding the violent attack on Johnny)Appendix #6aFocus Question #1 What is Ponyboy’s perception of how the Socs live? Do you think he believes a Soc can have it rough?Answer Plan:Begin by explaining how Ponyboy views the Socs.Explain why you think Ponyboy feels this way.Conclude by describing how you think knowing Cherry will change (or not change) Ponyboy’s ideas about the Socs.Possible Answer:(1) Ponyboy sees the Socs as different from himself and his friends. He feels that they are the “West-side rich kids,” the “jet set” (p. 2). They “throw beer blasts for kicks” (p. 3) and “get editorials in the paper for being…an asset to society…” (p. 3). Ponyboy has this perspective although he has never been personally familiar with a Soc. He thought Cherry’s “idea of a good time was…high class, and…expensive” (p. 27). Ponyboy thinks Socs have “good grades, good cars, good girls, madras and Mustangs and Corvairs and that if [he] had worries like that [he’d] consider [himself] lucky” (p. 36). (2) Ponyboy probably does not believe Cherry at this point. He has no personal relationship with any of the Socs until he meets Cherry. When Cherry realizes his perception of Socs has been strongly influenced by the attack on Johnny, she tries to tell Ponyboy that “all Socs aren’t like that.” (3) Knowing Cherry probably gives him a very different perspective of Socs; he begins to see they are not all bad and rough.Appendix #6b1Focus Question DirectionsStudents need to be explicitly taught to answer response to literature (open-ended, constructed response) questions. Explicit teaching involves modeling (To: showing), practice (With: guiding), and independence (By: independence). The following are suggestions for moving students from guided practice to independence:Teacher uses Answer Plan and Possible Answer to model answering Focus Questions. (for 1 or 2 Focus Questions on the basis of student understanding)Students work with partners using the Answer Plan, write a shared answer then consult the Possible Answer and revise answer to Focus Question. (for 4+ Focus Questions)Students work with partners building an Answer Plan, write a shared answer, consult the Possible Answer and revise. (for 2+ Focus Questions)Students work individually to build Answer Plan and answer question. (Option: Students could consult the Answer Plan and the Possible Answer to score their own or other’s papers.)Have students answer Focus Questions in discussion form. After students have had a brief discussion, have them individually answer Focus Questions using the Answer Plan.Appendix #6b2Macomb ELA Genre Units: Focus Question Rubric3 (complete)2 (partial)1 (minimal)Traits:ContentAnswers the question.Uses relevant details from text to support the answer.Stays on topic.Develops a relevant answer with many details and examples.Develops a relevant answer but has few details to support or explain the answer.Answers the question with misinterpretation. Develops little or no relevance to the text or the question. Does not develop or connect ideas and anization Restates the question (beginning).Provides details in support (middle).Concludes (end).Restates the question in his/her own words. Provides details that support points. Writes a response in a logical sequence that makes connections. Restates the question in the answer. Retells events in a somewhat disconnected structure.Answers either “yes,” “no,” or “I agree” without reference to the question. Writes a response that lacks sequence.Style/Voice Uses quotes to support.Concludes with prediction of characters’ feelings, opinions, etc.Uses precise words.Uses quotations effectively. Develops a conclusion that engages the reader.Uses a basic vocabulary.May use quotations, but reference is unclear.Develops a partially successful conclusion.Uses a limited vocabulary.Does not use quotations.Develops a conclusion that is ineffective or does not exist.Conventions/Presentation Writes neatly.Uses proper conventionsPresentation makes the writing inviting. Shows control over conventions. Writing is readable.Includes errors in conventions that do not distract from meaning.Writing may not be legible.Includes errors in conventions that distract from meaning.Appendix #6b3 ?Macomb Intermediate School District 2009 ALIKE BUT DIFFERENTWord Study can be done at any time during ___individual___pairs___small group___whole classcontent classes but is best done at the point of ___warm-up___before___during___afterneed. Word Study is the intentional examination of specialized words within the context of authentic reading in content classes. If students engage in Word Study daily, their vocabulary will increase, providing support for reading and writing. If students are given strategies for understanding new word meanings when they encounter challenging vocabulary, their content literacy improves. Students can encounter anywhere from 8 to 15 new vocabulary words each day. Although not every word is necessary to create understanding or for communicating understanding in writing, knowledge of at least one is critical. This graphic organizer helps students identify and examine critical vocabulary that are alike, but different. Teachers identify vocabulary words from the text that have some basis for comparison and/or some kind of relationship. MATERIALSTextHighlighters or post-itsVocabulary from textAlike but Different FormSTEP BY STEPStudents are given text to follow along as the teacher thinks aloud, emphasizing key vocabulary critical to understanding the text. The teacher models her thinking relative to facts about the vocabulary and meaningful connections to students’ lives. At this time, students can make notes in the margins of the text. Students list each identified vocabulary word that has a relationship in a separate box. Students write each vocabulary word in a separate box at the top of the Alike but Different form. Appendix #6c1Students generate a list of facts modeled by the teacher or from their prior knowledge to identify common characteristics. Once they have exhausted this list they are ready to begin the next step.Students reflect upon the individual characteristics that make each word unique from the other. Students list information that is unique to each word even though they are similar.Students meet in a metacognitive group to share what they identified as similar and unique facts about the identified vocabulary. Students work together to facilitate a common understanding of what facts connect and separate the identified vocabulary.Students generate a list of strategies illustrating how they will remember the information generated. This is a good time for teachers to model how to make connections or associations to information they already have in their memory. Also, teachers may choose to model how to use a mnemonic device to help students remember the content generated. Allen, J. 2004. Tools for Teaching Content Literacy. Portland, ME: Stenhouse.Appendix #6c2 ALIKE BUT DIFFERENTWhat We Have In CommonWHAT MAKES US UNIQUEHow I Will RememberAppendix #6c3ALIKE BUT DIFFERENT prejudice stereotyping intolerence What We Have In CommonAll have to do with dividing.All can lead to conflict.All have negative connotations.WHAT MAKES US UNIQUE Intolerance shows a lack of openmindedness and acceptance.Prejudice deals more with dislike and hostilityStereotyping can be less negative. It is identifying something as typical.How I Will RememberBy reviewing and studying this work sheet.By understanding how these themes play a role in our novel.By sharing with three peers and examining thoughts.Appendix #6c4 TWO COLUMN NOTEMetacognitive “Thinking about Thinking” StrategyTEACHERS CAN HELP STUDENTS MAKE CONNECTIONS AS THEY READWhat are Two Column Notes?A Two Column Note is an “access tool” that students can use to hold their thinking. Like sticky notes or highlighting text, access tools help students slow down as they read and begin to track their thinking.The benefit for students who engage thisstrategy is that they make meaningful connectionsthat can deepen their understanding of the text.Ask students to divide a piece of notebook paper in half. The fold should be lengthwise, or “like a hotdog bun.”2. In the left-hand column students copy directly from the text. They might write quotes or individual words. Students can also write a summary of what they have read. The writing on the left-hand siderepresents literal information from the text. 3. In the right-hand column, students share their thinking aboutthe word, sentence or summary that they wrote on the left-hand side. The writing on the right-hand side represents inferential and critical thinking. 4. Teachers choose how students will structure their thinking, based on what they ask for in the right-hand column (i.e., questions, connections, visualizing information).Use the reproducible Two Column Note provided with your students. TWO COLUMN NOTETwo Column NotesQuote, description from a Record of the strategy being taughtsection of textFor example:I’m wondering…This reminds me of…I’m confused and this is how I got unstuck…The most important part is…I’m picturing…I’m inferring…Remember: Don’t ask students to respond to one quote in seven different ways. The prompts in the right column are options that the reader or teacher can choose.Tovani, C. (2004). Do I really have to teach reading? Portland, ME: Stenhouse Publisher.Double-Entry FormAppendix #7a1 TWO COLUMN NOTE Text:The Outsiders (Socs) Date: EVIDENCE INTERPRETATIONWhat I read in the TextI wonder…/I made a connection…/ I thought…Schoenbach, R. (1999). Reading for understanding; A guide to improving reading in the middle and high school classrooms. SanFrancisco, CA: Jossey-Bass.Appendix #7a2 TWO COLUMN NOTE Text:The Outsiders (Greasers) Date: EVIDENCE INTERPRETATIONWhat I read in the TextI wonder…, I made a connection…I thought…Appendix #7a3Focus Question #2Cherry thinks things are “rough all over.” Ponyboy doesn’t think that Socs can have it rough. Give examples and compare the ways Socs and greasers feel they have it rough. (Look at p. 38 and p. 43.)Answer Plan:Divide your paper into two columns, labeled “greasers” and “Socs.”Under each column heading, list the things that make it “rough” for each pare how each group has it “rough” and describe the differences and similarities.Decide which group you think has it the “roughest” and explain why.Possible Answer:GreasersSocsThey get the “rough breaks.”Johnny’s parents abuse him.Two-bit’s dad ran out on them.Steve hates his father and acts out violently.Sodapop dropped out of school to keep Ponyboy there.Darry takes on too much family responsibility to keep the brothers together after their parents are killed.They are too cool; they don’t feel.They talk without meaning.They are always going, but without a purpose.They have too many things/possessions; they have nothing left to want or strive for (though their longing causes frustration).They have no connection to the positive feelings of life.Each group claims to have it rough because of how they view life. Socs describe themselves as too cool to feel emotions, which leads them to seek wild, sometimes violent thrills. Greasers say they are too emotional. They are angry with their situations and sometimes act out violently.Both Socs and Greasers share in common poor family lives. All the greasers either have no parents (Ponyboy and his brothers) or they have ineffective parents (Steve’s, Two-bit’s dad, both of Johnny’s parents). The Socs’ parents care in the wrong way-- they give their children material things in place of an emotional bond. Although both groups seem to be victims of circumstances, the Greasers probably have a better reason to be angry or feel helpless. Most of them are trapped in their family situations with no easy way out to make it better.Appendix #7bNotes on Grammar InstructionWriting Next: What does not work… (Graham, Steve, and Dolores Perin. Writing Next: Effective Strategies to Improve Writing of Adolescents in Middle and High Schools. A Report to Carnegie Corporation of New York. New York: Carnegie Corporation. 2007.)“Grammar instruction in the studies reviewed involved the explicit and systematic teaching of the parts of speech and the structure of sentences. The meta-analysis found an effect for this type of instruction for students across a full range of ability, but surprisingly, this effect was negative….Such findings raise serious questions about some educators’ enthusiasm for traditional grammar instruction as a focus of writing instruction for adolescents (p. 21).” Writing Next: What does work…“. . . a recent study (Fearn and Farnam 2005) found that teaching students to focus on function and practical application of grammar within the context of writing (versus teaching grammar as an independent activity) produced strong and positive effects on students’ writing. Overall, the findings on grammar instruction suggest that, although teaching grammar is important, alternative procedures, such as sentence combining, are more effective than traditional approaches for improving the quality of students’ writing (p. 21).” Jeff Anderson, Inquiry Grammar: instruction became an editing process. Just as writing process brought joy and clarity to my students’ writing, I knew an editing process had begun. All I had to see was all the good writing we shared in literature ripple through their words. When students encountered more and more beautiful text, this joy, this beauty ended up in their writing. And I knew. My students were writing under the influence—of literature, of powerful, effective, beautiful writing. Editing instruction starts with students observing how powerful texts work. What are the writers doing? What can we learn from their effectiveness-and, more often than not, their correctness? This way of editing is inquiry based, open-ended, and bound by meaning. Basic Inquiry Questions:What do you notice?What else?How does it sound when we read it?What would change if we removed this or that?Which do you prefer? Why?After studying brain research and learning theory, here are some basic tenets that build effective instruction. (Caine et. Al. 2004, Vygotsky 1986, Piaget and Inhelder 2000, Johnston 2004) Pay attention to the affective dimension of learning.Provide opportunities for social interaction.Post, examine, and celebrate powerful models and visuals.Focus on patterns that connect rather than rules that correct.Start instruction by examining sentences (chunks of meaning).But how do we find true sentences, sentences worthy of such focus? Read attentively, looking for sentences that address patterns or concepts you want students to walk away with. Choose literature that:connects to students’ worlds—their interests, humor or problems.shows a clear pattern that is easy to observe, imitate, or break down.models writers’ craft and effective writing – powerful verbs, sensory detail or voice.you feel passionate about and enjoy, your enthusiasm is contagious.Appendix #7c1An Inquiry Grammar Lesson PlanFind a short piece of mentor text that illustrates the concept you wish to teach. A phrase, a sentence, a paragraph will do.Have students discuss what they notice about the mentor text—e.g., “There sure are a lot of clauses in this sentence.” NOTICING-CALKINSSee if they can give the observed phenomenon a name. If not, supply it. This is your teachable moment. NAMING-CALKINSAsk the question, “What does this structure do for the piece?” Makes it clearer, more interesting etc. CREATING THEORIES- CALKINSWith the teacher, look at several other examples from the text at hand.Have the students find their own example from the text.Have the students write their own original phrase, sentence, paragraph utilizing the structure from the lesson.Make sure the student writes a sentence phrase or paragraph from the text into their writer’s notebook. Also have them put their original demonstration of the structure in their writer’s notebook.Appendix #7c2Participial PhraseThe participial phrase includes the participle and the object of the participle or any words modified by or related to the participle.[In the following examples, the participle is bold and the participial phrase is underlined.]The car sliding out of control toward building will likely hit the window.SLIDING modifies the CAR. The verb is WILL HIT.Cameron spotted his brother throwing rocks at the passing cars.THROWING is not the main verb in this sentence. The phrase “throwing rocks” functions as an adjective to describe the brother. Without an auxiliary verb, it cannot function as a verb. SPOTTED is the verb for the subject CARMEN. The astronaut chosen to ride the space shuttle to Mars is afraid of heights.