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Introduction Introduction ZORA NEALE HURSTON
As English teachers, one of our primary goals is to help students become confident, independent readers who find reading a natural way of discovering and incorporating information and experience into their lives. We encourage our students to read widely and deeply, and to read increasingly complex texts that they might not pick up on their own. In author studies students will develop a deep knowledge of a single writer by reading several works by and about that writer, by making connections between texts, and by drawing some general conclusions about that writer’s subject matter, characters, themes, and style. Through such studies, they continue to develop their ability to synthesize information as they discover relationships between a writer’s life and works, and they learn how to approach the deep study of a single work as they move through a core work by an author in class.
Why Zora Neale Hurston? In folklore as in all other forms of human behavior, the world is a great big old serving platter and all the localities are like eating plates. All of the plates get helped with food from the platter, but each plate seasons to suit itself… that is what is know as originality. Zora Neale Hurston in Sorrow’s Kitchen by Mary Lyons, p.60
Zora Neale Hurston is nothing if not original. Author of seven books (four novels, two books of folklore and an autobiography) and more than fifty short stories, plays and essays, Zora Neale Hurston wrote more than any other black woman of her time. She lived a fascinatingly rich and varied life. Several of her works are now considered canonical. She is widely studied in high schools and colleges throughout the country, yet she died poor and alone in Florida in 1960.
But most of all, Zora Neale Hurston is a storyteller. She creates realistic characters and speech in human situations, situations that ring true and familiar to many of us. Students will find Zora Neale Hurston’s stories familiar, because she writes of situations, choices and emotions that we all experience. Many 9th graders will recognize themselves in Zora Neale Hurston’s characters and in the situations they confront. When they return to her works, as many will when they are adults, they will once again recognize themselves in new ways.
Though some students may find the dialect in Their Eyes Were Watching God difficult, they will recognize it as authentic. As they become accustomed to it, they will discover that the singing, rhythmical style brings the characters to life and adds new depths to the reader’s imagination.
Certainly, students will find this particular author study challenging, but, at least in part, this is the point. Ninth-grade students are in a transitional period, moving from childhood toward adulthood. One of our goals is to challenge them with increasingly multi-layered, complex texts, while not overwhelming them or diminishing their delight in reading for the sheer enjoyment or reading. A mix of adolescents and adult literature marks their reading as they work toward meeting the reading standards. The adolescent literature they read deals with issues of high interest and import in their lives. It is quality literature that, for the most part, students can read independently. The adult texts 9th graders are reading are often increasingly multi-layered and complex in idea, character development, structure, and language. It is these texts that we must teach in our classrooms, and it is these that form the core of the reading in this author study. In choosing to teach such challenging works, we not only encourage students to expand the boundaries of their reading choices, we also provide them with a growing range of strategies to bring to the reading process.
ObjectivesThe primary objectives of this author study are to: · Learn and internalize strategies for approaching the deep study of a single work of literature (through the class study of Their Eyes Were Watching God) · Learn and internalize strategies for approaching the independent study of a work (through independent reading and discussion of supplementary texts by and about Zora Neale Hurston) · Develop familiarity with elements of narrative (character, plot, setting, theme, point of view) · Develop familiarity with elements of style (voice, tone, diction) by looking closely at multiple works by a single writer · Continue to develop the ability to synthesize information, to see relationships among texts and between texts and our own lives.
Materials Books
Audio Tapes
Lesson LESSON 1: DEFINING THE AUTHOR STUDY Note: This lesson is similar to the first lesson in the Robert Frost author study. If your students have already completed that study, you may wish to gloss over this lesson, reminding them of key points, and move directly into Lesson 2. Opening Explain that for the next few weeks we will be studying one narrative writer in depth. Tell students that there are two pivotal words in that statement: “studying” and “in depth.” Then ask, How do you approach something differently it you are going to really “study” it for some reason, rather than if you are simply going to use it and put it always? How, for instance, might you look at a car or a stereo system differently if you were going to spend money on it than if you were simply going to use it to listen to temporarily and then move on? The students might suggest such actions as: looking more closely remembering what you see and what you think, remembering the details, making notes, and drawing some conclusions about it.
Your goal now is to help students begin to think about the kinds of thins we look at when we study a person’s work, or a writer’s work, in depth. Through this discussion, students will touch on each of the elements of narrative (setting, plot, character, etc.), because these are the forces that shape all of our lives. Without explicitly identifying these as elements of narrative in this early discussion, help students identify these components as the things that will give them their best insights into the person they are studying. Later, as you are discussing Their Eyes Were Watching God, you will return to this discussion to point out that the elements of narrative are in fact that elements of life. For now, just try to get these out on your communal classroom table.
Note: If students have completed the Narrative Account Unit, you might ask them, What did you examine as you studied your own lives in depth when you composed you lifelines?
