This collection uses primary sources to explore The Absolutely True Diary of a Part-Time Indian by Sherman Alexie. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

This collection uses primary sources to explore The Adventures of Huckleberry Finn by Mark Twain. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Examines in detail the works of several American authors. Through close readings of poetry, novels, or plays, subject addresses such issues as literary influence, cultural diversity, and the writer's career. Topic: American Women Authors. This subject, crosslisted in Literature and Women's Studies, examines a range of American women authors from the seventeenth century to the present. It aims to introduce a number of literary genres and styles- the captivity narrative, slave novel, sensational, sentimental, realistic, and postmodern fiction- and also to address significant historical events in American women's history: Puritanism, the American Revolution, industrialization and urbanization in the nineteenth century, the Harlem Renaissance, World War II, the 60s civil rights movements. A primary focus will be themes studied and understood through the lens of gender: war, violence, and sexual exploitation (Keller, Rowlandson, Rowson); the relationship between women and religion (Rowlandson, Rowson, Stowe); labor, poverty, and working conditions for women (Fern, Davis, Wharton); captivity and slavery (Rowlandson, Jacobs); class struggle (Fern, Davis, Wharton, Larsen); race and identity (Keller, Jacobs, Larsen, Morrison); feminist revisions of history (Stowe, Morrison, Keller); and the myth of the fallen woman (take your pick). Essays and inclass reports will focus more particularly on specific writers and themes and will stress the skills of close reading, annotation, research, and uses of multimedia where appropriate. A classroom electronic archive has been developed for this course and will be available as a resource for images and other media materials.

This is the fourth of six lessons in a series of close read-alouds of the text Stone Girl, Bone Girl. In this lesson, students listen to a series of important events in the book, including meeting the Philpot sisters, exploring the Philpot sisters' house, and Pepper's death. Students also Language Dive to better understand fossils and retelling past events. (RL.2.1, RL.2.2, RL.2.3, RL.2.5, RL.2.7)
During the close read-aloud, students participate in a Language Dive conversation that guides them through the meaning of a sentence from Stone Girl, Bone Girl. The conversation invites students to unpack complex syntax--or "academic phrases"--as a necessary component of building both literacy and habits of mind. The sentence was chosen for its use of regular and irregular past tense verbs and for its connection to current and future content. Students then apply their understanding of the structure and meaning of this sentence when thinking about the Unit 1 guiding question, "What do paleontologists do?" and in retelling using regular and irregular past tense verbs in preparation for the Unit 1 Assessment. Invite students to discuss each chunk briefly, but slow down to focus on the highlighted structure that the fossils were the remains.
In Work Time B, students practice orally retelling a portion of the middle of the book to build mastery toward SL.2.2, RL.2.2, and RL.2.5. Students continue to practice retelling in preparation for the Unit 1 Assessment.
In Work Time C, students complete written answers after listening to a portion of the text read aloud. The writing focuses on an event (Pepper's death) and Mother's response to that event (selling their goods). This writing exercise reinforces student understanding of character response in a text. (W.2.8)

Students are introduced to the module guiding questions, which include how the world's freshwater is threatened, in Work Time B. Be aware that some may connect with this topic personally and deeply. Monitor students and determine whether there are any issues surfacing that need to be discussed in more detail as a whole group, in smaller groups, independently, or with families. Students' feelings may be personal, and they are not required to share them.
In Work Time A, students participate in the Infer the Topic protocol to familiarize themselves with the module topic using resources from the texts they will be reading throughout the module (RI.3.1, W.3.8, SL.3.1). They continue to build on the foundations of inferring the topic as they are introduced to the performance task and the module guiding questions in Work Time B.
In Work Time C, students hear a read-aloud of Water Dance and determine the meaning of unfamiliar vocabulary (RL.3.4, L.3.4). This text is meant to engage students in the topic with poetry and illustrations and to allow practice determining the central message (RL.3.2).
Students begin a class KWEL chart in the Closing. The process of adding to the chart will be repeated in later lessons. Pay careful attention to the routine in this lesson to apply it in subsequent lessons.
In this lesson, students focus on working to become effective learners as they concentrate on a characteristic of their choice.