“chosen to ride the space shuttle” modifies astronaut.Running down the street, Alicia tripped and fell.RUNNING certainly indicates something the subject is doing, but the verbs for the subject are TRIPPED and FELL. Penned in by other runners, Steve was unable to make a break for the finish line.STEVE is the subject. WAS is the verb. PENNED describes STEVE.Mark returned the damaged package to the manufacturer.Follow the steps to find the participle. What is the subject? MARK. What is the verb (i.e. what did Mark do?) RETURNED. And DAMAGED describes PACKAGE.Alex fell down the broken staircase.BROKEN describes STAIRCASE.C:\users\owner\desktop\phrases,participial.mht Appendix #7c3?Does Familiarity Breed Contempt?Management Tips by Burleson ConsultingFamiliarity breeds contempt.? This is a familiar dictum to many managers, who have had this concept drilled into them since their earliest days of MBA school and management training.? I've heard it from family members, teachers, and employers, and there are plenty of horror stories about bad managers who lost control of their authority by becoming too familiar with their underlings.?We need look no further than the popular TV show "The Office" to see that too much personal fraternization and familiarity will lead to employee contempt, regardless of the talent or ineptitude of the manager.? It's only human nature, the innate tendency to compare yourself to other people and understand why the manager is "worthy" of a position of power.? ?In a nutshell, the "Familiarity Breeds Contempt" concept is the idea that, the more we get to know a supervisor on a personal level, the more likely we are to find fault with them.? The term "familiarity breeds contempt" dates back at least 100 years, and this belief is widely noted as an absolute truth, even by famous authors:Familiarity breeds contempt. How accurate that is. The reason we hold truth in such respect is because we have so little opportunity to get familiar with it. - Mark TwainA brief history of non-fraternization?The US armed forces have long required non-fraternization between officers and enlisted men, including any fraternization between members of their families.? Growing up as an Air Force brat, my mother and I had to be very careful when socializing to ensure that we did not inadvertently fraternize with an enlisted family and I was taught that I was barred from dating the daughter of an enlisted person, no matter how hot she might be.?Part of the military insistence on non-fraternization is related to the belief that familiarity breeds contempt, but the non-fraternization rules also reflect the military society requirement that the underlings follow orders immediately and without question.? The US Army regulations (Pamphlet 600-35) notes that fraternization is not merely discouraged, it's a criminal offense:"Historically, a relationship between two soldiers having a detrimental effect on the authority of the senior has generally been regarded as "fraternization." ?The Manual for Courts-Martial (1995), part IV, paragraph 83, defines the criminal offense of fraternization. These elements are required for the crime: commissioned or warrant officer. fraternization on terms of military equality with members known to be enlisted.fraternization must violate a custom of the Army. conduct must be prejudicial to good order and discipline or bring discredit on the armed forces. Appendix #7d1The history of management non-familiarity?In the earliest days of the USA, the American Revolution military men discovered that a non-disclosure policy was?better publicity that their real-world persona.? For example, George Washington had a childish habit of throwing hysterical temper tantrums in combat, cursing like a stable boy and even threatening to kill his own men! ?According to David McCullough in his outstanding book 1776, Gen. Washington had a very guarded personality, and he preferred to cultivate his legend rather than the less flattering reality of his wanting management style. ?In reality, George Washington was said to be under-educated with an inferiority complex, replete with a false sense of arrogance and grandiosity.? Worse yet, when under stress, he presented himself as aloof, immature, and deeply insecure.? If the truth were known in the day, George Washington might have been mocked as an 18th century Dilbert-style pointy-haired boss.?Fraternization in 21st century management?I've been a technical supervisor/manager for over 20 years, and I have had to mentally clarify the "familiarity breeds contempt" dictum.? A successful manager must foster camaraderie without becoming too familiar, not an easy task for any executive.? Personally, I think that the degree of fraternization with subordinates depends on several factors:People Factors and fraternization:The weenie manager - If the manager is a wiener, the less interaction, the better.? Conversely, a more outstanding manager can fraternize more without risk of contempt from underlings.? Managers who are not worthy of their position must be far more careful.? The sycophants - There are some insecure "sycophant" employees who have a deep-seated need to know their manager on a personal level? These employees will stalk their manager, Googling them and attempting to become familiar with them, in order to feel that they have some power in the employer-employee relationship. Organizational factors and fraternization:Type of professional relationship - A subordinate relationship between two white collar professionals is often less susceptible to contempt than the relationship between a blue-collar worker and a white collar manager.? Type of Fraternization - While most managers agree that socializing with underlings is never a good idea, in some cases, the fraternization can actually foster respect.? For example, you may socialize with your subordinates at company functions, but always at arms-length.? Appendix #7d2Personal disclosure and subordinate contempt?There is quite a bit of talk about the management "mystique,” and disclosure of personal details.? Subordinates are always looking to their management as leaders and disclosures about religion, politics and social mores are never a good idea.? In most large corporations, executives are very careful only to disclose favorable personal details such as charitable acts.?In this article titled "Familiarity breeds contempt as bad managers rule roost", we see that managers must balance the need to remain unfamiliar while still maintaining a "camaraderie" with their employees.?Politics and personal disclosure?In an open political race it's often impossible to prevent voters from becoming overly-familiar with the polls, much to their detriment.?Private Corporations and over-familiarity?The problem is that employee contempt is exacerbated in family-owned corporations where the children? of the owners are groomed to take over their enterprise, regardless of their worthiness.? ?Paternalism is required in large wholly-owned businesses, as the children are the rightful owners of the enterprise, and many of these companies fast-track junior through the mid-level management ranks, with the bad side-effect that an overly-friendly family member may loose all respect from their subordinates.?Non-family managers are passed-over to make room for the children of the company owners, and this contempt is amplified when the family member is not careful to closely guard their personal life.?The smart management approach to fraternization?I've had cases where an employee will "push" their relationship, in an attempt to "buddy-up,” and these types of sycophants will often cross the line to inappropriate familiarity, calling their supervisor "buddy" and acting chummy.? ?In these cases, the employee needs to be dressed-down quickly and politely, explaining that you like them, but they can never be friends.?In sum, there is no doubt that familiarity breeds contempt, but the savvy manager must understand how to develop a working camaraderie without crossing-the-line into revealing personal details.?Appendix #7d38.1 Close and Critical Reading—“Familiarity Breeds Contempt”—StudentDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.What does the text say? (Briefly summarize the article at the literal level.) How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?) What does the text mean? (What message/theme/concept is the author trying to get across?) So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or to the lives of others?) Appendix #7e18.1 Close and Critical Reading—“Familiarity Breeds Contempt”—TeacherDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.What does the text say? (Briefly summarize the article at the literal level.) The management tips begin by discussing that management socializing with subordinates has been discouraged for a long time, the theory being that the better a subordinate knows his or her manager, the more he or she will question the manager’s worth as a leader. It also discusses how, historically, the US military has not only frowned upon the practice, but made it a punishable offense. The article states it is believed that enlisted men and women would be unable to follow orders without question if they were too familiar with their officers. In addition, people like George Washington kept aspects of their personality private because they might have lost the respect of the people whom they were leading. One of the tips offered is for managers to foster a sense of camaraderie while not becoming overly familiar. The author says that the degree of familiarity should vary with the people involved and the environment. He also recommends that management never offer personal views on religion, politics, or social mores. The article discusses familiarity in politics and private corporations. Finally, if a subordinate tries too hard to get close to a manager, it is the manager’s responsibility to put the subordinate in his or her place. How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?) The genre is an informational article from a consulting firm offering tips on fraternization. The article is broken down into subheadings that are bold and italicized. Bullet points, dashes, and indentations are used to set off lists the author wants to stand out. The language is casual, using words such as “weenie,” “buddy,” and “googling.” The spacing allows the readers to scan through the article and reference the specific topics that interest them. The author is using a conversational, “familiar” format to convey his message that while familiarity can be dangerous when used incorrectly, it can also be very functional. The author is, in effect, leading by example. The article takes a topic that could be considered “stuffy” and makes it “familiar” to the reader, so that the reader is able to easily understand his message. The author uses a familiar saying and builds upon it using specific examples: “Familiarity breeds contempt.” Specific and familiar examples include the television show The Office and vague references to testimonials: “I’ve heard it from family members, teachers, and employers….” The author also uses personal testimonials: “I was barred from dating the daughter of an enlisted person.” The author persuades through the use of historical recognition of this truth. He quotes the famous author Mark Twain and uses italics to emphasize his words instead of placing them in quotations. In addition, he emphasizes the “long” history of it in the military. The author also uses official documents to prove his point—e.g., “The Manual for Courts-Martial,” and cites David McCullough, a famous historian. The author uses humor: “If the truth were known in the day, George Washington might have been mocked as an 18th century Dilbert-style pointy-haired boss.” Finally, the author uses his credentials to persuade the reader, “I’ve been a technical supervisor/manager for over 20 years.”?What does the text mean? (What message/theme/concept is the author trying to get across?) Familiarity alters perspective.Appendix #7e2So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or to the lives of others?) Answers will vary but may resemble the following:The message of the article makes me think of all of the parents who call themselves their child’s “best friend.” I had friends growing up who considered their mom their “best friend,” and I was always envious. My mom was not my best friend—she was the boss. I could confide in her (within reason), and she would help me if she felt it was necessary; but we were never “buddies.” She could literally sense a lie over the telephone, and I feared her enough to limit my attempts to deceive her. My friends would tell their moms about the many mistakes they made, and their moms always understood. I didn’t think my mom would understand, so I did my best to avoid making mistakes—which, as an adult, I see was her plan all along. She also didn’t share her fears and mistakes with my siblings and me until we were well into adulthood. We may have known something was going on, but she shielded us from anything she felt we weren’t mature enough to handle.Appendix #7e3Raymond's Runby Toni Cade BambaraI don’t have much work to do around the house like some girls. My mother does that. And I don’t have to earn my pocket money by hustling; George runs errands for the big boys and sells Christmas cards. And anything else that’s got to get done, my father does. All I have to do in life is mind my brother Raymond, which is enough.?Sometimes I slip and say my little brother Raymond. But as any fool can see he’s much bigger and he’s older too. But a lot of people call him my little brother cause he needs looking after cause he’s not quite right. And a lot of smart mouths got lots to say about that too, especially when George was minding him. But now, if anybody has anything to say to Raymond, anything to say about his big head, they have to come by me. And I don’t play the dozens or believe in standing around with somebody in my face doing a lot of talking. I much rather just knock you down and take my chances even if I am a little girl with skinny arms and a squeaky voice, which is how I got the name Squeaky. And if things get too rough, I run. And as anybody can tell you, I’m the fastest thing on two feet.?There is no track meet that I don’t win the first-place medal. I used to win the twenty-yard dash when I was a little kid in kindergarten. Nowadays, it’s the fifty-yard dash. And tomorrow I’m subject to run the quarter-meter relay all by myself and come in first, second, and third. The big kids call me Mercury cause I’m the swiftest thing in the neighborhood. Everybody knows that—except two people who know better, my father and me. He can beat me to Amsterdam Avenue with me having a two-fire-hydrant headstart and him running with his hands in his pockets and whistling. But that’s private information. Cause can you imagine some thirty-five-year-old man stuffing himself into PAL shorts to race little kids? So as far as everyone’s concerned, I’m the fastest and that goes for Gretchen, too, who has put out the tale that she is going to win the first-place medal this year. Ridiculous. In the second place, she’s got short legs. In the third place, she’s got freckles. In the first place, no one can beat me and that’s all there is to it.?I’m standing on the corner admiring the weather and about to take a stroll down Broadway so I can practice my breathing exercises, and I’ve got Raymond walking on the inside close to the buildings, cause he’s subject to fits of fantasy and starts thinking he’s a circus performer and that the curb is a tightrope strung high in the air. And sometimes after a rain he likes to step down off his tightrope right into the gutter and slosh around getting his shoes and cuffs wet. Then I get hit when I get home. Or sometimes if you don’t watch him he’ll dash across traffic to the island in the middle of Broadway and give the pigeons a fit. Then I have to go behind him apologizing to all the old people sitting around trying to get some sun and getting all upset with the pigeons fluttering around them, scattering their newspapers and upsetting the waxpaper lunches in their laps. So I keep Raymond on the inside of me, and he plays like he’s driving a stage coach which is OK by me so long as he doesn’t run me over or interrupt my breathing exercises, which I have to do on account of I’m serious about my running, and I don’t care who knows it.? Now some people like to act like things come easy to them, won’t let on that they practice. Not me. I’ll high-prance down 34th Street like a rodeo pony to keep my knees strong even if it does get my mother uptight so that she walks ahead like she’s not with me, don’t know me, is all by herself on a shopping Appendix #7f1trip, and I am somebody else’s crazy child. Now you take Cynthia Procter for instance. She’s just the opposite. If there’s a test tomorrow, she’ll say something like, “Oh, I guess I’ll play handball this afternoon and watch television tonight,” just to let you know she ain’t thinking about the test. Or like last week when she won the spelling bee for the millionth time, “A good thing you got ‘receive,’ Squeaky, cause I would have got it wrong. I completely forgot about the spelling bee.” And she’ll clutch the lace on her blouse like it was a narrow escape. Oh, brother. But of course when I pass her house on my early morning trots around the block, she is practicing the scales on the piano over and over and over and over. Then in music class she always lets herself get bumped around so she falls accidentally on purpose onto the piano stool and is so surprised to find herself sitting there that she decides just for fun to try out the ole keys. And what do you know—Chopin’s waltzes just spring out of her fingertips and she’s the most surprised thing in the world. A regular prodigy. I could kill people like that. I stay up all night studying the words for the spelling bee. And you can see me any time of day practicing running. I never walk if I can trot, and shame on Raymond if he can’t keep up. But of course he does, cause if he hangs back someone’s liable to walk up to him and get smart, or take his allowance from him, or ask him where he got that great big pumpkin head. People are so stupid sometimes.?So I’m strolling down Broadway breathing out and breathing in on counts of seven, which is my lucky number, and here comes Gretchen and her sidekicks: Mary Louise, who used to be a friend of mine when she first moved to Harlem from Baltimore and got beat up by everybody till I took up for her on account of her mother and my mother used to sing in the same choir when they were young girls, but people ain’t grateful, so now she hangs out with the new girl Gretchen and talks about me like a dog; and Rosie, who is as fat as I am skinny and has a big mouth where Raymond is concerned and is too stupid to know that there is not a big deal of difference between herself and Raymond and that she can’t afford to throw stones. So they are steady coming up Broadway and I see right away that it’s going to be one of those Dodge City scenes cause the street ain’t that big and they’re close to the buildings just as we are. First I think I’ll step into the candy store and look over the new comics and let them pass. But that’s chicken and I’ve got a reputation to consider. So then I think I’ll just walk straight on through them or even over them if necessary. But as they get to me, they slow down. I’m ready to fight, cause like I said I don’t feature a whole lot of chit-chat, I much prefer to just knock you down right from the jump and save everybody a lotta precious time.?