Work Period Initiate this discussion by asking students why the might choose to study a person, any person, in depth. You might ask them why, for example, magazines like People have such wide circulation. What is our fascination with other people’s lives? Students may make such comments as:
Continue the discussion by asking students what kinds of things they would look at to gain a deeper understanding of a person. What kinds of places and events and relationships contribute to shaping a person’s beliefs and personality? They may say things like following:
Now ask students, So when the person you are studying is not yourself, how do you go about finding out these things? Remind them of the different ways we can find out about people (through what they say, through what others say about them, through what they do, through their physical appearance and/or the things they have around them. It is these same tools they will use to find out about this author.
Reiterate that this is a study of an author. Ask, What specific kinds of things might we want to find out about an author?
ClosingDistribute the Author Study Requirements Handout and review it with students. Assure them that, though this process might sound confusing, it will all fall into place as you move through the study. Remind them that you are dong this author study as a class, which means that you will rely on each other as you move through this study.
Summary:
Name: ___________________________________ Book: _______________________
Date: ___________________________________ Pages: _______________________
Author Study Requirements
As a class we will study Their Eyes Were Watching God. Because we are studying the novel in depth, you will track the elements of narrative as we move through the book: character and character relationships, subject matter and plot, ideas and themes, symbols, and style (point of view, narrative structure, diction, etc.)
Independently, you will also read selections from additional works by and about Zora Neale Hurston. You will discuss these selections in groups, examining what they say about Zora Neale Hurston’s subject matter, ideas and writing style.
Finally, using all of this information, you will work classmates to create a project in which you share your new understanding of this writer style.
CORE READINGTheir Eyes Were Watching God
INDEPENDENT READING REQUIREMENTRead at least one of the three sets of readings (see page 17), pacing yourself to be sure that you complete all six reading assignments prior to Lesson 21.
As you read each independent-reading selection, dedicate a page in the independent Reading section of your Sourcebook. On this page, be sure to note:
For each of these, write at least two questions that, if someone answered them, you would more completely understand the section.
Author Study Requirements (Continued)
Your question will be discussed during class and your role will make to be sure that they are answered clearly enough do that you can proceed with you study at Zora Neale Hurston.
Set # 1: from I Love Myself When I Am Laughing And Then Again When I Am Looking Mean And Impressive, ed. Alice Walker.
Assignment 1: Essays About Hurston Dedication and Introduction (pages 1-24) Assignment 2: Essays By Hurston How it Feels To Be Colored Me (pages 150-155) The “Pet” Negro System (pages 156-162) My Most Humiliating Jim Crow Experience (pages 163-164) Assignment 3: Autobiography By Hurston From Mules and Men (pages 82-121)
Set # 2: Sorrow’s Kitchen. The Life and Folklore of Zora Neale Hurston by Mary E. Lyons. (I book equivalent) The assignment breakdown for the biography are delineated below:
Assignment 1: Preface (pages ix) Ch. 1-5 (pages 1-60) Assignment 2: Ch. 6-10 (pages 60-96) Assignment 3: Ch. 11-12 (pages 96-125)
Set # 3: Dust Tracks on a Road by Zora Neale Hurston.
Assignment 1: Forward Ch. 1-4 (pages 1-44) Assignment 2: Ch. 9-11 (pages 121-176) Assignment 3: Appendixes (pages 235-297
Name: _______________________________________________
Reading Partners: _____________________________________
Reading Schedule
Zora Neale Hurston Author Study
Their Eyes Were Watching God
Lesson 7 Chapters 4-6 Eyes Rolesheet _______________
Lesson 9 Chapters 7-11 Eyes Rolesheet _______________
Lesson 14 Chapters 12-18 Eyes Rolesheet _______________
Lesson 16 Finish Eyes Rolesheet _______________ Independent Reading Set Number __________________
Reading Partners: _______________________________________________________
Lesson 15 Assignment # 1 Rolesheet _______________
Title: Pages:
Lesson 19 Assignment # 2 Rolesheet _______________
Title: Pages:
Lesson 21 Assignment # 3 Rolesheet _______________
Title: Pages:
Lesson LESSON 2: ESTABLISHING PURPOSES AND PROCESS
OpeningExplain that students will need to designate a section of their Sourcebooks for the author study. Here they will record responses to and questions about their reading, their group discussions, and their projects. Begin this Sourcebook by designating the first page as a Title Page and the third as a Table of Contents. The Table of Contents page should have three columns titled Date, Title and Page Number.
When students have finished setting up their table of contents, ask them to go to the seventh page and designate that page and those that follow as a place to record ideas and responses about Their Eyes Were Watching God.
When they have put this title on the top of the page, ask them to designate the page as page 1. They should then number pages 2-30.
The second section of the Sourcebook will begin on page 31 and should be titled Independent Reading About Zora Neale Hurston.
Have them continue numbering the next 20 pages. On page 51 they will start the final section of their Sourcebook, Lifelines.
It is important that students title and date each entry in their Sourcebook to identify what they are reading or what project they are working on.
