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5: Traditional vs. CCSS Approaches to Canonical Texts
Goals and OutcomesOverarching Objectives of the November 2013 Network Team Institute
Participants will be able to describe the structure and content of the Grade 9 NY instructional module.
Participants will be able to implement the modules with fidelity, scaffolding all students to the rigor the curriculum requires.
Participants will be able to adapt the curriculum module to meet the readiness and needs of different students.
High-Level Purpose of this Session
The purpose of this session is for participants to understand the distinction between traditional and CCSS approaches to teaching canonical texts and to consider how a CCSS approach impacts instruction.
What do we want participants to be able to do as a result of this session? How will we know that they are able to do this?
Distinguish between traditional approaches to canonical texts and a CCSS treatment of those texts
Use NY ELA curriculum materials to approach canonical texts differently
Aligned survey question
Related Learning Experiences Session 2a/3a: Scaffolding to Rigor in High School English Language Arts: Supporting Student Access to Complex Texts
Session 4a: Teaching Literary Non-Fiction
Session 7a: Strategies for Adaptation: Providing Support to Diverse Learners
Key Points The NY Curriculum Modules take a standards-aligned approach to canonical texts.
One of the biggest shifts in these units is the deliberate, slowed down pace that allows for students to delve deeply into the words on the page.
Rather than focus on preconceived schema, background on the author, etc. the modules attempt to provide students with authentic text-based experiences that allow them to interpret and create their own meaning from the text.
4 7 min In pairs, participants surface traditional approaches to teaching canonical texts by answering the following questions:
What are some of the ways you have taught or seen canonical texts taught traditionally?
In your table groups, discuss the following questions:
What are the opportunities and potential pitfalls of teaching canonical texts?
How can teachers’ preconceived schema impede students’ ability to experience texts?
Responses will vary, but key points may include:
Traditional approaches to canonical texts may include: providing background knowledge or biographical information about the author; context around the work; information around when it was written or set.
Canonical texts may traditionally be “covered” in their entirety, as opposed to closely reading key scenes in great detail.
As ELA teachers, canonical texts can often be near and dear to our hearts! As such, teachers may occasionally bring preconceived schema or personal interpretation into the classroom that has the
close reading, annotation, using evidence, building vocabulary, and participating in structured discussion.
The unit focuses on Shakespeare’s use of language to create meaning and build characters; students delve deeply into the text beyond plot and theme.
The lessons do not focus on the works and background of Shakespeare, e.g., background on the poet, Globe Theater, etc.
In order to create the time and space needed for close reading, key scenes are read and analyzed closely as opposed to “covering” the entire text but in less depth.
What do you notice about the TDQs, Homework or Quick Writes? How does the lesson address vocabulary? What skills does the lesson attempt to build? What other lesson features stand out to you?
Key Points: TDQs scaffold to the Quick Write (lesson assessment) while
homework extends the day’s learning. Students spend considerable time building an understanding of
Shakespearean language, considering multiple meanings and word nuance. For example, questions 1–5 focus on the use of civil; 9–14 analyze additional specific word choices and their impact on meaning and tone.
The lesson attempts to build students’ close reading skills by having them cite textual evidence. Vocabulary-based questions ask students to determine the meanings of words and phrases as they are used in
10 5 min Ask participants to answer the additional questions for discussion:
What does the audience know that Juliet does not yet know?
What effect does Shakespeare create by ordering the events this way? Consider how your knowledge of what has just happened influences the way you understand this passage.
Look for participants to surface the following key points:
The audience knows that Romeo has killed Tybalt and been banished by the Prince, but Juliet does not.
The effect is one of tragedy or loss, because Juliet is so happy and impatient for the night to come, but the reader knows that what is coming is the knowledge that Romeo is banished. It makes the passage seem sad, even though the words are full of excitement. It is sad because the reader knows Juliet won’t get what she wants.
Remind participants that they have an additional excerpt (Act 3, Scene 1), as well as the complete Lesson 13 for reference.
11 9 min Display the Chagall painting on the screen. Ask participants to look at the painting and answer questions 1–5 on the stylistic choices tool. Tell them to feel free to get up and get closer to the image if space permits. Tell participants that students will have been introduced to this tool earlier in the unit, so they will be familiar with it.10 minutes
Have groups report out their discussion.
Ask participants to consider the last two questions in pairs. If space permits, form quads for this discussion. Lead a short debrief of this activity, asking:
What was challenging about considering the play through this lens? What might students find difficult? What other “media” could support a lesson like this one?
Look for participants to surface the following key points:
Considering the treatment of a text in another medium requires close and careful knowledge of the source text first.
Students who do not have much experience analyzing art may have