“You signing up for the May Day races?” smiles Mary Louise, only it’s not a smile at all. A dumb question like that doesn’t deserve an answer. Besides, there’s just me and Gretchen standing there really, so no use wasting my breath talking to shadows.?“I don’t think you’re going to win this time,” says Rosie, trying to signify with her hands on her hips all salty, completely forgetting that I have whupped her behind many times for less salt than that.?“I always win cause I’m the best,” I say straight at Gretchen who is, as far as I’m concerned, the only one talking in this ventrilo-quist-dummy routine. Gretchen smiles, but it’s not a smile, and I’m thinking that girls never really smile at each other because they don’t know how and don’t want to know how and there’s probably no one to teach us how, cause grown-up girls don’t know either. Then they all look at Raymond who has just brought his mule team to a standstill. And they’re about to see what trouble they can get into through him.?“What grade you in now, Raymond?”?Appendix #7f2“You got anything to say to my brother, you say it to me, Mary Louise Williams of Raggedy Town, Baltimore.”?“What are you, his mother?” sasses Rosie.?“That’s right, Fatso. And the next word out of anybody and I’ll be their mother too.” So they just stand there and Gretchen shifts from one leg to the other and so do they. Then Gretchen puts her hands on her hips and is about to say something with her freckle-face self but doesn’t. Then she walks around me looking me up and down but keeps walking up Broadway, and her sidekicks follow her. So me and Raymond smile at each other and he says, “Gidyap” to his team and I continue with my breathing exercises, strolling down Broadway toward the ice man on 145th with not a care in the world cause I am Miss Quicksilver herself.?I take my time getting to the park on May Day because the track meet is the last thing on the program. The biggest thing on the program is the May Pole dancing, which I can do without, thank you, even if my mother thinks it’s a shame I don’t take part and act like a girl for a change. You’d think my mother’d be grateful not to have to make me a white organdy dress with a big satin sash and buy me new white baby-doll shoes that can’t be taken out of the box till the big day. You’d think she’d be glad her daughter ain’t out there prancing around a May Pole getting the new clothes all dirty and sweaty and trying to act like a fairy or a flower or whatever you’re supposed to be when you should be trying to be yourself, whatever that is, which is, as far as I am concerned, a poor black girl who really can’t afford to buy shoes and a new dress you only wear once a lifetime cause it won’t fit next year.?I was once a strawberry in a Hansel and Gretel pageant when I was in nursery school and didn’t have no better sense than to dance on tiptoe with my arms in a circle over my head doing umbrella steps and being a perfect fool just so my mother and father could come dressed up and clap. You’d think they’d know better than to encourage that kind of nonsense. I am not a strawberry. I do not dance on my toes. I run. That is what I am all about. So I always come late to the May Day program, just in time to get my number pinned on and lay in the grass till they announce the fifty-yard dash.I put Raymond in the little swings, which is a tight squeeze this year and will be impossible next year. Then I look around for Mr. Pearson, who pins the numbers on. I’m really looking for Gretchen if you want to know the truth, but she’s not around. The park is jam-packed. Parents in hats and corsages and breast-pocket handkerchiefs peeking up. Kids in white dresses and light-blue suits. The parkees unfolding chairs and chasing the rowdy kids from Lenox as if they had no right to be there. The big guys with their caps on backwards, leaning against the fence swirling the basketballs on the tips of their fingers, waiting for all these crazy people to clear out the park so they can play. Most of the kids in my class are carrying bass drums and glockenspiels and flutes. You’d think they’d put in a few bongos or something for real like that.?Then here comes Mr. Pearson with his clipboard and his cards and pencils and whistles and safety pins and fifty million other things he’s always dropping all over the place with his clumsy self. He sticks out in a crowd because he’s on stilts. We used to call him Jack and the Beanstalk to get him mad. But I’m the only one that can outrun him and get away, and I’m too grown for that silliness now.?“Well, Squeaky,” he says, checking my name off the list and handing me number seven and two pins. And I’m thinking he’s got no right to call me Squeaky, if I can’t call him Beanstalk.?Appendix #7f3“Hazel Elizabeth Deborah Parker,” I correct him and tell him to write it down on his board.?“Well, Hazel Elizabeth Deborah Parker, going to give someone else a break this year?” I squint at him real hard to see if he is seriously thinking I should lose the race on purpose just to give someone else a break. “Only six girls running this time,” he continues, shaking his head sadly like it’s my fault all of New York didn’t turn out in sneakers. “That new girl should give you a run for your money.” He looks around the park for Gretchen like a periscope in a submarine movie. “Wouldn’t it be a nice gesture if you were . . . to ahhh . . .”?I give him such a look he couldn’t finish putting that idea into words. Grown-ups got a lot of nerve sometimes. I pin number seven to myself and stomp away, I’m so burnt. And I go straight for the track and stretch out on the grass while the band winds up with “Oh, the Monkey Wrapped His Tail Around the Flag Pole,” which my teacher calls by some other name. The man on the loudspeaker is calling everyone over to the track and I’m on my back looking at the sky, trying to pretend I’m in the country, but I can’t, because even grass in the city feels hard as sidewalk, and there’s just no pretending you are anywhere but in a “concrete jungle” as my grandfather says.?The twenty-yard dash takes all of two minutes cause most of the little kids don’t know no better than to run off the track or run the wrong way or run smack into the fence and fall down and cry. One little kid, though, has got the good sense to run straight for the white ribbon up ahead so he wins. Then the second-graders line up for the thirty-yard dash and I don’t even bother to turn my head to watch cause Raphael Perez always wins. He wins before he even begins by psyching the runners, telling them they’re going to trip on their shoelaces and fall on their faces or lose their shorts or something, which he doesn’t really have to do since he is very fast, almost as fast as I am. After that is the forty-yard dash which I used to run when I was in first grade. Raymond is hollering from the swings cause he knows I’m about to do my thing cause the man on the loudspeaker has just announced the fifty-yard dash, although he might just as well be giving a recipe for angel food cake cause you can hardly make out what he’s sayin for the static. I get up and slip off my sweat pants and then I see Gretchen standing at the starting line, kicking her legs out like a pro. Then as I get into place I see that ole Raymond is on line on the other side of the fence, bending down with his fingers on the ground just like he knew what he was doing. I was going to yell at him but then I didn’t. It burns up your energy to holler.?Every time, just before I take off in a race, I always feel like I’m in a dream, the kind of dream you have when you’re sick with fever and feel all hot and weightless. I dream I’m flying over a sandy beach in the early morning sun, kissing the leaves of the trees as I fly by. And there’s always the smell of apples, just like in the country when I was little and used to think I was a choo-choo train, running through the fields of corn and chugging up the hill to the orchard. And all the time I’m dreaming this, I get lighter and lighter until I’m flying over the beach again, getting blown through the sky like a feather that weighs nothing at all. But once I spread my fingers in the dirt and crouch over the Get on Your Mark, the dream goes and I am solid again and am telling myself, Squeaky you must win, you must win, you are the fastest thing in the world, you can even beat your father up Amsterdam if you really try. And then I feel my weight coming back just behind my knees then down to my feet then into the earth and the pistol shot explodes in my blood and I am off and weightless again, flying past the other runners, my arms pumping up and down and the whole world is quiet except for the crunch as I zoom over the gravel in the track. I glance to my left and there is no one. To the right, a blurred Gretchen, who’s got her chin jutting out as if it would win the race all by itself. And on the other side Appendix #7f4of the fence is Raymond with his arms down to his side and the palms tucked up behind him, running in his very own style, and it’s the first time I ever saw that and I almost stop to watch my brother Raymond on his first run. But the white ribbon is bouncing toward me and I tear past it, racing into the distance till my feet with a mind of their own start digging up footfuls of dirt and brake me short. Then all the kids standing on the side pile on me, banging me on the back and slapping my head with their May Day programs, for I have won again and everybody on 151st Street can walk tall for another year.?“In first place . . .” the man on the loudspeaker is clear as a bell now. But then he pauses and the loudspeaker starts to whine. Then static. And I lean down to catch my breath and here comes Gretchen walking back, for she’s overshot the finish line too, huffing and puffing with her hands on her hips taking it slow, breathing in steady time like a real pro and I sort of like her a little for the first time. “In first place . . .” and then three or four voices get all mixed up on the loudspeaker and I dig my sneaker into the grass and stare at Gretchen who’s staring back, we both wondering just who did win. I can hear old Beanstalk arguing with the man on the loudspeaker and then a few others running their mouths about what the stopwatches say. Then I hear Raymond yanking at the fence to call me and I wave to shush him, but he keeps rattling the fence like a gorilla in a cage like in them gorilla movies, but then like a dancer or something he starts climbing up nice and easy but very fast. And it occurs to me, watching how smoothly he climbs hand over hand and remembering how he looked running with his arms down to his side and with the wind pulling his mouth back and his teeth showing and all, it occurred to me that Raymond would make a very fine runner. Doesn’t he always keep up with me on my trots? And he surely knows how to breathe in counts of seven cause he’s always doing it at the dinner table, which drives my brother George up the wall. And I’m smiling to beat the band cause if I’ve lost this race, or if me and Gretchen tied, or even if I’ve won, I can always retire as a runner and begin a whole new career as a coach with Raymond as my champion. After all, with a little more study I can beat Cynthia and her phony self at the spelling bee. And if I bugged my mother, I could get piano lessons and become a star. And I have a big rep as the baddest thing around. And I’ve got a roomful of ribbons and medals and awards. But what has Raymond got to call his own??So I stand there with my new plans, laughing out loud by this time as Raymond jumps down from the fence and runs over with his teeth showing and his arms down to the side, which no one before him has quite mastered as a running style. And by the time he comes over I’m jumping up and down so glad to see him—my brother Raymond, a great runner in the family tradition. But of course everyone thinks I’m jumping up and down because the men on the loudspeaker have finally gotten themselves together and compared notes and are announcing “In first place—Miss Hazel Elizabeth Deborah Parker.” (Dig that.) “In second place—Miss Gretchen P. Lewis.” And I look over at Gretchen wondering what the “P” stands for. And I smile. Cause she’s good, no doubt about it. Maybe she’d like to help me coach Raymond; she obviously is serious about running, as any fool can see. And she nods to congratulate me and then she smiles. And I smile. We stand there with this big smile of respect between us. It’s about as real a smile as girls can do for each other, considering we don’t practice real smiling every day, you know, cause maybe we too busy being flowers or fairies or strawberries instead of something honest and worthy of respect . . . you know . . . like being people.Appendix #7f58.1 Close and Critical Reading—“Raymond’s Run” by Toni Cade Bambara —StudentDisposition: Reflective Inquiry—Theme: Familiarity alters perspective. What does the text say? (Briefly summarize the short story “Raymond’s Run” at the literal level.) How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?) What does the text mean? (What message/theme/concept is the author trying to get across?) So what? (What does the message/theme/concept mean in your life and/or in the lives of others?Why is it worth sharing/telling? What significance does it have to your life and/or to the lives ofothers?) Appendix #7g18.1 Close and Critical Reading—“Raymond’s Run” by Toni Cade Bambara —TeacherDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.What does the text say? (Briefly summarize the short story “Raymond’s Run” at the literal level.) The short story begins by introducing the narrator, Squeaky. She is responsible for taking care of her brother Raymond, who is older than she is but needs to be taken care of because he “isn’t quite right.” Sometimes Squeaky has to fight to defend Raymond. If she begins to lose the fight, she runs. She says that she is the fastest runner in her whole neighborhood. She has won a lot of first place medals. Her nickname is “Mercury” because she is the fastest thing in the neighborhood. Squeaky says she takes being the fastest runner in the neighborhood seriously and works hard to maintain her title. Raymond gets picked on because of his looks and lack of intelligence. Squeaky tolerates him - as long as he keeps up. Squeaky and Raymond run into some other young people as they are walking up the street, and there is a discussion about the upcoming May Day race that Squeaky knows she will win. The story then moves to the May Day race, and Squeaky takes Raymond with her. She wins her race but notices for the first time Raymond running beside the track. She almost stops to watch him and thinks for the first time that he might make a good runner. She decides that she will coach him so that he has something to call his own. She ends with a smile of respect for her closest competitor, Gretchen.How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?) The genre is realistic fiction. The realistic fiction genre is evident in several attributes. First, the setting is Harlem in New York. The streets of the city are described, and real street names like “Amsterdam Avenue” and “34th Street” are used. The story is written from the first person perspective of Squeaky. The author uses both internal and external dialogue to convey Squeaky’s thoughts, traits, and conflicts. In addition, the dialogue propels the plot. For example, there is a conversation between Squeaky, Rosie, and Gretchen in which Squeaky makes sure the other girls know that she is the fastest. The reader is able to see Squeaky’s confidence and how proud she is when it comes to running. The author also writes as a child would speak and think; this adds to the realism. The author uses figurative language and sensory images to convey Squeaky’s pre-race thoughts and feelings. For example, Squeaky describes herself feeling like a “choo-choo train” or “flying over the beach again, getting blown through the sky like a feather.” The author uses bold type to set off the title and author’s name. The title is also in larger font. Note that the title, “Raymond’s Run,” foreshadows the important insight Squeaky/Hazel has at the end of the story. The author uses italics to emphasize words: “… next word out of anybody and I’ll be their mother too.” The author also uses parenthesis to illustrate Squeakly/Hazel’s commentary to the reader: “’In first place—Miss Hazel Elizabeth Deborah Parker.’ (Dig that.)” The tone is childlike, and the mood is reflective. The diction/word choice of the author contributes to the childlike tone: “a lot of smart mouths gots lots to say about that too…” or “I have whupped her behind many times for less salt….” The author uses historical references, though the reader assumes Squeaky’s knowledge may come from TV: “So they are steady coming up Broadway and I see right away that it’s going to be one of those Dodge City scenes cause the street ain’t that big and they’re close to the buildings just as we are.” In addition, the author both perpetuates and breaks stereotypes in this story. For example, Squeaky is responsible for taking care of her brother. She is very protective and maternal regarding him, yet she also is not interested in the traditional girly role: “You’d think my mother’d be grateful not to have to make me a white organdy dress with a big satin sash and buy me new white baby-doll shoes that can’t be taken out of the box till the big day.” The author uses motifs of real/phony, responsibility, and race. Finally, the author employs exaggeration through the character of Hazel/Squeaky: “And as anybody can tell you, I’m the fastest thing on two feet.”Appendix #7g2What does the text mean? (What message/theme/concept is the author trying to get across?) Familiarity alters perspective. So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or to the lives of others?) Answers will very but might resemble the following:I am reminded of a student I had once who was extremely quiet and shy. He was so shy that when he had to get up and speak he would cry and I would have to tell him just to take a deep breath and get through it. One day, during announcements, his name was announced as being the reason the basketball team had won the day before. He had scored a huge number of points, and I was totally shocked. He could barely stand up in front of a class of students; but in front of a gym full of people he was a superstar! I think that often we place people into the mold we have become familiar with–regardless of the fact that they may have special talents.I am reminded that often sports strip away the facades established for day-to-day survival. Perhaps it is the physical regimen and strain that lowers the defenses. However, there is nothing more real than a team committed to helping each member be all that they can be. Perhaps that is why sports often transcend racial and socioeconomic barriers. Movies often play upon this theme, especially Disney: Remember the Titans, Glory Road, Miracle, etc. There are real smiles and there are fake smiles. Fake smiles stop at the mouth, but real smiles resonate throughout a being.Appendix #7g3Name ________________________________________Hour _____ Date _______________________________CHAPTER 4 – ESCALATION OF A PROBLEMDirections: In Chapter #4, a bad situation becomes much worse. Place the events in the order they occurred on the graphic organizer. We have done most of the steps as a class through our discussion. Write out the sentences.Appendix #8a1The Socs run away.The Socs arrive to harass the boys.Answer the following questions:Did the situation have to end like this? Why?At which point in the escalation could the outcome have been prevented? How is the responsibility for Bob’s death shared by everyone involved? (Johnny? Ponyboy? Bob?)Describe at least two changes that could have taken place to prevent the outcome of this conflict.Was anyone right or wrong in what he did in this situation? Explain.How has your perception of the groups or individual characters changed as you have become more familiar with the situation?Appendix #8a2Focus Question #3 Summarize and describe the important events of each scene and how you believe they affect Ponyboy.Answer Plan:Identify the scenes in this chapter and point out that important events happen at each scene. Choose the most important events from each scene and describe Ponyboy’s feelings at each point.Look up the definition for “premonition.” After all the emotions Ponyboy experienced that night, describe what type of premonition he had at the church. Why?Possible Answer:(1) Important events happen at each of the scenes in this chapter: the Park, Buck’s place, the train, and the old church. The most important event at the park was the fight. Ponyboy is almost killed by Bob, but is saved by Johnny. When Ponyboy realizes what has happened, he is first sick and then panics. At Buck’s place, Ponyboy seems pretty calm. He feels that Dally is their only hope and, in the process, observes that Dally and Darry treat him similarly. It is not until they are safely aboard the train that Ponyboy realizes fully what has happened that night. He is very tired and describes himself falling asleep in a “hoodlum’s jacket with a gun by his hand.” It’s not where he would have expected himself to end up earlier this evening, looking at the stars with Johnny. When Ponyboy and Johnny arrive at the church, they are extremely tired. On two occasions Ponyboy describes the church as “creepy” and as giving him the “creeps.” (2) Here he has a premonition, a bad feeling about the church and his future.Appendix #8b“Nothing Gold Can Stay”by Robert FrostNature’s first green is gold,Her hardest hue to hold.Her early leaf’s a flower;But only so an hour.Then leaf subsides to leaf.So Eden sank to grief,So dawn does down to day.Nothing gold can stay.Appendix #9a1Directions:We just finished reading the poem Nothing Gold Can Stay by Robert Frost, within the text. Now it’s time to summarize what we have learned through dissecting the poem. A group summary is just like working a Jigsaw puzzle. Each person in the summary group has an important job to complete, just as each individual puzzle piece is important for the whole puzzle to be completed. Let’s get started!Materials:Large piece of paperMarkersGroups of four studentsProcedures:Understand the group you are assigned to, and the corresponding section of text you are required to summarize. Ask questions if you do not understand your role. Split the poem between your group.At the teacher’s indication, move to the correct location in the room to meet with the other students in your group.As a group, summarize your part of the poem on the chart paper. Your job as a group is to work together to identify the main points of the poem so that you can relay this information to your classmates.The group should start making their poster summary of the reading. The poster should be divided into four equal parts, and each person in the group should put the main points of their section of text on the poster for the class to see. Feel free to add drawings or color to make your poster more appealing to the class!When your group is finished making the poster, return all materials back to the correct locations in the room, hang your poster where your teacher indicates, and return to your original seat.Select your presenter for your group and present your summary of the poem.Appendix #9a2Nothing Gold Can StayRobert FrostNature’s first green is gold,Her hardest hue to hold.Her early leaf’s a flower;But only so an hour.Then leaf subsides to leaf.So Eden sank to grief,So dawn goes down to day.Nothing gold can stay.MISD Literature Unit 8.1-Reflective Inquiry-Close and Critical ReadingTHEME: Familiarity alters perspective.What does the text say?(Briefly summarize “Nothing Gold Can Stay”)The poem says the first green of nature is gold and hard to hold. The early leaf is a flower for an hour. Leaf sinks to leaf. Eden sank to sorrow. Dawn sinks to the day. Nothing gold stays. How does it say it? In other words, how does the author/poet develop the text to convey his/her purpose? (What are the genre, format, organization, features. Etc.?)The title of the poem is the last line of the poem: “Nothing gold can stay.” Thus, the poet emphasizes the cyclical nature of the poem. The meter is iambic trimeter (a line with three strong stresses usually spread across six syllables). The author conveys his message in eight lines and forty words. There are motifs of green, gold, nature, and cycles of seasons, life, and days. The poet also uses a biblical allusion: “Eden,” as in the Garden of Eden and man’s fall from grace due to sin. Man is kicked out of the garden and becomes mortal. The first three lines concern the spring and its transitory color. Gold is a symbol for something precious, sacred, and illuminating. Interestingly, according to some sources, the Tree of Life, which would have given man immortality, had gold roots. Green is often a symbol of freshness and youth; it is the color of spring-. The poet uses repetition to emphasize his point: “Then leaf subsides to leaf.” He also uses alliteration: “dawn goes down to day.” The word choice is very specific and effective. For example, the words “grief” and “subsides” evoke a tone of sorrow/sadness and a mood of loss. On a side note, knowing something about this author’s life, it is interesting to note when he wrote this poem he had already suffered the loss of two children. What does the text mean? (What message/theme/concept is the author/poet trying to get across?) The promise and possibilities of life are brief and transitory. So what?(What does the message/theme/concept mean in your life and /or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or the lives of others?) My daughter wants to live in a Spanish-speaking country before attending graduate school. Her professors are telling her that if she chooses to follow this course, schools may view her as not committed to a life of science research. I tell her to follow her heart or her bliss. Life is short, and this is something she has always wanted to do. We are not given a remote control with a rewind button for life. I watch people who delay acting upon their dreams and consequently, never achieve them.Appendix #9a3Focus Question #4 What does Ponyboy mean when he thinks, “I had taken the long way around, but I was finally home. To stay.” in Chapter 6 (p. 99)? How has his perception of his “home” and “family” changed?Answer Plan: What to doBegin to answer the question by referring to Ponyboy’s change of heart.Explain why Ponyboy has a change of heart toward Darry and the events that lead him to this feeling.Describe how Darry treats Ponyboy and cite some reasons for Darry’s behavior.Conclude by explaining the revelation that Ponyboy has had about his family. Use a quote, if possible.Possible Answer:(1) In Chapter 6 Ponyboy realizes a great deal about his relationship with his brother, Darry. (2) Throughout the novel Darry seems to be tough on Ponyboy. (3) For example, near the end of Chapter 3, Ponyboy accidentally falls asleep and comes home late to find Darry very upset. He yells at Ponyboy and doesn’t listen to his excuse. Although Ponyboy continues to apologize, the argument gets heated and Darry ends up slapping Ponyboy. (4) When Ponyboy sees Darry crying, he realizes that Darry’s strict actions are due to his love for Ponyboy and the fact that Darry only wants what is truly best for Ponyboy. Pony realizes also that Darry really wanted him as a brother. On p. 98 Ponyboy thinks, “Darry did care about me, maybe as much as he cared about Soda, and because he cared he was trying too hard to make something of me.” Appendix #10aReaders Theater Script: The Outsiders, Chapter 7Ponyboy:(thinking)Two-Bit:Randy:Ponyboy:(thinking)Randy:Ponyboy:Randy:Ponyboy:Randy:Ponyboy:Randy:Ponyboy:(thinking)Randy:I would have laughed, but I had a terrific headache. We stopped at the Tasty Freeze to buy Cokes and rest up, and the blue Mustang that had been trailing us for eight blocks pulled in. I almost decided to run, and Two-Bit must have guessed this, for he shook his head ever so slightly and tossed me a cigarette. As I lit up, the Socs who had jumped Johnny and me at the park hopped out of the Mustang. I recognized Randy Adderson, Marcia’s boyfriend, and the tall guy that had almost drowned me. I hated them. It was their fault Bob was dead; their fault Johnny was dying; their fault Soda and I might get put in a boys’ home. I hated them as bitterly and contemptuously as Dally Winston hated.You know the rules. No jazz before the rumble.We know. Come here. I want to talk to you, Ponyboy.I glanced at Two-Bit. He shrugged. I followed Randy over to his car, out of earshot of the rest. We sat there in his car for a second, silent. Golly, that was the tuffest car I’ve ever been in.I read about you in the paper. How come?I don’t know. Maybe I felt like playing hero.I wouldn’t have. I would have let those kids burn to death.You might not have. You might have done the same thing. I don’t know. I don’t know anything anymore. I would never have believed a greaser could pull something like that.Greaser didn’t have anything to do with it. My buddy over there wouldn’t have done it. Maybe you would have done the same thing, maybe a friend of yours wouldn’t have. It’s the individual.I’m not going to show at the rumble tonight.I took a good look at him. He was seventeen or so, but he was already old. Like Dallas was old. Cherry had said her friends were too cool to feel anything, and yet she could remember watching sunsets. Randy was supposed to be too cool to feel anything, and yet there was pain in his eyes.I’m sick of all this. Sick and tired. Bob was a good guy. He was the best buddy a guy ever had. I mean, he was a good fighter and tuff and everything, but he was a real person too. You dig?”He’s dead – his mother has had a nervous breakdown. They spoiled him rotten, I mean, most parents would be proud of a kid like that – good lookin’ and smart and everything, but they gave in to him all the time. He kept trying to make someone say “No” and they never did. They never did. That was what he wanted. For somebody to tell him “No.” To have somebody lay down the law, set the limits, give him something solid to stand on. Appendix #11a1Ponyboy:Randy:Ponyboy:Randy:Ponyboy:Ponyboy:(thinking)Randy:Ponyboy:Randy:Ponyboy:Two-Bit:Ponyboy:Two-Bit:Ponyboy:Ponyboy:(thinking)That’s what we all want, really. One time…one time he came home drunker than anything. He thought sure they were gonna raise the roof. You know what they did? They thought it was something they’d done. They thought it was their fault – that they’d failed him and driven him to it or something. They took all the blame and didn’t do anything to him. If his old man had just belted him – just once, he might still be alive. I don’t know why I’m telling you this. I couldn’t tell anyone else. My friends – they’d think I was off my rocker or turning soft. Maybe I am. I just know that I’m sick of this whole mess. That kid – your buddy, the one that got burned – he might die?Yeah.And tonight…people get hurt in rumbles, maybe killed. I’m sick of it because it doesn’t do any good. You can’t win, you know that don’t you? You can’t win, even if you whip us. We’ll still be the lucky ones with all the breaks. So it doesn’t do any good, the fighting and the killing. It doesn’t prove a thing. We’ll forget it if you win, or if you don’t. Greasers will still be greasers and Socs will still be Socs. Sometimes I think it’s the ones in the middle that are the really lucky stiffs…. So I’d fight if I thought it’d do any good. I think I’m going to leave town. Take my little old Mustang and all the dough I can carry and get out.Running away won’t help.Oh, hell, I know it, but what can I do? I’m marked chicken if I punk out at the rumble, and I’d hate myself if I didn’t. I don’t know what to do.I’d help you if I could.I remembered Cherry’s voice. Things are rough all over. I knew then what she meant.No you wouldn’t. I’m a Soc. You get a little money and the whole world hates you.No, you hate the whole world. You would have saved those kids if you had been there. You’d have saved them same as we did.Thanks, grease, I didn’t mean that. I meant, thanks, kid.My name’s Ponyboy. Nice talkin’ to you, Randy.What’d he want? What’d Mr. Super-Soc have to say?He ain’t a Soc. He’s just a guy. He just wanted to talk.You want to see a movie before we go see Johnny and Dallas?Nope.I still had a headache, but I felt better. Socs were just guys after all. Things were rough all over, but it was better that way. That way you could tell the other guy was human too. Appendix #11a2Dashes Versus ColonsEpisode 167: April 23, 2009Grammar Girl here.But first, we're sponsored by Audible. Show your support for Grammar Girl and get a free audiobook to keep when you sign up for a free trial at gg.Today's topic is dashes.Last week when I was speaking at the Field's End Writers Conference on Bainbridge Island, someone in the audience asked about dashes. When