Work PeriodHave students turn to the Lifelines section of their Sourcebooks. Explain that lifelines are any quotations from whatever they are reading that affect their lives. Tell them that these are mainly lines that you choose for reason of your own, though you might on occasion ask students to include some lines that are particularly important to a class discussion. The Lifeline section of the notebook might include lines that: · Jump off the page as great descriptive passages · Sound beautiful or worthy or memorizing · Remind students of a situation they have lived
· Are so well-crafted and beautiful that students just love the sound of them · Puzzle students · Make students laugh, cry or give them shivers · Make students think
Explain that the students are to write the quotation and the source (author, work, page number, etc.) in their Sourcebooks, along with their thoughts, reactions or other notes that they want to include. Tell them they do not have to comment on every quotation, or, for that matter, on any quotations they include, but they certainly can if they want to. The assignment is to start a collection of lines that are meaningful in some way to their lives.
As they interview Their Eyes Were Watching God, students should find at least one lifeline and record it in this section of their Sourcebook. Closing
Distribute copies of Their Eyes Were Watching God, inviting the students to “interview” By looking at the cover, reading the quotes on the back, looking at the table of contents, Lesson LESSON 3: “STUDYING”VS”READING FOR PLEASURE”
OpeningTell students that we will all study Their Eyes Were Watching God for two reasons:
Work PeriodMove into a class discussion by asking, Given these purposes, what will you do as you read this book that you might not do if you were simply reading it for pleasure? Take notes about characters, subject matter, ideas and the style of the novel.
Emphasize that it is important for students to remember that if they were reading just for pleasure of for a lighter kind of study, they might not track all of these things through this entire book. In fact, if students were just reading for pleasure, the probably would not take notes at all. Remind them that the purposes of this particular reading experience is to go beyond simple enjoyment (though hopefully they will find that, too). Remind them that they are studying, which is different from just reading, this particular work to learn how to study a given novel in depth and to learn how to discover what kinds of things to look for when their task is to gain a broad insight into the work of a single writer. So, given this particular deep study, each student will track all of the elements of narrative to see how each develops and to see how they work together to create a powerful, unified whole. Lesson LESSON 4: GROUNDING STUDENTS IN THE NOVEL, CHAPTER 1 Opening
Have the students share the sections they identified as interesting or important in the Preface. Collect the questions they pose on a chart that will be displayed throughout this author study. As the class formulates answers to the questions, note them on the chart.
Overview
To ground students in the novel, read the first three chapters aloud (or play the audio tape), taking your time, stopping frequently and discussing as you go (suggestions for discussion are below). The task here is to acquaint students with the sound of the dialect and the outline of the story, and to introduce them to the tone, situation and ideas in the text. Read or play a bit and then stop, giving students ample time to anoint their texts with sticky-notes and to write notes and reactions in their Sourcebooks.
Work Period
Introduce Chapter 1 by reading paragraphs one and two aloud. Ask students to make two columns on the first page in the Eyes section of their Sourcebooks. Give them a minute or two to paraphrase the view of men and the view of women here. Share and discuss briefly. Label this entry as Chapter 1 and have the students use it as their first entry in their table of contents. If there are questions, add them to the chart.
Read paragraphs three and four. Ask students, What is this story going to be about? How do these two paragraphs tell us that? Encourage them to reach for specific words, textual support, to validate ideas.
Read paragraphs five through nine (bottom of page 2). Conduct a brief discussion to define tone as an element of style. Ask students, What is the tone here? Ask them what tone is. What do their moms mean when they say,” Don’t talk to me in that tone of voice?” or when they say, “Don’t give me that attitude.” Ask them if they can convey tone without words, and ask how they might do this through body posture or through facial expressions. Can they read tone that someone else is conveying? Students should try posturing with a partner and having their partners identify the tone they are conveying. Once you have established a definition of tone, return to the question of What is the tone here? What is the attitude of the people toward this returning woman? Tell students to return to the text to point out the specific words that show them that tone.
Ask students to return to the two columns they made earlier, contrasting men and women. Add to those columns now, contrasting what the men saw with what the women saw. Does this ring true?
Read aloud page 3 through the first three paragraphs of page 4. Ask students, Why do people act like this? Why do they gossip and talk badly about other people? Why do you gossip? What is in it for the gossiper? Why might these people be reacting this way to the woman’s return? Have students respond briefly to these ideas in class discussion and/or in their Sourcebooks.
Read the rest of Chapter 1 aloud. Close this lesson with a brief discussion to be sure that the students understand the following: · Janie has come back from burying her dead · The framework for the story is Janie telling Phoeby to tell the community her story. If this were to be filmed, the entire thing could take place on the front porch! · Phoeby “needs to live through Janey.” · Janey can preserve her “life,” through telling her story. · Janie had done more than simply “live” her adventures: she has thought about them and made sense of them. (Refer students to the quotation, “Taint no use in me telling you somethin’ unless Ah give you understandin’ to go ‘long wid it. Unless you see de fur, a mink skin ain’t no different from a coon hide.”)
Be sure students understand that this will not only be the story of what happened to Janie. It will also deal with why it was important to her, how it affected her life and helped shape her into the person she is now as she returns to her old community. This narrative account, then, is structured both with narratives of events that occurred and with reflection and analysis of the importance of those events to Janie’s life. Lesson LESSON 5: READING CHAPTERS 2 AND 3
OpeningRead aloud or play the audio tape of chapter 2, stopping often to point out the elements of narrative as they are introduced into the story. Ask students to consider why this event is important to Janie. (If they have completed the Narrative Account Study, you might ask them, How would Janie label this event on her lifeline? Why? How do you know?)
