S2LS

Student Led Lesson Supplements

For Purgatory, I want to try something that seems to have worked so far—at least more often than not. Everyone in the class will lead us through a part. My classes have done this in the past, but with varied success--I figure that more explanation and structure might increase the value of this sort of activity.

I want you to choose your own groups, but I'll allow people to work alone--if you give a compelling reason. Your group will meet and create a lesson (at least fifteen minutes and no longer than a class period) for the class. I will plan what I do around you guys, let you go first and hopefully play off of what you do. If we do this well, we will get a fuller picture of the book than if I led us through alone or if I turned the reigns completely over to you.

Typically in Literature classes I try offer some variety; hopefully we'll do the same. Think two-day activities and also consider what you like to do as a student. You could get us in groups, have a writing question, have us draw, do a jigsaw, have us go on-line, lead a discussion, you could bring in outside reading to complement the book.

You'll need to plan ahead--winging it won't do. You'll need to consider what others have done--we don't want too much of one thing. You'll need to go over your plan with me--I'll want to base my plans on you.

Six Groups—here are your cantos and let’s try to pin down dates on which you’ll teach.

Pride 10-12 (I modeled this one)
Envy 13-14
Anger 15-16
Sloth 17-18
Avarice/Prodigal 19-21
Gluttony 22-24
Lust 25-27


Below, you'll find a lesson plan for your group to use. It should help you get started, think through and plan what you'll do. I'd like one from each group.
Lesson Plan
Group members:

Objectives/Goals of the lesson:






Overview (what will go on the board)




Section(s) covered:



Key quotations and page references



Detailed description of the activities and methods used to achieve objective:
(Include time needed for each activity)








What did the group before you do?
What did the group after you do?

Materials needed:

Pouches Presentation

Dante’s Hell dedicates the most cantos to the Eighth circle. Ten groups will form and take on the responsibility of being the class experts. Each group should leave the class with a clear idea of the who/what/why of each chasm or pouch.

Here are the divisions:

1) The Seducers
2) The Flatterers
3) Simonists, that is, those who bought and sold sacred objects and 4) Diviners, Astrologers and Magicians.
5) The Barrators.
6) The Hypocrites
7) The Thieves.
8) The Fraudulent Counselors.
9) The Sowers of Scandal and Schism.
10) The Falsifiers

go to
Outline of Inferno
scroll down and see which ones interest you. (Canto 18-Canto 30)


Some things to do/cover/consider:

• Concise Summary
• Describe the scene
• Cite/read passages
• Discuss Contrapasso
• Ask questions of the class
• Give needed background—use footnotes, but go beyond that
• Get images to show
• Take questions

You and your partner(s) need to decide how best to teach/explain your chasm. You can work together and present separately, work together present together or do your own thing—I just don’t want too much overlap. We will go in order and use these orations as the foundation for our discussion


Some things to remember when writing your presentations:

• Keep your audience in mind—think of what would you want to know and what
• kind of presentations do you like.
• Know your subjects well; pick an angle that interests you--no one will be
• interested if you aren't.
• You can't fit everything you know in, go with the important parts.
• Taking questions will allow your audience to learn what they want to know.

Inferno Reading Schedule

Read to the following cantos
for the day listed

Friday 4/6: Inf. 3

M 4/9 Inf. 8
T 4/10 Inf. 12
R 4/12 Inf. 17

F 4/13 Inf. Pouches Presentations read your particular cantos first

M 4/16 No Pfouts
Reading time & Prep for Pouches

T 4/17 Inf. 31
R 4/19 Inf. 34
F 4/20 No School

M 4/23 Inferno Wrap-up
T 4/23 Seven/Start Purgatory
R 4/25 Peer Edit Paper
F 4/26 Paper Due Purg.8

Syllabus

Dante
4th Quarter/AM Block
1 LA Learning Unit
Andrew Pfouts

Throughout the nine weeks, we will journey with Dante, the poet and pilgrim, through Hell, Purgatory, and Heaven. This Medieval epic poem stands as a timeless piece of literature. The class will read the entire Divine Comedy; it will be the focus of discussions, seminars, and writings.


I hope to provide...

• -students with an introductory or increased sense of Dante’s Commedia
• -opportunities for students to work through ideas (their own as well as those of others).
• -support in understanding a rich text.
• -to increase student proficiency in reading, speaking, writing and thinking.