should she use a dash and how is it different from a colon?Dashes and DramaThe difference between a colon and a dash is pretty subtle: they can both serve to introduce a related element after the sentence, but a dash is a stronger and more informal mark than a colon. Think of a colon as part of the sentence that just ambles along. "Squiggly has two hobbies [and, now I'm going to tell you what they are, colon] cooking and bothering Aardvark."A colon informs readers that something more is coming along. The words after a colon define or clarify what came before the colon. The two hobbies before the colon are defined after the colon as cooking and bothering Aardvark.A dash also introduces extra material, but, well, a dash is quite a dramatic punctuation mark. A dashing young man is certainly not an ordinary young man, and if you're dashing off to the store, you're not just going to the store, you're going in a flurry.A dash interrupts the flow of the sentence and tells the reader to get ready for some important or dramatic statement. If you added a dash to the "hobbies" sentence it would conceptually read something like this: "Squiggly has two hobbies [wait for it; wait for it; dash] cooking and bothering Aardvark." Wow!Normally, you don't want to follow a dash with something boring or mundane, so given that there isn't really anything exciting about Squiggly's hobbies, a dash may not be the best choice here. It would be a better choice if that sentence were part of a mystery novel where Aardvark has been attacked with chocolate pudding, and the police were investigating Squiggly's involvement. Then it could be a dramatic announcement that Squiggly's two hobbies are cooking and bothering Aardvark, and a dash would make more sense.Dashes, Not HyphensAnd here's a very important rule about dashes: never, never, never use a hyphen in place of a dash. A hyphen is not a junior dash; it has its own completely separate use that I'll talk about some other time, but I can't talk about dashes without telling you not to use hyphens when you should use dashes. It's a common error. If for some reason you can't insert the dash symbol, use two hyphens right next to each other: hyphen hyphen [--]. If you type two hyphens without any spaces on either side, most word processors will automatically convert them to an em dash. If you put spaces on both sides of the two hyphens, word processors will often automatically convert them to an en dash.Appendix #11b1Em Dashes and En DashesHuh? What's are these em dashes and en dashes of which I speak? An em dash is longer than an en dash. Those may seem like strange names, but they make sense when you realize that traditionally the em dash is as long as the typeset capital letter M and the en dash is as long as the typeset capital letter N.The em dash is the kind of dash I was talking about before; it is the kind of dash you use in a sentence (1). When people say, “Use a dash,” they almost always mean the em dash.The en dash is used much less frequently and usually only to indicate a range of inclusive numbers. You would use an en dash to write something like Squiggly will be on vacation December 2 to December 9, where the to between the dates is an en dash and indicates that Squiggly will not be in the office starting the 2nd of December and will return after the 9th of December (because an en dash indicates that the numbers are inclusive of the two dates).Whether you are using the longer em dash in a sentence or the shorter en dash to indicate an inclusive range, there are no spaces between the dash and the words around it. This is actually a style choice, so you should consult a style guide if your company or teacher has one, but I recommend using no spaces.AudibleThat's all about dashes. Today we're sponsored by Audible, and since I talked about a bold punctuation mark, I'm going to be bold and recommend my own audiobook this week. Grammar Girl's Quick and Dirty Tips for Better Writing has been nominated for an Audie: the audiobook industry award. I'm very excited; it's nominated in the business category; and the winners will be announced soon at Book Expo America in New York, which I actually can't attend because of deadlines for my next book. But I still have my fingers crossed and you can get my audiobook free and see what all the excitement is about when you sign up for a new free trial at gg. It helps support this podcast and is a great deal. That's gg.Finally, you can find a complete transcript of this podcast at the Grammar Girl section of .?That's all. Thanks for listening.References1.The Chicago Manual of Style. Fourteenth edition. Chicago: University of Chicago Press, 1993, p. 5, p. 107.Appendix #11b2Focus Question #5 What does the dialogue in Chapter 7 show us about how Ponyboy is changing his perception of the Socs?Answer Plan: What to doIntroduce the answer.Reiterate the conflicts that the Greasers and the Socs have had throughout the novel. Focus on Ponyboy’s involvement in/reactions to the conflicts? Explain the change in Ponyboy’s attitude with support from the dialogue used in the text. How does Randy’s talk about Bob’s life before Johnny killed him, relate to Ponyboy? Through Ponyboy’s actions? His thoughts?Conclude by explaining how Ponyboy is now feeling about the differences in the two gangs.Possible Answer:(1) Ponyboy is changing his attitude toward the Socs. (2) Throughout the novel the Greasers and the Socs have never been friends and are always fighting. They are in different “gangs” due to their social and economic backgrounds. As Ponyboy is introduced in the beginning of the novel we find out about the long-standing rivalry between them and the background of the conflicts between them. (3) The change in Ponyboy’s feelings are shown (on page 115) when Ponyboy is talking to the Soc, Randy, about the rescue: “Greaser didn’t have anything to do with it. My buddy over there wouldn’t have done it. Maybe you would have done the same thing, maybe a friend of yours wouldn’t have. It’s the individual.” Randy also talks about Bob’s life before Johnny killed him. This conversation causes Ponyboy to see Randy as just another guy not a Soc. Ponyboy even tries to make Randy feel better, Ponyboy also sticks up for Randy when Two-bit makes a negative comment. (4) Ponyboy realizes that Cherry’s comment about things being rough all over was true. Even though the Socs were privileged with money and material things, they had problems in their lives just like the Greasers. Appendix #11cThe Anthropology of Belonging: The Need for Social Inclusion (edited)? Gerda Wever-Rabehl1Social exclusion is a complex and mysterious phenomenon that permeates all of our relationships and many, if not all, aspects of our lives. Social exclusion and rejection have inspired a rich legacy of contemplation from poets, writers, philosophers, sociologists and anthropologists. After all, human beings are deeply social creatures. We desire to live, love and work with others whom we know and who know us. And so did our ancestors, whose membership to small groups helped protect them from the weather and from predators. Belonging to a group gave them- and gives us- a chance to thrive.2For our ancestral brothers and sisters, becoming a social outcast would have been disastrous. Rejection from the group and lacking the benefits that the group offered would have meant death. From an evolutionary standpoint, our survival has depended on the ability to prevent rejection, or to reclaim membership to the group once rejected. This is, in a way, still the case. Evolution has instilled in us a powerful desire to be part of a group of people we can know and who can know us, and while our world has changed, and while our social ties to others have become less personal and more complex, social connection (and our fear of losing it) continues to be crucial to the quality (and in some cases, even quantity) of our lives.3Social outcasts feel bad, are anxious and depressed, lack a sense of well-being, they harm their immune system and threaten to harm their cardio-vascular health. People who are socially isolated think about and do destructive things and die sooner than socially well-connected people. Extreme reactions to social rejection such as depression, suicidal behavior and violence, might be relatively uncommon, but throughout human history social exile has been tantamount to the death sentence. While some people react to their new status as social outcast more radically than others, rejection is pretty much universally experienced as negative and painful, and this experience affects the whole of us: behavior, emotion, perception and cognition. The reason for it, the desire to belong, is equally universal, although the way it is enacted depends differs depending on culture. Let's have a closer look at some of the differences in enacting our need to belong or our fear of social rejection.4When we meet others, we try to figure out the whole belonging thing right away. We want to know immediately whether the other is friend or foe, and whether he or she is capable enacting his or her respective friendliness or enmity (Fiske & Yamamoto, 2005). Some suggest that we universally perceive social groups along these two dimensions, warmth (e.g. are they friendly?) and competence (e.g. can they enact their un-friendliness?). Yet, the ways in which we sort out belonging differs according to culture. These cultural differences however, apply only to the ways in which the desire to belong is enacted. The desire to belong itself, the fear of rejection and the pain of social rejection is universal, shared by us all.Appendix #12a1Highlighted Reading for Middle and High School By Elaine WeberPurpose:Engage students in printDevelop fluent scanningHighlight most important informationPrepare text for substantive conversationMaterials:A copy of the textA highlighter penPlanning:Select an article or piece of text that is accessible to all the students.Identify the vocabulary that needs to be taught in advance.Determine a context for the information that could frame it for the students’ prior knowledge.Consider what kind of discussion you want to come out of the reading of the text.Select the appropriate information to be highlighted based on the goal for the discussion.Map out the text paragraph by paragraph with prompts to highlight the information.Procedure:Build the context for the reading by activating prior knowledge. Have students find the vocabulary words in the text and highlight them. As you read the questions you prepared for each paragraph, have the students scan through the text, highlighting the answers. (Like finding Waldo)Have students go back to the text with partners to determine the meaning from context or from their prior knowledge. Have students share their results. Use the definitions for your reference as students share their results.Summary Activities:Three-sentence pyramid summaryDetermine Importance: (1) Circle the most important word or phrase in the text.(2) Underline the most important things written about this word or phrase, and (3) Write a summary statement. Write two to three supporting sentences.One-syllable-word summary: Working in a group of three or four students develop a one-syllable word summary of the article.Appendix #12a2Highlight the following from: The Anthropology of Belongingby G. Wever-RebahlParagraph 1Who has been inspired by exclusion?Why did our ancestors desire to be included in small groups?Paragraph 2What did it mean to our ancestors to be rejected by their group?Who do we desire to be in our group?How does social connection affect our lives?Paragraph 3In what ways does being an outcast affect our health?How might social rejection affect someone’s behavior?What desire is universal?Paragraph 4What are the two things we want to know about someone we meet?What fears are universally shared by all?Appendix #12a3JIGSAW SUMMARYJigsaw groups (adapted from Aronson, 1978) provide students a way to build summarizing habits while also pushing them to communicate meaningful messages with other students. Students in one group become experts on a portion of the text and the experts then teach text to a different group.PROCEDUREDivide the chosen text into three to five sections. Plan to have the same number of students in each group as there are text sections.Prepare an Expert Sheet or study guide that will help students become experts as they summarize a section of text. The sheet may have questions (open-ended or under-the-surface), a task, and/or a graphic to fill in, and so on.Use a pocket chart, random number, or some other method to create home groups. Then assign each student a letter that corresponds to his or her expert group and the text that the group will study. (See figure 1).Have students with the same letters get together in expert groups and read silently their assigned section. (You read last night for homework) Then, have them discuss your major points, conclusions, summaries opinions, answers, task, or graphic organizer. StudentAStudentBStudentCStudentDbecomesExpertBExpertBExpertBExpertBExpertAExpertBExpertCExpertDreturnsJPIRGO3. Experts report back to members of home group. 1. Home groups form and students get their letter. SC2. B’s from other groups read and discuss their assigned text and become experts.AEWSSAgree upon the major points to share back with your home group.Have experts report back to their home groups to summarize and teach the important parts of their text section.Report out to the class.Appendix #12a4WestEd’s Reading Apprenticeship Macomb ISD 2006-2007 JIGSAW SUMMARYEXPERT GROUPSOne: Meet with the experts in your group and share major points, passages that provoked reflective thought, and words or phrases that “stood out”. Include the big ideas that if missed would dilute deeper understanding of the four dimensions. Clear up any confusion and surface any remaining questions with the experts in your group. Two: Agree on the key points to share with your home group in order to help them learn the content without having read it. Surface examples that might help explain the key points.Three: Highlight or record the key points, ideas, and phrases, to share with your home group during the metacognitive conversation phase.Four: Add any key points, ideas, and phrases that your group agreed to share that you did not initially include.Five: When the presenter indicates, return to your home group and share the DIMENSION key points, words, phrases, and examples with participants who have not read it. Appendix #12a5The InfinitiveRecognize an infinitive when you see one.To sneeze, to smash, to cry, to shriek, to jump, to dunk, to read, to eat, to slurp—all of these are infinitives. An infinitive will almost always begin with to followed by the simple form of the verb, like this: to + verb = infinitiveImportant Note: Because an infinitive is not a verb, you cannot add s, es, ed, or ing to the end. Ever!Infinitives can be used as nouns, adjectives, or adverbs. Look at these examples:To sleep is the only thing Eli wants after his double shift waiting tables at the neighborhood café. To sleep functions as a noun because it is the subject of the sentence.No matter how fascinating the biology dissection is, Emanuel turns his head and refuses to look.To look functions as a noun because it is the direct object for the verb refuses.Wherever Melissa goes, she always brings a book to read in case conversation lags or she has a long wait.To read functions as an adjective because it modifies book.Richard braved the icy rain to throw the smelly squid eyeball stew into the apartment dumpster.To throw functions as an adverb because it explains why Richard braved the inclement weather.Recognize an infinitive even when it is missing the to.An infinitive will almost always begin with to. Exceptions do occur, however. An infinitive will lose its to when it follows certain verbs. These verbs are feel, hear, help, let, make, see, and watch.The pattern looks like this:special verb + direct object + infinitive - toHere are some examples: As soon as Theodore felt the rain splatter on his hot, dusty skin, he knew that he had a good excuse to return the lawn mower to the garage.Felt = special verb; rain = direct object; splatter = infinitive minus the to.When Danny heard the alarm clock buzz, he slapped the snooze button and burrowed under the covers for ten more minutes of sleep.Heard = special verb; alarm clock = direct object; buzz = infinitive minus the to.Although Dr. Ribley spent an extra class period helping us understand logarithms, we still bombed the test.Helping = special verb; us = direct object; understand = infinitive minus the to. Because Freddie had never touched a snake, I removed the cover of the cage and let him pet Squeeze, my seven-foot python.Let = special verb; him = direct object; pet = infinitive minus the to.Since Jose had destroyed Sylvia's spotless kitchen while baking chocolate-broccoli muffins, she made him take her out for an expensive dinner.Made = special verb; him = direct object; take = infinitive minus the to.I said a prayer when I saw my friends mount the Kumba, a frightening roller coaster that twists and rolls like a giant sea serpent.Saw = special verb; my friends = direct object; mount = infinitive minus the to.Appendix #12b1Hoping to lose her fear of flying, Rachel went to the airport