Work PeriodAfter discussion, give students about 10 minutes to respond to the following topic in the Eyes section of their Sourcebooks.
Talk briefly about the students’ experiences and explore comparisons with Janie’s.
Read Chapter 3 aloud, pointing out the difference between how Janie feels things should be, what she wants, and how things actually are. Draw the parallel to the pear tree fantasy in Chapter 1 and to what Janie “should have seen” in the photo. Point out that the discrepancy between what things should be and what they are had appeared several times in the novel already, and you, as a class, are still just at the beginning. Explain that this kind of repetition of an idea (or anything else) probably means that it is important, and readers should pay attention to it.
Ask students to copy the following quotations into the Lifelines section of their Sourcebooks:
Initiate a brief discussion of the meaning and importance of each of these quotations, and then have students comment on each in their Sourcebooks.
Closing Be sure that the students list their informal writing as the second entry in the Eyes section of their Sourcebooks.
Ask students to read and respond to Chapter 4 (page 25-31) as homework. As they respond, they should first focus on what happens in the chapter and why it might be important. Then, they should jot themselves notes about any or all of the following:
Lesson LESSON 6: DISCUSSING CHAPTER 4, INTRODUCING THE SMALL GROUP PROCESS OpeningAsk students to share their responses to Chapter 4, focusing first on what happens in the chapter and then moving on to why these things are important. When they have sorted out what has happened and speculated about why it might be important, have them share their other notes and ideas. Some students are probably still having trouble reading the dialect and feeling a bit like they are fumbling in the dark. Encourage them to keep trying—to read through what they do not understand to what they do understand and to mark confusing passages with sticky-notes and/or to raise questions in their Sourcebooks. If there are any sections that pose particular problems, either read the section aloud or invite a member of the class to do so. Re-reading Zora Neale Hurston aloud often clarifies her language, since she is presenting its sounds for the reader. Reassure students that his will get easier as they become more involved with the story. Work PeriodAfter the discussion of Chapter 4, about 15 minutes, explain the group process that will inform the rest of the author study. Divide the class into groups of three. You can form the groups, or you can allow students to form them, but it is helpful to have a mix of stronger and weaker readers in each. Explain that students will work in these groups throughout the author study, both as they study Their Eyes Were Watching God, and as they work through their independent-reading assignments. Tell them that each time they work in their groups, the group has a responsibility, and each individual in the group has a specific, assigned role to play. It is important that every individual does his or her part. Once the groups are formed, distribute the individual task sheets found on page 37-40. Explain the three tasks in some detail, nothing that the Storyteller’s job is similar to their first entry for Chapter 4. The Storyteller will track the story and identify the important developments. The Reverberator will make connection between the reading and the real
Section 3 STUDYING THEIR EYES WERE WATCHING GOD, CHAPTERS 4-12 Lesson 6: Discussing Chapter 4: Introducing the Small Group Process 33-38 Lesson 7: Chapters 4-6: Small Group Discussions 39-40 Lesson 8: Looking Back at Chapters 1 through 6, Discovering Threads to Track 41-42 Lesson 9: From Venn Diagram to an Essay 43-46 Lesson 10: Comparing Lives 47-48 Lesson 11: Tracking Ideas in Chapters 7-12 49-51 Lesson 12: Looking at
Language
52-56 world, other books, films experiences, or to the author herself. The Reverberator might, for example, reflect on something in Janie’s life and something universal, like gossip, or may notice that Janie’s experience is like something that has happened to them. The Reverberator might also notice that Janie’s need for independence may reverberate with parts of her grandmother’s a story. The Philosopher, meanwhile, looks at the big questions. What happened to Janie? Why do people gossip? Should women leave unhappy marriages? Why did Zora Neale Hurston write in dialect? Should this be made into a movie? The philosopher thinks and questions not only what is in the book, but what is not. Why, for example, don’t we learn the story of Janie’s father? Give students a chance to look over the instruction sheets and ask any question they might have. Explain that the tasks will rotate, so that each student completes each task at least once as we move through this study. Tell them that their assigned task sheets must be completed before each scheduled group meeting and should serve as conversation starters. Distribute the sheets and give the groups time to decide who will serve as the Storyteller, Reverberator and Philosopher. Give the next reading assignment in Their Eyes Were Watching God. · Read, annotate and respond to chapters 4, 5 and 6 (pages 25-72). Have students write these pages in the appropriate space at the top of their rolesheet and read the directions carefully. · Prepare the assigned task sheet for your group discussion of these chapters. · Collect and respond to three to five lifelines in the appropriate section of the Sourcebooks. ClosingAllow workshop time so, students can begin work on their assignments. Name: _____________________________ Book: _____________________________ Date: ______________________________ Pages: _____________________________ Storyteller’s PageStorytellers tell stories, recounting the actions and reactions of people as they meet the challenges of everyday life. Knowing that their audience is interested in knowing who did what to/with whom and why or how, they pack their story with information. They also know that some of their listeners are visual people who respond more to images than words. For this reason, storytellers tell and show quickly sketching the images that are important in or about a story. Sometimes, they sketch a scene from the book; other times, they invent symbols or maps or diagrams to try to explain it. Storytellers are not always great artists. Often, the use stick figures and labels. During the next meeting of your book group, you will be the member who tells the story of the reading and the one who shares a vision. This vision may be a scene