Expectations:
Students will complete the following:

• -frequent, informal, in-class writings
• -in class discussions and seminars—some student led
• -2 formal papers—or a potential on-going project
• -a final paper or project and presentation of it
• -participation in a class project

Grading:
A Consistently exceptional work; all assignments turned in on time; exemplary attendance and participation.
B Consistent quality work coupled with flashes of brilliance; thoughtful participation in nearly all classroom activities
C student did not use his/her abilities to pursue the objectives of the class, but did show some effort.
IP Flatliner. Student wouldn't even respond to begging, when s/he showed up


Outline (rough):

Week one-four 1/2: Inferno (project/paper due)
Week four1/2 -seven: Purgatorio (project/paper due)
Week seven-eight: Paradiso (Final P)
Week nine: Projects, Presentaions & Closure?





Reading, Literature and Culture Standards

1. reading a variety of literature (for example, fiction, nonfiction, myths, poems, biographies, autobiographies, science fiction, fantasy, supernatural tales, satires, parodies, plays, American literature, British literature, world and ancient literature)

2. responding to literature (e.g., suggesting interpretations; recognizing possible ambiguities, nuances, and complexities in written works; interpreting passages of a novel in terms of their significance to the novel as a whole; focusing on the themes of a literary work; explaining concepts found in literary works)

3. understanding the ways in which literature reflects the ethnic background of the author and the culture in which it was written

4. understanding the historical context in which a work was written

5. understanding recurrent themes in American and other literature

6. understanding the use of a variety of literary elements, devices, and techniques (for example, character, plot, setting, diction, idiom, tone, point of view, shift in perspective, theme, metaphor, allusion, personification, parallelism, alliteration, hyperbole, literary archetypes, symbolism, irony, mood, dialogue, style, satire and allegory)

7. using responsive listening skills (for example, paraphrasing, summarizing, asking questions, giving feedback, note taking)

8. contributing to class and group discussions (for example, seminars, symposiums, scored discussions)

9. synthesizing and paraphrasing information to demonstrate comprehension

10. forming hypotheses about print and non-print materials (for example, novels, film, art, and music)

11. understanding influences on a reader’s response to literary works (for example, personal values, perspectives, experiences)

12. understanding how narration, description, definition, persuasion, and evaluation are used in literary works

13. identifying unanswered questions in written materials

14. using word recognition and comprehension strategies in context

15. using a variety of strategies to develop vocabulary and determine word meaning
16. extracting information from written material (for example, outlining, note taking)

Speaking Elements:

1. organizing ideas to achieve cohesion in speaking (for example, ordering major points, using concise language and transitions to pull ideas together)

2. speaking using variety of expository and creative forms

3. using descriptive language that stimulates the imagination of the listener (for example, specific names for people, objects, and places; concrete images; sensory detail, descriptions of specific actions, movements, and gestures; the interior monologue or feelings of characters)

4. adjusting word choice and delivery to particular audiences and for particular purposes (for example, to defend a position, to entertain, to inform, to persuade)

5. using a variety of strategies to draft and revise spoken message (for example, rethinking content, organization, and style; checking accuracy and depth of information; redrafting for clarity and audience; reviewing to ensure that content and language are consistent with purpose)

6. using varied grammatical structures in speaking (for example, simple, compound, complex sentences; subject-verb agreement; active and passive voice; pronoun agreement)

7. supporting and defending an argument (for example, articulating a position through a thesis statement; anticipating and addressing counter arguments; supporting assertions using specific rhetorical devices such as appeals to logic, appeals to emotion, and personal anecdotes; developing arguments using a variety of methods such as examples and details, commonly accepted beliefs, expert opinion, cause-and-effect reasoning, and comparison-contrast reasoning)

8. developing and supporting theses about the craft and significance of particular works of literature, both classic and contemporary

9. evaluating own and others’ effectiveness in discussions and in formal presentations (for example, evaluating accuracy, relevance, and organization of information; evaluating clarity of delivery; evaluating purpose, audience, and content; identifying types of arguments used; determining credibility of evidence)

10. using a variety of conventional techniques for presentations (for example, modulation of voice, intonation, volume, pitch, rate, inflection, tempo, enunciation, posture, gestures, eye contact, poise, self-control)
11. controlling sentence rhythm (for example, implementing syntax variety, varying sentence patterns