to watch passenger planes take off and land, but even this exercise did not convince her that jets were safe.Watch = special verb; passenger planes = direct object; take, land = infinitives minus the to.To split or not to split?The general rule is that no word should separate the to of an infinitive from the simple form of the verb that follows. If a word does come between these two components, a split infinitive results. Look at the example that follows:Wrong:Sara hopes to quickly finish her chemistry homework so that she can return to the more interesting Stephen King novel she had to abandon.Right:Sara hopes to finish her chemistry homework quickly so that she can return to the more interesting Stephen King novel she had to abandon.Some English teachers believe that thou shall not split infinitives was written on the stone tablets that Moses carried down from the mountain. Breaking the rule, in their eyes, is equivalent to killing, stealing, coveting another man's wife, or dishonoring one's parents. If you have this type of English teacher, then don't split infinitives!Other folks, however, consider the split infinitive a construction, not an error. They believe that split infinitives are perfectly appropriate, especially in informal writing.In fact, an infinitive will occasionally require splitting, sometimes for meaning and sometimes for sentence cadence. One of the most celebrated split infinitives begins every episode of Star Trek: "To boldly go where no one has gone before ...." Boldly to go? To go boldly? Neither option is as effective as the original!When you are making the decision to split or not to split, consider your audience. If the piece of writing is very formal and you can maneuver the words to avoid splitting the infinitive, then do so. If you like the infinitive split and know that its presence will not hurt the effectiveness of your writing, leave it alone.Appendix #12b2Focus Question #6 What role does the gang play in the Greasers’ lives? For each of the members, explain their individual need for the gang. Cite examples from the novel and the article to clarify your answer.Answer Plan: What to doRestate the question.Explain how the gang plays a role for each member, citing examples from the novel.Explain why each member feels the need to “belong,” citing examples from the novel.Conclude with a summary statement.Possible Answer:(1) Being in a gang is an important part of the Greasers’ lives. The camaraderie of the Greasers has helped each member deal with the hardships in their lives. (2) Ponyboy and his brothers have struggled with losing their parents and having to take care of themselves. They seem to be the ‘heart’ of the Greasers—the solidarity that holds them together. Johnny needs the gang because his home life is terrible with extreme domestic violence. Two-bit comes from a poor, broken home and may be seeking something his family is not able to offer him. Steve’s background isn’t discussed much, but he is best friends with Sodapop and naturally is part of the gang. Dallas comes from gangs in New York and is seen as the “hardest” Greaser. He truly cares for Johnny. (3) The gang serves as a “family” for each of the members. (4) ?Being part of the Greasers allowed the boys to protect one another and survive their individual situations.? Although being socially isolated wouldn't have been a dire situation for most of the boys, it definitely would have made their lives even more difficult.Appendix #12cThe GerundRecognize a gerund when you see one.Every gerund, without exception, ends in ing. Gerunds are not, however, all that easy to identify. The problem is that all present participles also end in ing. What is the difference? Gerunds function as nouns. Thus, gerunds will be subjects, subject complements, direct objects, indirect objects, and objects of prepositions. Present participles, on the other hand, complete progressive verbs or act as modifiers. Read these examples of gerunds:Since Francisco was five years old, swimming has been his passion.Swimming = subject of the verb has been.Francisco's first love is swimming.Swimming = subject complement of the verb is.Francisco enjoys swimming more than spending time with his girlfriend Diana.Swimming = direct object of the verb enjoys.Francisco gives swimming all of his energy and time.Swimming = indirect object of the verb gives.When Francisco wore dive fins to class, everyone knew that he was devoted to swimming.Swimming = object of the preposition to.These ing words are examples of present participles:One day last summer, Francisco and his coach were swimming at Daytona Beach.Swimming = present participle completing the past progressive verb were swimming.A great white shark ate Francisco's swimming coach.Swimming = present participle modifying coach.Now Francisco practices his sport in safe swimming pools.Swimming = present participle modifying pools.?1997 - 2009 by Robin L. Simmons All Rights Reserved.Appendix #13aChart: Characters - Reason to FightSodapop – “It’s action. Like a drag race or a dance or something.” (Fun)Steve – “When I get in a fight I want to stomp the other guy good. I like it, too.” (Hatred)Darry – “Darry liked anything that took strength, like weight-lifting or playing football or roofing houses…Darry never said anything about it, but I knew he liked to fight.” (Pride)Ponyboy – “…I’ll fight anyone anytime, but I don’t like to.” (Loyalty)Two-Bit – “…Shoot, everybody fights.” (Conformity)Appendix #13bConflicts by ChapterConflict: Man vs. ManChapter One: Ponyboy explains the differences between the Greasers and the Socials and how they are always at odds.Chapter One: Ponyboy is surrounded by Socs and gets beaten up until his gang comes to rescue him.Chapter Two: Ponyboy explains how Johnny was jumped by the Socs before and was hurt badly.Chapter Two: Two-Bit explains to Cherry and Marcia his “philosophy” on fighting and how the Greasers feel about it.Chapter Three: Cherry and Johnny discuss the “differences” and similarities between the two classes and the conflicts that take place.Chapter Three: Ponyboy gets slapped by his brother for being late and making him and Sodapop worry.Chapter Three: Johnny’s family problems are introduced and he talks about his father’s violence toward both him and his mother.Chapter Four: Johnny and Ponyboy get into a fight with the Socs and Johnny stabs and kills Bob as they are trying to drown Ponyboy in the park fountain.Chapter Eight: Johnny refuses to let his mother see him in the hospital because of the way she treats him.Chapter Nine: The gang discusses why each of them chooses to fight.Chapter Nine: The Greasers meet up with Tim Sheppard’s gang to fight against the Socs. The Greasers “win,” but we know that smearing the opposition is not necessarily “winning” in a fight.Chapter Ten: Dally gets shot by the cops after he robs a store and pulls a gun on the cops.Chapter Twelve: Three Socs drive up to Johnny at the grocery store. He busts his Pepsi bottle and waves it around to show them he isn’t scared. The Socs leave.Appendix #14-15a8.1 Close and Critical Reading—The Outsiders, Chapter 11—StudentDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.What does the text say? (Briefly summarize Chapter 11 of The Outsiders at the literal level)How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.)What does the text mean? (What message/theme/concept is the author trying to get across?) So what?(What does the message/theme/concept mean in your life and /or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or the lives of others?)Appendix #14-15b18.1 Close and Critical Reading—The Outsiders, Chapter 11—TeacherDisposition: Reflective Inquiry—Theme: Familiarity alters perspective.What does the text say?(Briefly summarize Chapter 11 at the literal level)During this part of the story Ponyboy is waking up in his messy room and thinking about Bob. For some reason he is curious about him and thinking what he was really like. Did Bob have a family/brother/parents? Do they hate all of us now? Cherry had said Bob was a sweet and friendly guy and a real person, not what Ponyboy had thought. The more Ponyboy looked at his picture, the more he became familiar with this Bob. Bob was real, as he said hot-tempered, reckless, scared, and cocky at the same time. Ponyboy is now interrupted by some visitors from school. Randy comes by to see how he is doing; Ponyboy does not feel very comfortable about this visit. Randy tells Ponyboy about his dad and that the trial is making him crazy. He feels bad for the first time for his father. Ponyboy does not care; he just feels scared at this point. Ponyboy is worried about being put in a foster home, but Randy does not know this. The boys have a discussion about who killed Bob. Ponyboy is denying that Johnny is dead. Randy is asked to leave. When Randy leaves, Darry tells Ponyboy not to mention Johnny to him (Darry). Darry and Ponyboy talk about smoking and about Ponyboy’s cleaning his room. Darry calls Ponyboy little buddy! How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features. Etc.?)The genre is realistic fiction. The author uses dialogue to reveal character traits. For example, Randy reveals his innate goodness: “…but I feel lousy about the old man. And it’s the first time I’ve felt anything in a long time,” and Darry reveals his paternal feelings: “You’re not going to die if you don’t get a smoke. But if that bed catches on fire you will.” The author also uses characters’ actions to reveal their emotions: “My cigarette started trembling.” The author also tries to work in the theme of being familiar with certain social classes in this chapter. Ponyboy makes a breakthrough with Darry at the end, and he feels accepted by his brother. The text is in first person: “I Had To STAY in bed a whole week after that.” Note that the author used capitals for the first four words, perhaps for emphasis or to pull the reader into the chapter. The second paragraph uses the organizational strategy of compare and contrast. Ponyboy, the narrator, compares Bob to others that he knows well. The author uses thoughtshots so that the reader knows what is happening in the narrator’s head. The author uses italics to emphasize words: “He thought he was mixed up in this?” A motif of social classes and a motif of denial are interwoven throughout the chapter.What does the text mean? (What message/theme/concept is the author trying to get across?) Problems and bad times do not recognize social class or financial status; they are universal to the human condition. Appendix #14-15b2So what?(What does the message/theme/concept mean in your life and /or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or the lives of others?) Answers may vary, but may resemble the following:This chapter reminds me that we have different classes of people all around us and we always go with what we are used to. For example, at the beginning of the story Ponyboy assumes that all Socs are rich, spoiled kids that get all the breaks. Now during Chapter 11 his beliefs have changed. He is now seeing that life is not always better for those who are in a different social class than he is. Also he is finally able to relate to his brother. Many of us have siblings that take on the parent role, and we resent them for that. After time we are able to understand and see the other side and why they do what they do for us. I grew up with quite a bit of money. I traveled Europe and spent the majority of my holidays at the Grand Cayman Island family condominium in the Caribbean. Other kids would tell me how lucky I was to go on shopping sprees in Chicago and New York for my school clothes. Yet, what they didn’t realize was that behind closed doors an alcoholic ruled my house. I could never have anyone over because of the family secret. My best friend lived in a completely different socioeconomic circle and had completely different secrets. Perhaps initially we envied each other’s life. However, the envy quickly faded as we became familiar with each other’s story. We have stayed best friends through the years. She was godmother to my children and I to hers. There is a comfort in being with someone who knows your secrets and still accepts you for who you are under the fa?ade.Appendix #14-15b3Focus Question #7 Explain what the poem by Robert Frost means and what it represents in the novel. Discuss how the poem relates to challenges in the characters’ lives. How does the poem relate to life in general?Answer Plan: What to doRestate the question.Explain what you think the poem means and how it represents situations in the novel.Discuss the characters in the novel and how the poem relates to each of them.Conclude by explaining how you see the poem as it relates to life in general. Be specific.Appendix #14-15c1Interpretation of the poem “Nothing Gold Can Stay”(for teacher reference)Following is one possible interpretation of Robert Frost’s poem as it pertains to The Outsiders. “Nature’s first green is gold,Her hardest hue to holdHer early leaf’s flower;But only so an hour.Then leaf subsides to leaf.So Eden sank to griefSo dawn goes down to day.Nothing gold can stay.”The first line of the poem, “Nature’s first green is gold,” can be interpreted as the effect of sunrise on how things appear in the early light. The sunrise is the beginning of the day, or the birth of the day. Everything is new, the possibilities are endless, and everything is fresh and new in the sunrise. As the dawning sunlight touches each leaf, every blade of grass, its color is gold.The next part of the poem, “Her hardest hue to hold, tells us that while is the first early color is gold, the gold doesn’t last. Soon it will be replaced with something else.“Her early leaf’s flower” suggests that the gold color is so beautiful, the leaf may appear to be a flower instead of only a leaf.“But only so an hour./Then leaf subsides to leaf,”suggests that because sunrise only lasts a short time; the golden time of promise, possibilities, and new hope is over all too soon as the world reverts back to the everyday, ordinary light. The early sunlight fades and reality comes back. The leaf that once was so beautiful it appeared to be a magnificent flower reverts back to an ordinary leaf again“So Eden sank to grief” tells us that perfection doesn’t last; just as paradise was lost to mankind, the golden aura that everyone is born with fades as the harshness and reality of life surround and overtake us.“So dawn goes down to day,” reminds the reader that dawn quickly gives way to the ordinary day; routines begin and reality returns to its normal state.“Nothing gold can stay.” Gold is only a momentary, temporary hue that shades reality. Perfection, rarity, youth don’t last. To summarize, the poem tells us that nothing remains pure, perfect, and full of hope and promise for long. The "flower" of nature, the supposed height of its beauty, arrives early, and is soon lost to time. Youth and beauty are corrupted by the passage of time, as the first bloom of a tree in spring is soon lost to the growth of maturing leaves. The perfect paradise that was Eden was lost by the arrival of the first sin, as are the color and glory and perfection of possibility of dawn lost to the brightness of the day. Appendix #14-15c2Kelly Gallagher’s ABCD Strategy for On-Demand WritingAttack the promptCircle any words that ask you to do something.Draw an arrow from each circled word to what it specifically tells you to do.Rewrite and number the circled words. Rewrite what the word asks you to do.Brainstorm possible answersCreate a web or some other graphic organizer to help gather your thoughts.Give yourself time to do this; you may need to narrow your topic later, but get your ideas down on paper!Choose the order of your responseNumber the parts of your brainstorming you’ll use first second, etc.Cross out any ideas you’ve decided not to use.Detect errors before turning the draft inLook for punctuation and capitalization errors.Reread to make sure what you’ve written makes sense and is complete.Reference citation:This strategy as presented is based on pages 40‐46 in: Gallagher, K. 2006. Teaching Adolescent Writers. Portland, ME: Stenhouse PublishersAppendix #17-18aFocus Question #8 Sometimes in life, a person’s experiences alter his/her perception. The change can be a positive or negative change. Consider how both Squeaky’s and Ponyboy’s perception change through their experiences.Write an essay in which you describe how experience can alter perception. Use specific examples from “Raymond’s Run,” The Outsiders, and your personal experience to support your description.Use the rubric and checklist as you write and review your response:CHECKLIST FOR REVISION:_____Do I take a position and clearly answer the question I was asked?_____Do I support my answer with examples and details from both of the selections?