Throughout this module, students revisit the module guiding questions introduced in this lesson: "How do writers capture a reader's imagination?" and "What can we learn from reading literary classics?"
In this lesson, students participate in the Infer the Topic protocol to familiarize themselves with the module topic, using resources from the texts they will be reading throughout the module (RL.3.1, W.3.8, SL.3.1).
In Work Time C, students begin reading Peter Pan retold by Tania Zamorsky. The routine of reading aloud as students follow along silently in their heads, and then recounting the chapter will be repeated (with gradual release) in each lesson until students have finished reading the book in Unit 2. Pay careful attention to the routines in this lesson in order to apply them to subsequent lessons.
In this module, a literary classic is defined as a story that was written a long time ago but is still enjoyed today. It is important students understand that one person's idea of a literary classic might be different from someone else's because there are no set rules about what a literary classic is.
Ensure students understand that they are reading Peter Pan as an example of a literary classic and that we can learn things about different time periods in history through reading literary classics. Also ensure that they understand the importance of studying these classics so they can learn from the narrative techniques used.
It is important to be sensitive to students' and families' feelings and experiences with regard to literary classics in the U.S., such as Peter Pan--feelings that may range from very positive to somewhat neutral to very negative. Some people love the adventure, the characters, and the descriptive writing; others find the racism and sexism offensive--for example, the way Mrs. Darling stays at home and looks after duties there while Mr. Darling goes out to work--and also the descriptions of "Indians." These issues are discussed more in the next lesson through an informational context text, but it is important to be prepared to handle them sensitively should they arise.
After reading each chapter, students have time to reflect. Monitor your students and determine whether issues are surfacing that need to be discussed in more detail as a whole group, in smaller groups, or independently.
ELL supports within the Meeting Students' Needs column have changed. Each support is labeled and fully explained the first time it is used, then labeled and condensed in subsequent lessons (see the Unit 1 Overview).
Note that the Mini Language Dive format has changed to reflect a more student-centered approach (see the module overview).
Beginning in this lesson and throughout much of Units 1-2, students are asked to follow along silently as you read the text aloud or to read chorally as a class or with partners. This builds their fluent reading skills. In this lesson, students follow along, reading silently in their heads as the teacher reads Chapter 1 of Peter Pan aloud during Work Time C.
This lesson is the first in a series of three that include built-out instruction for the use of Goal 4 Conversation Cues. Conversation Cues are questions teachers can ask students to promote productive and equitable conversation (adapted from Michaels, Sarah and O'Connor, Cathy. Talk Science Primer. Cambridge, MA: TERC, 2012. Based on Chapin, S., O'Connor, C., and Anderson, N. [2009]. Classroom Discussions: Using Math Talk to Help Students Learn, Grades K-6. Second Edition. Sausalito, CA: Math Solutions Publications). Goal 4 Conversation Cues encourage students to think with other students to expand the conversation. Continue drawing on Goals 1-3 Conversation Cues, introduced in Modules 1-2, and add Goal 4 Conversation Cues throughout Modules 3-4 to more strategically promote productive and equitable conversation. Refer to the Tools page for additional information on Conversation Cues. Consider providing students with a thinking journal or scrap paper. Examples of the Goal 4 Conversation Cues you will see in the remaining modules are (with expected responses):
To encourage students to compare ideas:
Teacher: "How is what _____said the same as/different from what _____ said? I'll give you time to think and write."
Student: "_____ said _____. That's different from what _____ said because _____."

To encourage students to agree or disagree and explain why:
Teacher: "Do you agree or disagree with what your classmate said? Why? I'll give you time to think and write."
Student: "I agree/disagree because _____."

To encourage students to add on to others' ideas:
Teacher: "Who can add on to what your classmate said? I'll give you time to think and write."
Student: "I think that _____."

To encourage students to explain others' ideas:
Teacher: "Who can explain why your classmate came up with that response? I'll give you time to think and write."
Student: "I think what she's saying is _____."

Note that Goal 4 Conversation Cues are not built into the Discussion Norms anchor chart, as these cues are best suited for teachers facilitating student conversations.

A brief history of conflicting ideas about mankind's relation to the natural environment as exemplified in works of poetry, fiction, and discursive argument from ancient times to the present. What is the overall character of the natural world? Is mankind's relation to it one of stewardship and care, or of hostility and exploitation? Readings include Aristotle, The Book of Genesis, Shakespeare, Descartes, Robinson Crusoe, Swift, Rousseau, Wordsworth, Darwin, Thoreau, Faulkner, and Lovelock's Gaia. This subject offers a broad survey of texts (both literary and philosophical) drawn from the Western tradition and selected to trace the growth of ideas about nature and the natural environment of mankind. The term nature in this context has to do with the varying ways in which the physical world has been conceived as the habitation of mankind, a source of imperatives for the collective organization and conduct of human life. In this sense, nature is less the object of complex scientific investigation than the object of individual experience and direct observation. Using the term "nature" in this sense, we can say that modern reference to "the environment" owes much to three ideas about the relation of mankind to nature. In the first of these, which harks back to ancient medical theories and notions about weather, geographical nature was seen as a neutral agency affecting or transforming agent of mankind's character and institutions. In the second, which derives from religious and classical sources in the Western tradition, the earth was designed as a fit environment for mankind or, at the least, as adequately suited for its abode, and civic or political life was taken to be consonant with the natural world. In the third, which also makes its appearance in the ancient world but becomes important only much later, nature and mankind are regarded as antagonists, and one must conquer the other or be subjugated by it.