from the reading, a symbol of its possible meaning, a map of the action, or any other graphic representation. As you read, think about what you will tell your group and what you might draw for them. Key Points to Share1. __________________________________________________________________ 2. __________________________________________________________________ 3. __________________________________________________________________ 4. __________________________________________________________________ 5. __________________________________________________________________ 6. __________________________________________________________________ 7. __________________________________________________________________ (Sketch on Back) Storyteller (continued) Sketch to ShareA scene, a symbol or simply a sense of the sequence of events. Do not worry about creating great art here. The point is to capture the day’s reading. When you share this, let the people in your group look at it and speculate about it before you explain your thinking. Be sure to keep this sheet in your Sourcebook. Read pages ______to______ Before the next meeting Name: _____________________________ Book: _____________________________ Date: ______________________________ Pages: _____________________________ Philosopher’s PagePhilosophers are people who ask big questions, and do not always accept things at face value. Philosophers watch and listen carefully, with a critical eye. They think about the implications, assumptions, meanings, and possibilities of what people do and say. During the next meeting of your book group, you will be the philosophical member who asks the big questions about the reading. Your job will be to get your partners to think more deeply about what Janie is doing and saying, about the situations she lives in, about how people treat other people, and the degree to which the characters are responsible for their own lives. You will ask about relationships, about freedom, about what should and should not be happening. You will ask a lot of why? Questions and maybe some How?. Ideally, these questions should be ones that you are interested in talking about, and they should be questions that may have a number of possible answers. You may, for example, wonder why Zora Neale Hurston describes something in a particular way or why he uses a particular metaphor. You may be bothered by the thoughts, comments or actions of a character, or you maybe curious about how your partners interpreted a section of the book. As you read, place sticky-notes next to passages that puzzle, inspire and/or intrigue you so that when you finish, you can return to them in order to write your questions. Philosopher’s Questions1. __________________________________________________________________ 2. __________________________________________________________________ 3. __________________________________________________________________ 4. __________________________________________________________________ 5. __________________________________________________________________ Put a star next to the one you think your group will be most interested in discussing. Be sure to keep this sheet in your Sourcebook. Read pages _____to_____ before the next meeting Name: _____________________________ Book: _____________________________ Date: ______________________________ Pages: _____________________________
Reverberator’s PageReverberators focus on echoes and patterns, finding similarities between what they are now reading and what they have already read, seen or done. A Reverberator would read about Janie meeting Joe and think about the way she acted with Johnny and Logan. A Reverberator might also think about how Janie reacted and compare it with how Phoeby might have reacted, or how her grandmother might have reacted. A Reverberator might connect Janie’s disappearance with that Leafy. Reverberators would also think about Zora Neale Hurston and her life, as well as times when friends or characters in books, films, or TV shows met interesting men or ended up in relationships that did not work. All of these experiences, memories and pictures reverberate—they echo one another and make connections between the words on page and life as it is lived. During the next meeting of your book group, you will be the Reverberator. The one who will share connections hat you have made, and you will help your group add to them. As you read, place sticky-notes next to passages that remind you of other things. Be sure to list these reverberations below, As I read this, I was reminded of: Because1. ____________________________ _______________________ 2. ____________________________ _______________________ 3. ____________________________ _______________________ 4. ____________________________ _______________________ 5. ____________________________ _______________________ Be sure to keep this sheet in your sourcebook. Read pages _____to_____ before the next meeting Lesson LESSON 7: CHAPTERS 4-6, SMALL GROUP DISCUSSIONS OpeningHave students move into their groups with their completed role sheets. Have them begin with the Storyteller’s work so that everyone is clear about what happened in the reading. When they get to the sketch, remind them to explore the importance of the scene, symbol or sequence that is represented. Invite them to talk about other possibilities for graphically representing these chapters. The Reverberator should share the connections he or she made and explain them. The group should also brainstorm additional connections that might be made. This conversation should lead to the Philosopher’s question that should be explored and argued by all three members of the group. As a general rule, questions that are easily answered are not as interesting as those that are perplexing. Ask the group to identify their most interesting question will whole class at the end of the lesson. Direct the groups to compare their lifelines. Work PeriodLet students discuss the reading. Circulate through the class, stamping the role sheets so you later know who had them completed, and give help and focus where it is needed. Students should be able to complete the discussion within 20 minutes. After the discussion give students 5 to 10 minutes to add to the reading responses they wrote in their Sourcebooks, taking into account the ideas and feedback they received from the group. Then, have them complete the Group Self-Assessment Sheet. Have the groups pose their most interesting questions and allow time for class discussion. ClosingCollect the group self-assessment and give the students
time to decide who will serve as the Storyteller, Reverberator and Philosopher.