_____Is my writing organized and complete?Appendix #17-18bDRAFT 5/30/02Michigan Educational Assessment ProgramIntegrated English Language Arts AssessmentMS – HS RubricWriting in Response to Reading6The student effectively synthesizes and applies key ideas, generalizations, and principles from within each reading selection to support a position in response to the scenario question and makes a clear connection between the reading selections. The position and connection are thoroughly developed through the use of appropriate examples and details. There are no misconceptions about the reading selections. There are strong relationships among ideas. Mastery of language use and writing conventions contributes to the effect of the response.5The student makes meaningful use of key ideas from within each reading selection to support a position in response to the scenario question and makes a clear connection between the reading selections. The position and connection are well developed through the use of appropriate examples and details. Minor misconceptions may be present. Relationships among ideas are clear to the reader. The language is controlled, and occasional lapses in writing conventions are hardly noticeable.4The student makes adequate use of ideas from within each reading selection to support a position in response to the scenario question and makes a connection between the reading selections. This position and connections are supported by examples and details. Minor misconceptions may be present . Language use is correct. Lapses in writing conventions are not distracting.3The student make adequate use of ideas from one reading selection OR makes partially successful use of ideas from both reading selections to support a position in response to the scenario question. The position is developed with limited use of examples and details. Misconceptions may indicate only a partial understanding of the reading selections. Language use is correct but limited. Incomplete mastery over writing conventions may interfere with meaning some of the time.2The student makes partially successful use of ideas from one reading selection OR minimal use of ideas from both reading selections to support a position in response to the scenario question. The position is underdeveloped. Major misconceptions may indicate minimal understanding of the reading selections. Limited mastery over writing conventions may make the writing difficult to understand.1The student does not take a position on the scenario question but makes at least minimal use of ideas from one or both of the reading selections to respond to the scenario question or theme OR minimally uses ideas from only one of the reading selections to support a position in response to the scenario question. Ideas are not developed and may be unclear. Major misconceptions may indicate a lack of understanding of the reading selections. Lack of mastery over writing conventions may make the writing difficult to understand.Not ratable if:aretells/references the reading selections with no connection to the scenario question or themeboff topiccillegible/written in a language other than Englishdblank/refused to responderesponds to the scenario question with no reference to either of the reading selectionsAppendix #17-18cResearch Socio-Economic ClassesIn groups of three to four, you will explore the impact of socio-economic class. Start with the following website: this site you will discover an interactive graph that examines a person’s position in society in terms of four factors—education, income, occupation and wealth (four commonly used criteria for gauging class). Take one or more of the characters of The Outsiders and apply his/her data to the interactive graph. For example, apply the graph to Sodapop’s life (dropped out of high school, employment, etc.). Discuss in your group the insights you gain from this visual model. Also, be sure to check out the tabs on How Class Breaks Down, Income Mobility, and A Nationwide Poll.Now proceed to This is a webpage on a special section by the New York Times on “Class Matters.” Note on the left hand side of the page is a box titled “About the Series.” About the Series:A team of reporters spent more than a year exploring ways that class—defined as a combination of income, education, wealth, and occupation—influences destiny in a society that likes to think of itself as a land of unbounded opportunity.Day 1: OverviewDay 2: HealthDay 3: MarriageDay 4: ReligionDay 5: EducationDay 6: ImmigrationDay 7: New Status MarkersDay 8: The ‘Relo” ClassDay 9: The Hyper-RichDay 10: Class and CultureDay 11: Up From the Projects Read the links associated with your day of the series. Create and present a Six-Slide PowerPoint on your portion of the series. Your PowerPoint will be a close and critical reading of your day of the series. Begin with a title slide with the name of the day and the individuals in the group presenting.Include a Twitter box of 140 characters (includes spaces) that summarizes the information of your day of the series (literal).Hyper link to site and tell how the author says it. Be sure to bullet points and elaborate in your presentation with examples.Explain the message of the site.Include the “So, what?” How does this information apply to you?Include a “Works Cited” slide.Appendix #19a1Finish the following chart for socio-economic and class following are professions briefly noted in the book The Outsiders. However, you made need to do a Google search to determine salary and education. You will need to make an educated guess for the wealth column. Select an occupation you are curious about for the final row. Components of ClassCharacters & People OccupationEducationIncomeWealthSodapopWorks in a garage on cars but is not certified (not skilled labor).Drops out of high school.low(None, but may be part of house.)DarryIs a roofer (not skilled labor).Lower MiddleGraduates from high school.Middlelow (Via internet, the median expected salary for a typical roofer in the U.S. is $30,465)Lower middle? (None, but may be part of house.)0 to 5,000, which puts him in lower middle.Nurse (in the hospital with Johnny)Doctor (in the hospital)General surgeonMedian salary for a general surgeon is $212, FifthAppendix #19a2Rubric: Socio-Economic & Class PresentationYou are on a committee studying the impact of socio-economic and class on America. Your committee needs to have a common understanding of the issue. The New York Times had a group of reporters spend a year researching this particular subject. Your committee has decided to divide and conquer the information. So, you are to present a portion or day of the research employing your close and critical reading skills. Scale/TraitsRequirements of ProjectOrganization/Layout of PowerPointProper Conventions and Accuracy Word Choice and DesignWeight 50% 20% 15% 15% 4The PowerPoint effectively conveys the following:Title slide with names of group members and day and topic of New York Times research.Twitter box of 140 characters (includes spaces) that summarizes the information of your day of the series (literal).Message hyperlink to site with explanation telling how the author says it. (Points are bulleted and elaborated with examples.) Message of site.So what? (Explanation of how this information applies to you.)“Works Cited” slideThe presentation’s layout and slide order are logical. The introduction draws the viewer in and introduces the purpose. The body of the presentation is effective and clear. The conclusion brings closure.The presentation uses proper capitalization and punctuation. No words are misspelled. Information is accurate, complete, useful, and meaningful. There is clear evidence that it has been reread for correctness. The response includes correct MLA citation.The presentation is aesthetically pleasing. Graphics and words are placed in a way that does not interfere with the content. Text is easy to read. Hyperlinks/pictures/word choices expand the message and have a powerful impact on the audience.3The presentation is quite effective, fulfilling the student’s requirements. The presentation layout and slide order are logical. The presentation has a clear introduction. The body clearly supports the presentation’s target. The conclusion is clear.The presentation uses proper capitalization and punctuation. No words are misspelled. Although information is accurate, it may not be complete, useful, and/or meaningful. There is clear evidence that it has been reread for correctness. MLA documentation is accurate most of the time. The presentation is generally pleasing. Graphics/images/word choices are relevant and do not interfere with the content, but they may have little impact on the audience.2The presentation is somewhat effective and only partially fulfills the student’s requirements. The presentation layout and slide order may not be consistently logical. The presentation contains an introduction, a body, and a conclusion.The response uses proper capitalization and punctuation most of the time. Information may not be accurate. A few spelling errors do not interfere with meaning. There are few citation errors, but MLA documentation is followed.The presentation is somewhat pleasing. Word choice/images have little or no impact.1The presentation fails to meet many of the requirements. The presentation is difficult to follow and may have an illogical sequence.The presentation fails to use proper capitalization and punctuation. Spelling errors, accuracy problems, and MLA citation errors are numerous.The presentation lacks the word choice and design qualities needed to reach an audience. Appendix #19a3The Outsiders Director: Francis Ford Coppola film review by Chris Barsanti - Copyright ? 2005 When Francis Ford Coppola made The Outsiders in 1983, he was in the midst of yet another career paradigm shift. Having broke the bank on the gargantuan semi-failures Apocalypse Now and One from the Heart, he turned to adapting a pair of S.E. Hinton novels – which he hyperbolically termed “Camus for kids” – first this one and then Rumble Fish. The Outsiders was relatively cheap, and also brought Coppola back to a kind of human drama that his post-Godfather work had been lacking, the result enrapturing a good number of teens and pre-teens in the 1980s. Coppola can never leave well enough alone, though, and so now we have his new version, The Complete Novel, overall a case in point for directors not being allowed to do this sort of thing.The original film takes Hinton’s spare 1967 novel of young gangs in Tulsa and turns it into grand melodrama, with gorgeous CinemaScope sunsets, sweeping orchestral score, and teen scuffles that take on all the clashing importance of medieval battles. On the crap side of town live the working-class greasers, with their black t-shirts and slicked-back hair, always getting hassled by the socs, preppie bastards with family money and nicer cars. The film centers on the greasers, particularly the sensitive 13-year-old orphan Ponyboy Curtis (C. Thomas Howell) who lives with his older brothers Sodapop (Rob Lowe) and Darrell (Patrick Swayze). The surrogate family hanging around the Curtis’ ramshackle house also includes Emilio Estevez and Tom Cruise, while their friend, born-to-lose Dally Winston (Matt Dillon) has just been released from jail. Almost as childlike as Ponyboy is his best friend, Johnny (Ralph Macchio), an angelically bruised kid from a troubled home who provides the film’s most emotional moments.The storyline is an erratic one at best, though it starts well. After a full night of run-ins with the socs, Ponyboy and Johnny finally get cornered by them in a park, where Johnny knifes one to death in self-defense. They head out of town, with help from conveniently knowledgeable Dally, hiding in a remote abandoned church where they cut their hair, read Gone with the Wind, watch sunsets, and wait for the heat to die down. A chain of tragedy follows, from a fire to a climactic rumble in the rain to heart wrenching hospital scenes, none of it ending well for the kids from the wrong side of the tracks. While much of it may seem laughable at times to older viewers, there’s an undeniable primal quality to the film’s portrait of perennially disenfranchised poor kids, and the heartrending quality of Johnny – Macchio’s wide, terrified eyes are hard to shake – is like something out of Dickens.What Coppola did right in his initial cut of 90-odd minutes, was to prune away some of the book’s character-building scenes, which didn’t play out too well with his inexperienced but powerfully energetic and Adonis-gorgeous cast. For all those who complained about the film being not faithful enough to the source material, Coppola reintegrated about twenty minutes of material, some good and some bad. Of the better additions is the fleshing out of the opening sequence in which Ponyboy is tailed by socs home from the movie theater, providing now a better introduction to his fringe, alienated world. Worse is the padding added to the end, including a long trial scene and an unduly tidy wrap-up with the three Curtis boys.Appendix #20a1Nothing damages Coppola’s initial vision, however, as much as his removing the score done by his father Carmine. In the original film, the lush symphonies worked with the beautiful cinematography to give the story – which could seem slight and inconsequential to some – a timeless quality, punching up the already wonderfully florid emotions to an appropriately Rebel Without a Cause level. Now, The Complete Novel cut uses almost entirely rock music of the era, including a half-dozen Presley tunes and far too much surf guitar. This works on occasion, especially early on in the film, but as it goes on, the new music cues strip away the overheated feelings that Carmine’s score evoked and actually makes some previously moving sequences almost laughable. The result is a film that can’t decide if it’s a teen exploitation flick or a classic story of alienation and ends up being neither.Coppola hasn’t managed to ruin his best film of the 1980s, this is too potent material for that, but he did seriously wound it.The Complete Novel is packaged in a nice two-disc edition, with a gorgeous new widescreen transfer, 10 additional scenes, and several excellent documentaries, including one about the California students whose petition to Coppola gave him the initial idea to make the film. Appendix #20a2ACT PROMPTSome experts believe that smoking in movies creates life-long smokers out of teenagers. They reason that teenagers are influenced by the characters in film and in an effort to imitate them start the addictive habit. They believe that many young people would never start smoking if they were not exposed to smoking on the screen at such a young age. They argue that banning smoking in movies will significantly lower the number of teens smoking now and in the future. Some experts believe that smoking in movies is not the cause of teenage smoking. They reason that young people are media savvy. They believe that teenage smoking is more due to environment and less to the fantasy world of film. They argue that teenagers are bombarded with anti-smoking campaigns and educational curriculum. In addition, they argue that banning smoking in movies is a freedom of speech infringement. Write an essay taking a position on this issue. You may write about either one of the two points of view given, or you may present a different point of view on thisquestion. Use specific reasons and examples to support your position.Appendix #20a3ACT SCORING GUIDELINESScore = 6Essays within this score range demonstrate effective skill in responding to the task. The essay shows a clear understanding of the task. The essay takes a position on the issue and may offer a critical context for discussion. The essay addresses complexity by examining different perspectives on the issue, or by evaluating the implications and/or complications of the issue, or by fully responding to counter-arguments to the writer’s position. Development of ideas is ample, specific, and logical. Most ideas are fully elaborated. A clear focus on the specific issue in the prompt is maintained. The organization of the essay is clear; the organization may be somewhat predictable or it may grow from the writer’s purpose. Ideas are logically sequenced. Most transitions reflect the writer’s logic and are usually integrated into the essay. The introduction and conclusion are effective, clear, and well developed. The essay shows a good command of language. Sentences are varied and word choice is varied and precise. There are few, if any, errors to distract the reader.Score = 5Essays within this score range demonstrate competent skill in responding to the task.The essay shows a clear understanding of the task. The essay takes a position on the issue and may offer a broad context for discussion. The essay shows recognition of complexity by partially evaluating the implications and/or complications of the issue, or by responding to counterarguments to the writer’s position. Development of ideas is specific and logical. Most ideas are elaborated, with clear movement between general statements and specific reasons, examples, and details. Focus on the specific issue in the prompt is maintained. The organization of the essay is clear, although it may be predictable. Ideas are logically sequenced, although simple and obvious transitions may be used. The introduction and conclusion are clear and generally well developed. Language is competent. Sentences are somewhat varied and word choice is sometimes varied and precise. There may be a few errors, but they are rarely distracting.Score = 4Essays within this score range demonstrate adequate skill in responding to the task.The essay shows an understanding of the task. The essay takes a position on the issue and may offer some context for discussion. The