The media plays an important role in how you interpret current events. The news media can use particular wording to sway public opinion. This seminar will help you build necessary skills to analyze and understand the media you consume to help you make informed decisions.StandardsCC.8.5.9-10.F: Compare the point of view of two or more authors for how they treat the same or similar topics, including which details they include and emphasize in their respective accounts.CC.8.5.9-10.I Compare and contrast treatments of the same topic in several primary and secondary sources.CC.1.2.11-12.D Evaluate how an author’s point of view or purpose shapes the content and style of a text.CC.1.2.11-12.F Evaluate how words and phrases shape meaning and tone in texts.

This collection uses primary sources to explore The Fire Next Time by James Baldwin. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Major narrative texts from diverse Western cultures, beginning with Homer and concluding with at least one film. Emphasis on literary and cultural issues: on the artistic significance of the chosen texts and on their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Syllabus varies, but always includes a sampling of popular culture (folk tales, ballads) as well as some landmark narratives such as the Iliad or the Odyssey, Don Quixote, Anna Karenina, Ulysses, and a classic film. This class will investigate the ways in which the formal aspects of Western storytelling in various media have shaped both fantasies and perceptions, making certain understandings of experience possible through the selection, arrangement, and processing of narrative material. Surveying the field chronologically across the major narrative genres and sub-genres from Homeric epic through the novel and across media to include live performance, film, and video games, we will be examining the ways in which new ideologies and psychological insights become available through the development of various narrative techniques and new technologies. Emphasis will be placed on the generic conventions of story-telling as well as on literary and cultural issues, the role of media and modes of transmission, the artistic significance of the chosen texts and their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Authors will include: Homer, Sophocles, Herodotus, Christian evangelists, Marie de France, Cervantes, La Clos, Poe, Lang, Cocteau, Disney-Pixar, and Maxis-Electronic Arts, with theoretical readings in Propp, Bakhtin, Girard, Freud, and Marx.

Complementary to 21L.001. A broad survey of texts; literary, philosophical, sociological; studied to trace the growth of secular humanism, the loss of a supernatural perspective upon human events, and changing conceptions of individual, social, and communal purpose. Stresses appreciation and analysis of texts that came to represent the common cultural possession of our time.

This collection uses primary sources to explore John Steinbeck's novel, The Grapes of Wrath. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

The lessons in this unit provide you with an opportunity to use online resources to further enliven your students' encounter with Greek mythology, to deepen their understanding of what myths meant to the ancient Greeks, and to help them appreciate the meanings that Greek myths have for us today. In the lessons below, students will learn about Greek conceptions of the hero, the function of myths as explanatory accounts, the presence of mythological terms in contemporary culture, and the ways in which mythology has inspired later artists and poets.

This collection uses primary sources to explore Louisa May Alcott's novel, Little Women. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Close study of a limited group of writers. Instruction and practice in oral and written communication. Topic for Fall: Willa Cather. Topic for Spring: Oscar Wilde and the 90s. From Course Home Page: This seminar provides intensive study of texts by two American authors (Herman Melville, 1819-1891, and Toni Morrison, 1931-) who, using lyrical, radically innovative prose, explore in different ways epic notions of American identity. Focusing on Melville's Typee (1846), Moby-Dick (1851), and The Confidence-Man (1857) and Morrison's Sula (1973), Beloved (1987), Jazz (1992), and Paradise (1998), the class will address their common concerns with issues of gender, race, language, and nationhood. Be prepared to read deeply (i.e. a small number of texts with considerable care), to draw on a variety of sources in different media, and to employ them in creative research, writing, and multimedia projects.

Intensive close study and analysis of historically significant media "texts" that have been considered landmarks or have sustained extensive critical and scholarly discussion. Such texts may include oral epic, story cycles, plays, novels, films, opera, television drama and digital works. Emphasizes close reading from a variety of contextual and aesthetic perspectives. Syllabus varies each year, and may be organized around works that have launched new modes and genres, works that reflect upon their own media practices, or on stories that migrate from one medium to another. At least one of the assigned texts are collaboratively taught, and visiting lectures and discussions are a regular feature of the subject.