Instruct students to read and respond to Chapters 7-11 (pages 72-104). Have the
students note these pages on their rolesheets. Encourage them to keep adding
quotations to their Lifelines pages. Name: _____________________________ Book: _____________________________ Date: ______________________________ Pages: _____________________________ Group Self-Assessment Sheet Following the group meeting, the group members should complete this form. The group leaders should give this sheet to the teacher at the end of the class period. 1. Two topics that generated the most discussion today are: 2. As a group, we agreed that one of the most important of intriguing passages in this selection was: Why was it important or intriguing? 3. Group Participation Today: Each Individual should rank his or her own participation in the following areas, on a scale of 1 to 5 (1 is low, 5 is high).
Remember to give this sheet to the teacher before leaving class. Lesson LESSON 8: LOOKING BACK AT CHAPTERS 1-6, DISCOVERY THREADS TO TRACK Note: Your purpose in Lesson 8 is to: · Monitor student understanding of the novel · Review the key elements of narrative and see how they are developing in this story · Show students how to begin to make study notes on a novel Opening The students will be meeting in their groups during Lesson 9 to discuss Chapters 7-11. Take a quick status of the class to determine how much of this reading they have already read. Remind students that one of their jobs in studying this text is to track various narrative elements through the novel. Explain that now, having read and discussed about a third of the story, it is time to step back and see what patterns and ideas are emerging. It is this looking back that marks the difference between simply reading something and studying it. Work Period Tell students to title a sheet in the Eyes section of their Sourcebooks Looking Back: Chapters 1-6. Encourage them to make notes as the class looks back at these chapters to identify emerging and recruiting threads that appear to be important. To remind students briefly of the elements of narrative, ask, When someone says they are going to tell you a story, or when you decide to go to a movie, what are the things you expect? What do all stories have in common? Try to elicit the following responses: people, characters; events, things happening; settings, places where things happen; ideas; symbols, etc. “Tell students that since these are things that appear in all stories, they are the things we must examine closely when out task is to study a story in depth. Then, to bring discussion back to Their Eyes Were Watching God, you might ask the following, emphasizing that these are the kinds of questions readers must ask periodically as they move through the study of any story: · Overall, what is this story about? Remind students of the overall frame of the story. · What characters are emerging as important? (Janie, Nanny, Logan, Jody) · What relationships are emerging as important? · What events are important? Which, of all of the things that have happened during these years, would Janie highlight as particularly important? How would she describe each, in terms of how it affected her? · What ideas seem to be emerging and/or recurring in the novel? § Dream vs. reality; Janie’s romanticism vs. Nanny’s pragmatism; the way things ought to be vs. the way they are § Masks: how we feel on the inside vs. what we show on the outside § Loss of innocence/balloon busters: death of a dream § Contrast between men and women · What symbols seem to be emerging and/or recurring? (pear tree, mule, hear styles. Explain that these are the things in Their Eye Were Watching God that, at this point, seem to be important enough to keep track of. We will watch them develop, change and sometimes lose their importance as we read further in the novel. Closing Remind students that they must keep on reading and responding to the novel. Their next response should cover Chapters 7-11 (pages 72-104) and they should complete their reading, rolesheets and lifelines prior to Lesson 9. Lesson LESSON 9: FROM VENN DIAGRAMS TO AN ESSAY Opening Ask students to move into groups and share their stories, connections, questions, and lines. When they have finished, explain that the Venn Diagram is a graphic tool for taking notes. It is particularly valuable in situations where students need to compare or track the changes in things. Show them a Venn diagram and briefly explain its use.