essay may show some recognition of complexity by providing some response to counter-arguments to the writer’s position. Development of ideas is adequate, with some movement between general statements and specific reasons, examples, and details. Focus on the specific issue in the prompt is maintained throughout most of the essay. The organization of the essay is apparent but predictable. Some evidence of logical sequencing of ideas is apparent, although most transitions are simple and obvious. The introduction and conclusion are clear and somewhat developed. Language is adequate, with some sentence variety and appropriate word choice. There may be some distracting errors, but they do not impede understanding.Appendix #20a4Score = 3Essays within this score range demonstrate some developing skill in responding to the task.The essay shows some understanding of the task. The essay takes a position on the issue but does not offer a context for discussion. The essay may acknowledge a counter-argument to the writer’s position, but its development is brief or unclear. Development of ideas is limited and may be repetitious, with little, if any, movement between general statements and specific reasons, examples, and details. Focus on the general topic is maintained, but focus on the specific issue in the prompt may not be maintained. The organization of the essay is simple. Ideas are logically grouped within parts of the essay, but there is little or no evidence of logical sequencing of ideas. Transitions, if used, are simple and obvious. An introduction and conclusion are clearly discernible but underdeveloped. Language shows a basic control. Sentences show a little variety and word choice is appropriate. Errors may be distracting and may occasionally impede understanding.Score = 2Essays within this score range demonstrate inconsistent or weak skill in responding to the task.The essay shows a weak understanding of the task. The essay may not take a position on the issue, or the essay may take a position but fail to convey reasons to support that position, or the essay may take a position but fail to maintain a stance. There is little or no recognition of a counter-argument to the writer’s position. The essay is thinly developed. If examples are given, they are general and may not be clearly relevant. The essay may include extensive repetition of the writer’s ideas or of ideas in the prompt. Focus on the general topic is maintained, but on the specific issue in the prompt may not be maintained. There is some indication of an organizational structure, and some logical grouping of ideas within parts of the essay is apparent. Transitions, if used, are simple and obvious, and they may be inappropriate or misleading. An introduction and conclusion are discernible but minimal. Sentence structure and word choice are usually simple. Errors may be frequently distracting and may sometimes impede understanding.Score = 1Essays within this score range show little or no skill in responding to the task.The essay shows little or no understanding of the task. If the essay takes a position, it fails to convey reasons to support that position. The essay is minimally developed. The essay may include excessive repetition of the writer’s ideas in the prompt. Focus on the general topic is usually maintained, but focus on the specific issue in the prompt may not be maintained. There is little or no evidence of an organizational structure or of the logical grouping of ideas. Transitions are rarely used. If present, an introduction and conclusion are minimal. Sentence structure and word choice are simple. Errors may be frequently distracting and may significantly impede understanding.No ScoreBlank, Off-Topic, Illegible, Not in English or Void@ 2006 by ACT, Inc. All rights reservedAppendix #20a5ACT Persuasive Rubric – AnalyticTraits654321Position andUnderstandingof TaskThe essay shows a clear understanding of the task. The essay takes a position on the issue and may offer a critical context for discussion.The essay shows a clear understanding of the task. The essay takes a position on the issue and may offer a broad context for discussion.The essay shows an understanding of the task. The essay takes a position on the issue and may offer some context for discussion.The essay shows some understanding of the task. The essay takes a position on the issue but does not offer a context for discussion.The essay shows a weak understanding of the task. The essay may not take a position on the issue, or the essay may take a position but fail to convey reasons to support that position, or the essay may take a position but fail to maintain a stance.The essay shows little or no understanding of the task. If the essay takes a position, it fails to convey reasons to support that plexityThe essay addresses complexity by examining different perspectives on the issue, or by evaluating the implications and/or complications of the issue, or by fully responding to counter-arguments to the writer's position.The essay shows recognition of complexity by partially evaluating the implications and/or complications of the issue, or by responding to counter-arguments to the writer's position.The essay may show some recognition of complexity by providing some response to counter-arguments to the writer's position.The essay may acknowledge a counter-argument to the writer's position, but its development is brief or unclear.There is little or no recognition of a counter-argument to the writer's position. Focus andDevelopmentof IdeasAppendix #20a6Development of ideas is ample, specific, and logical. Most ideas are fully elaborated. A clear focus on the specific issue in the prompt is maintained.Development of ideas is specific and logical. Most ideas are elaborated, with clear movement between general statements and specific reasons, examples, and details. Focus on the specific issue in the prompt is maintained.Development of ideas is adequate, with some movement between general statements and specific reasons, examples, and details. Focus on the specific issue in the prompt is maintained throughout most of the essay.Development of ideas is limited and may be repetitious, with little, if any, movement between general statements and specific reasons, examples, and details. Focus on the general topic is maintained, but focus on the specific issue in the prompt may not be maintained.The essay is thinly developed. If examples are given, they are general and may not be clearly relevant. The essay may include extensive repetition of the writer's ideas or of ideas in the prompt. Focus on the general topic is maintained, but focus on the specific issue in the prompt may not be maintained.The essay is minimally developed. The essay may include excessive repetition of the writer's ideas or of ideas in the prompt. Focus on the general topic is usually maintained, but focus on the specific issue in the prompt may not be anizationThe organization of the essay is clear: the organization may be somewhat predictable or it may grow from the writer's purpose. Ideas are logically sequenced. Most transitions reflect the writer's logic and are usually integrated into the essay. The introduction and conclusion are effective, clear, and well developed.The organization of the essay is clear, although it may be predictable. Ideas are logically sequenced, although simple and obvious transitions may be used. The introduction and conclusion are clear and generally well developed. The organization of the essay is apparent but predictable. Some evidence of logical sequencing of ideas is apparent, although most transitions are simple and obvious. The introduction and conclusion are clear and somewhat developed.The organization of the essay is simple. Ideas are logically grouped within parts of the essay, but there is little or no evidence of logical sequencing of ideas. Transitions, if used, are simple and obvious. An introduction and conclusion are clearly discernible but underdeveloped.There is some indication of an organizational structure, and some logical grouping of ideas within parts of the essay is apparent. Transitions, if used, are simple and obvious, and they may be inappropriate or misleading. An introduction and conclusion are discernible but minimal.There is little or no evidence of an organizational structure or of the logical grouping of ideas. Transitions are rarely used. If present, an introduction and conclusion are minimal.LanguageThe essay shows a good command of language. Sentences are varied and word choice is varied and precise. There are few, if any, errors to distract the reader.Language is competent. Sentences are somewhat varied and word choice is sometimes varied and precise. There may be a few errors, but they are rarely distracting.Language is adequate, with some sentence variety and appropriate word choice. There may be some distracting errors, but they do not impede understanding.Language shows a basic control. Sentences show a little variety and word choice is appropriate. Errors may be distracting and may occasionally impede understanding.Sentence structure and word choice are usually simple. Errors may be frequently distracting and may sometimes impede understanding.Sentence structure and word choice are simple. Errors may be frequently distracting and may significantly impede understanding.No Score: Blank, Off-Topic, Illegible, Not in English, or VoidAppendix #20a7Highlight the Following From “The Outsiders Movie Review” by Chris Barsanti1st ParagraphWhat movies were “failures” for Coppola?How do his movies Rumble Fish and Outsiders compare to Coppola’s earlier films?Who appreciated the Outsiders back in the 1980s?How does the author feel about the new version called The Complete Novel?2nd ParagraphWhat features made the original film successful?How are the Greasers and Socs described?Who are the main characters in the film?Which character provides the most emotional moments?3rd ParagraphWhat event in the story really gets things started?What is the “chain of tragedy”?What qualities make the film appealing?4th ParagraphWhat did the author feel Coppola did right with his first version?Why did Coppola add about 20 minutes of material to the new version?What does the author feel is a “good” addition?What does the author feel is a “worse” addition?5th ParagraphAccording to the author, what change damaged new version the most? Why?What did Coppola add instead that supposedly made some scenes laughable?6th ParagraphWhat is the author’s view of all Coppola’s changes?7th ParagraphWhat makes the new DVD version, The Complete Novel, different from the old version?Appendix #20bMISD Literature Unit 8.1 – Reflective Inquiry – Close and Critical Reading—Student THEME: Familiarity alters PerspectiveWhat does the text say? (Briefly summarize the article, “The Outsiders Movie Review,” at the literal level.)How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?)What does the text mean? (What message/theme/concept is the author trying to get across?)So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or the lives of others?)Appendix #20c1MISD Literature Unit 8.1—Reflective Inquiry—Close and Critical Reading—Teacher THEME: Familiarity alters PerspectiveWhat does the text say? (Briefly summarize the article, “The Outsiders Movie Review,” at the literal level.)The article is a movie review of Francis Ford Coppola’s new version of his 1983 film The Outsiders. The author, Barsanti, gives a brief list of Coppola’s films immediately prior to his two teen movies of the 1980s, The Outsiders and Rumble Fish, and tells why these newer films were an improvement. He also compares the changes to the new version subtitled, The Complete Novel. Barsanti gives a brief summary of the plot and characters from The Outsiders as well as some of the features that made the original film successful. He then makes a direct comparison of the features of the original and new versions using them as evidence to prove why one version is more successful than another. He gives a short description of the added footage telling about the scenes that are positive and scenes that are negative in the author’s view. For example, Barsanti claims the added character-building scenes at the beginning further explain the setting and conflict of Ponyboy’s world. On the other hand, scenes added at the end seemed too drawn out or trite. His biggest problem with the new version was the changing of the film’s soundtrack. Barsanti believes that the original symphonic score helped make the film a classic, rather than the Elvis songs and surfer music spliced into The Complete Novel. His final point is that Coppola may not have ruined The Outsiders, but he did seriously wound it.How does it say it? In other words, how does the author develop the text to convey his/her purpose? (What are the genre, format, organization, features, etc.?)The genre is a persuasive article/movie review. The author, Barsanti, has an opinion about two versions of the same film, The Outsiders. The film critic, Barsanti, uses several organizational structures to persuade his reader. He starts with a thesis organizational structure, but later incorporates a compare/contrast organizational structure. The first paragraph introduces the director (Coppola) and his success films of the 1980s (The Outsiders, Rumble Fish). The critic introduces his thesis in the first paragraph: “Coppola can never leave well enough alone, though, and so now we have his new version, The Complete Novel, overall a case in point for directors not being allowed to do this sort of thing.” The second and third paragraphs are a summary/retelling of the original film, complete with the details of actors and roles. The fourth paragraph compares and contrasts the original film and the newer film. He gives specific examples of what is better (the introduction of the film) and what is worse (the padding at the end of the film). The final paragraph provides specific examples to prove his thesis (his changing of the musical score). It is interesting to note that Barsanti compares The Outsiders with the original musical score to Rebel Without a Cause, a classic film; he notes the new music at times makes the film The Complete Novel “laughable.” His last sentence reiterates his original thesis: “Coppola hasn’t managed to ruin his best film of the 1980s, this is too potent material for that, but he did seriously wound it.”What does the text mean? (What message/theme/concept is the author trying to get across?)Some things are best left alone.Appendix #20c2So what? (What does the message/theme/concept mean in your life and/or in the lives of others? Why is it worth sharing/telling? What significance does it have to your life and/or the lives of others?) Answers will vary, but may contain some of the following:Some movies and novels can touch a person’s life based on the subject matter and its relevance to the viewer/reader. The Outsiders is one of those stories, both in novel form and DVD format. Many children, including students that I’ve had in class, identify with the situations and characters as presented in this realistically fictional world. Reading a critical article, such as this movie review, gives me perspectives about the material that I can share with students. It also acts as a discussion starter for how media often shapes, or tries to shape, our perceptions. These critical comments could let me make it a deeper experience for my students as they think about the film/novel as an art form, not simply entertainment.I am reminded that remakes of great movies are never as good as the original. For example, I love Spencer Tracey’s movie Father of the Bride. I remember when Steve Martin decided to do a remake of this classic film. Now I love Steve Martin. I think his movie Parenthood is a work of genius. However, I was very disappointed in the remake. He made the poignant moments funny and somehow diminished the story in his effort to garner laughs. Now I know Spencer Tracey’s movie is black and white, but I think classics should be left alone. Perhaps we need to train kids to appreciate them in their glory and stop trying to make them more contemporary.Appendix #20c3Extension Activity for Chapter #3Music Preferences of the Greasers and the SocsThe Greasers and the Socs were different in many ways. One way they were different was in their music preferences. For this activity, your teacher will play two recording for you from that time period in which the novel takes place:One by Elvis PresleyOne by The BeatlesYou need to determine which music the Greasers would probably have listened to, and which music the Socs would probably have listened to. Why might they have listened to that music?Rate each section on a 1 to 10 scale, with a 10 being what you enjoy most.Who emerges as the favorite recording artist in your class?ELVIS PRESLEYSong: _________________________________Greaser or SocWhy? __________________________________________________________________Rating: _________________________________THE BEATLESSong: __________________________________Greaser or SocWhy? ____________________________________________________________________Rating: __________________________________What are some different music preferences among the groups at your school?Appendix #20d ................
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