Emphasis on the analytical reading of lyric poetry in England and the United States. Syllabus usually includes Shakespeare's sonnets, Donne, Keats, Dickinson, Frost, Eliot, Marianne Moore, Lowell, Rich, and Bishop. This subject is an introduction to poetry as a genre; most of our texts are originally written in English. We read poems from the Renaissance through the 17th and 18th centuries, Romanticism, and Modernism. Focus will be on analytic reading, on literary history, and on the development of the genre and its forms; in writing we attend to techniques of persuasion and of honest evidenced sequential argumentation. Poets to be read will include William Shakespeare, Queen Elizabeth, William Wordsworth, John Keats, T.S. Eliot, Langston Hughes, Sylvia Plath, Elizabeth Bishop, and some contemporary writers.

Consideration of some substantial twentieth-century poetic voices. Authors vary, but may include Moore, Frost, Eliot, Stevens, and Pound. This course considers some of the substantial early twentieth-century poetic voices in America. Authors vary, but may include Moore, Frost, Eliot, Stevens, and Pound. We'll read the major poems by the most important poets in English in the 20th century, emphazinig especially the period between post-WWI disillusionment and early WW II internationalism (ca. 1918-1940). Our special focus this term will be how the concept of "the Image" evolved during this period. The War had undercut beliefs in master-narratives of nationalism and empire, and the language-systems that supported them (religious transcendence, rationalism and formalism). Retrieving energies from the Symbolist movements of the preceding century, early 20th century poets began to rethink how images carry information, and in what ways the visual, visionary, and verbal image can take the place of transcendent beliefs. New theories of linguistics and anthropology helped to advance this interest in the artistic/religious image. So did Freud. So did Charlie Chaplin films. We'll read poems that pay attention both to this disillusionment and to the compensatory joyous attention to the image: to ideas of the poet-as-language-priest, aesthetic-experience-as-displaced-religious impulse, to poetry as faith, ritual, and form.

This seminar addresses the inherent challenges of translating poetry from different languages, cultures and eras. Students do some translation of their own, though accommodations are made if a student lacks even a basic knowledge of any foreign language.

Investigates relationships between the two media, including film adaptations as well as works linked by genre, topic, and style. Explores how artworks challenge and cross cultural, political, and aesthetic boundaries. Topic for Fall: Shakespeare, Film, and Media. Meets with CMS.840, but assignments differ. Filmed Shakespeare began in 1899, with Sir Herbert Beerbohm Tree performing the death scene from King John for the camera. Sarah Bernhardt, who had played Hamlet a number of times in her long career, filmed the duel scene for the Paris Exposition of 1900. In the era of silent film (1895-1929) several hundred Shakespeare films were made in England, France Germany and the United States, Even without the spoken word, Shakespeare was popular in the new medium. The first half-century of sound included many of the most highly regarded Shakespeare films, among them -- Laurence Olivier's Hamlet and Henry V, Orson Welles' Othello and Chimes at Midnight, Kurosawa's Throne of Blood, Polanski's Macbeth and Zeffirelli's Romeo and Juliet. We are now in the midst of an extremely rich and varied period for Shakespeare on film which began with the release of Kenneth Branagh's Henry V in 1989 and includes such films as Richard Loncraine's Richard III, Julie Taymor's Titus, Zeffirelli and Almereyda's Hamlet films, Baz Luhrmann's William Shakespeare's Romeo + Juliet, and Shakespeare in Love. The phenomenon of filmed Shakespeare raises many questions for literary and media studies about adaptation, authorship, the status of "classic" texts and their variant forms, the role of Shakespeare in youth and popular culture, and the transition from manuscript, book and stage to the modern medium of film and its recent digitally inflected forms. Most of our work will involve individual and group analysis of the "film text" -- that is, of specific sequences in the films, aided by videotape, DVD, the Shakespeare Electronic Archive (http://shea.mit.edu), and some of the software tools for video annoatation developed by the MIT Shakespeare Project under the MIT-Microsoft iCampus Initiative. We will study the films as works of art in their own right, and try to understand the means -- literary, dramatic, performative, cinematic -- by which they engage audiences and create meaning. With Shakespeare film as example, we will discuss how stories cross time, culture and media, and reflect on the benefits as well as the limitations of such migration. The class will be conducted as a structured discussion, punctuated by student presentations and "mini-lectures" by the instructor. Students will introduce discussions, prepare clips and examples, and the major "written" work will take the form of presentations to the class and multimedia annotations as well as conventional short essays. The methodological bias of the class is close "reading" of both text and film. This is a class in which your insights will form a major part of the work and will be the basis of a large fraction of class discussion. You will need to read carefully, to watch and listen to the films carefully, and develop effective ways of conveying your ideas to the class.