Give each group a piece of legal size paper or poster board, and assign each group one of the three following topics. Their task is to complete a Venn Diagram for their assigned topic. Tell them that they must include page numbers and examples to prove their assigned topic. Though this is a group project, encourage students to keep their own copies of these Venn Diagrams in their notes for later reference. 1. Compare and contrast Janie’s world and dreams to Nanny’s. 2. Compare and contrast Janie’s marriages to Logan and Starks. How does her position remain the same in each? How does it change? 3. Compare and contrast the way Janie feels inside and what she shows on the outside. Explore the conflict between how she perceives things and how they actually are. If there is time, have the groups exchange diagrams will another group that addressed the same topic. Give students about 5 additional minutes to add to the Venn Diagrams in another color. Have students discuss these three topics as a class, using their Venn Diagrams to explain and share their observations with the class. Students should take notes during this discussion, making their own Venn Diagrams for each of these topics, in preparation for writing an essay as homework. Closing Have the students begin to write notes for an essay addressing one of these three topics. Tell the students that they should use the “block” format for this essay. The block format begins with an introduction that will tell the reader: · The topics to be compared. · The source of the topics—Their Eyes Were Watching God by Zora Neale Hurston · The significance of these topics. For example, “Janie’s world and dreams are very different from Nanny’s because…” or “Janie’s” first two marriages are very different, and they show…” And will explore, first, one topic and then the other. Distribution the planning sheet and ask the students to decide which pair of topics they would most like to explore. When they choose, they should write their topics at the tops of the two middle boxes. Ask students to direct their attention to the topic they have listed in the box on the left, and then to list the most important detail next to the bullets. If they have more details than bullets, they should continue on the back of the planning sheet. Encourage them to write themselves notes about incidents, passages and lines that they may later want to use as details/explanation in the “evidence” columns. When they turn their attention to the box on the right, they should use the bullets on the left to generate the similarities and differences. For example, if their first bullet in the left box is about Janie’s independence, the first bullet in the right box should be about Nanny’s. If the bullet on the left is about Logan’s age, the one on the right should be about Joe’s age. By working bullet by bullet, the students will generate parallel lists of information about the two topics, and should, again, write themselves notes about incidents, passages and lines that they may want to use as details/explanation in the “evidence” column. If information is listed on the left but is not relevant to the topic on the right, the writer will have to decide whether or not to include it in the essay. If important information about the topic on the right has no parallel, have the students simply add it at the end of the box, and decide on its necessity later. The two boxes should be completed prior to Lesson 10. Name: _____________________________ Book: _____________________________ Date: ______________________________ Pages: _____________________________ Planning Sheet for Comparison Essay From Their Eyes Were Watching God
Lesson Opening Have the students meet with their partners to share their essay planning sheets, and talk about the details that they have listed. Encourage them to add incidents, passages or lines that might be useful in explaining their ideas to a future audience, and to argue about different view points and interpretations. Work Period Ask students to put the detail in the box on the left into a logical order, an order that a future reader could follow and understand easily. What might a reader need to know first? What might capture his or her interest? Tell them to put “I” next to the detail that they think they might begin with, and then to number the rest in the order that makes the most sense. This numbering will serve as an informal outline for the first part of the paper. Help the students notice that, as they organize the information in the left box, they automatically organize the information in the box on the right since the logic of these two parallel lists should be the same. Following these two outlines will result in their writing the two sections of the essay in a parallel structure, lending a sense of cohesion to the overall piece. Help them to see that, in fact, they have now organized their whole essays. Talk about what readers need in order to get interested and involved with reading something—the students will probably note that the reader needs to know what the piece is about (subject) and enough about the subject to know why it might be important (significance). Give the students time to plan their introductions. The remainder of the work period should be spent in drafting their papers, using their notes from the planning sheet and their books and colleagues to turn ideas onto sentences and paragraphs. Closing Many students have trouble with ending a piece of writing in a satisfactory manner. Generally, the goal is to help the reader move his or her attention from the subject of the paper back towards the real world. Talk about ways that the students might conclude their essays. They should finish their rough drafts prior to Lesson 11. Lesson LESSON 11: TRACKING IDEAS IN CHAPTERS 7-12 Opening Have the students complete the cover sheets and staple them to the rough drafts prior to giving them to you. Read aloud the last paragraph of Chapter 8. Work Period Ask students, What changes do you see in the Janie of these chapters? What do you think she has learned? Give students 5 to 10 minutes to complete the chart below in their sourcebooks, encouraging them to make direct references to the text to validate their ideas.
In the large group, ask students to share their ideas. They should add to their charts during the class discussion. Ask students to return to the Looking Back section of their notes that they began with our discussion of Chapters 1-6. Tell them either to add to these notes, or to begin a new page entitled Looking Back: Chapters 7-12 Then, as you did after Chapter 6, raise the following issues for discussion, encouraging students to take notes: · At this point in the novel, what ideas seem to be recurring? · What symbols keep coming up? · What connections do you see between the people and events of the first six chapters and those you have just encountered in Chapters 7-12? · At this point in the novel, who are the important characters? Which characters seem to have moved to the background? · What, at this point, are the most important character relationships? · What kinds of events seem to be recurring? Why? · What comments can you make about how Zora Neale Hurston is telling the story? Closing Have the students write brief responses, reflecting on each of the following ideas: · How have your ideas about Janie changed as you have moved through the book? · Is Janie someone you would want to know and be friends with? Why or why not? · How has your general response to the book changed? Assign Chapters 12-18 for independent-or small-group reading and response. Give the groups time to be sure that everyone is clear about their role in the next small group meeting and their ongoing collection of lifelines in their Sourcebooks. They should complete their reading and rolesheets prior to Lesson 14. Encourage them to continue collecting lifelines in their Sourcebooks. Name: _____________________________ Book: _____________________________ Date: ______________________________ Pages: _____________________________ Rough Draft: Comparison Essay Their Eyes Were Watching God So far, the most interesting thing about writing this essay has been: The best part of this rough draft right now is: The part of the draft that still needs work is: In order to make this a polished final draft that should be assessed against the standards, I would still need to: Lesson LESSON 12: LOOKING AT LANGUAGE Opening Have some students share part of their lifelines by reading them aloud without comment. Distribute the “Looking at Language” handout to students. Work Period Have students number off from 1-5. Explain that they will address the three quotations in their assigned groups. The number 1’s will address quotations in Group 1, number 2’s will address those in Group 2, and so on. Each student will address three quotations that are scattered through these chapters. Students have the option of replacing one of their assigned quotations with another of their choice, other than those cited here. Note: This experience requires students to look back through the reading to examine specific ideas in some depth. In addition, it gives them the pattern they will use when they incorporate quotations and textual evidence into longer essays. Through small-group and class discussion of these quotations, students will look closely at the chapters, and they will put these chapters into the context of the novel as a whole. At the same time, students will focus on the ideas, stylistic elements, characters, settings, and subject matter that they will encounter again as they begin their independent reading of Zora Neale Hurston’s work. Closing Use these quotations to guide a class discussion of Chapters 7-12 of the novel. Remind the students to read through Chapter 18 and complete their rolesheets and lifelines prior to Lesson 14.
Name: _____________________________ Book: _____________________________
Date: ______________________________ Pages: _____________________________ LOOKING AT LANGUAGE Chapters 7-12 Your task is to address three of the following quotations. For example, if you are a “number 1,” you will address the quotations in Group 1. If you wish, you may replace one of your assigned quotations with a quotation of your choice (other than those cited here). Please do you work on separate paper, and be sure to write complete sentences and to explain your ideas as fully as you can. For each of you assigned quotations, please do the following: 1. Explain what is happening in the story when these words appear. Be sure to tell who is speaking to whom, and work the quotation into a sentence. Copy the quotation. Identify the chapter and page number. Shortly after Janie meets Tea Cake, he brings her some fresh trout that he caught. When he gives them to her he says, ‘Ah’ll clean ‘em, you try ‘em, and let’s eat…Chapter 11, page 99 2. Tell what the quotation means (you might restate it in your own words), and explain why these words are important to the story as a whole. How do they reinforce your ideas about a character of character relationship? How do they further develop an idea that has been introduced? How do they develop the plot, etc. Tea Cake is inviting Janie to work as a partner with him in cooking the fish. This shows that he wants her to be an equal partner in his life. It shows he is willing to share that workload with her. Logan and Jody just wanted her to wait on them and do everything for them. Tea Cake will help carry the load by cleaning the fish, so Janie is no longer going to have to be the mule carrying everything by herself. THE QUOTATIONS: GROUP 1 a) “…she sat and watched the shadow of herself…while all the time she herself sat under a shady tree with the wind blowing through her hair and her clothes.” page 73 LOOKING AT LANGUAGE (Continued) b) “She sent her face to Joe’s funeral, and herself went rollicking with the springtime across the world.” pages 84-85 c) “He was a glance from God.” page 102 GROUP 2 a) “The more people in there the more ridicule he poured over her body to point attention away from his own.” page 74 b) “Then she’d lie awake asking lonesomeness some questions.” Page 85 c) “After a long tim of passive happiness, she got up and opened the window and let Tea Cake leap forth and mount to the sky on a wind.” page 103 GROUP 3 a) “He didn’t really hate Janie, but he wanted her to think so.” page 77 b) “Her Nanny had taken the biggest thing God ever made, the horizon…and pinched it in to such a little bit of thing that she could tie it about her granddaughter’s neck tight enough to choke her.” page 85 c) “In the cool of the afternoon the friend from hell specially sent to lovers arrived at Hanie’s ear. Doubt.” page 103 GROUP 4 a) “Janie! Janie! don’t tell me Ah got tuh die, and Ah ain’t used tuh thinkin’ ‘bout it.” page 82 b) “Yo face jus’ left here and went off somewhere else.” page 100 c) “Ah ain’t grieven’ so why do Ah hafta mourn?” p.107 GROUP 5 a) “The young girl was gone, but a handsome woman had taken her place. She tore off the kerchief from her head and let down her plentiful hair. The weight, the length, the glory was there.” page 83 b) “He could be a bee to a blossom—a pear tree blossom in the spring.” c) “Ah done lived Grandma’s way, now Ah means tuh live mine.” page 108 Sample Rubric:
Sample Rubric:
Section 4 INDEPENDENT READING Lesson 13: Independent Reading Assignment #1, Establishing the Process 61-62 Lesson 14: Their Eyes Were Watching God, Chapters 13-18 63-64 Lesson 15: Independent Reading Assignment #1, Group Discussion 65 Lesson 16: Wrap-Up Discussion of Their Eyes Were Watching God: Chapters 19-24 66-67 Lesson 17: Revisioning the Whole: Interpretive Graphic Maps for Their Eyes Were Watching God (A Two-Day Lesson) 68-70 Lesson 18: Working on Interpretive Graphic Maps 71 Lesson 19: Independent Reading Assignment #2, Group Discussion 72 Lesson 20: Their Eyes Were Watching God Interpretive Graphic Map Presentation 73 Lesson LESSON 13: INDEPENDENT READING ASSIGNMENT #1, ESTABLISHING THE PROCESS Opening Remind students that our ultimate purpose is to gain a broad understanding of Zora Neale Hurston and her work. Point out that it is unfair to make judgments about people based on limited knowledge of them. (You might ask whether students would like their semester grades to be based on a single piece of their work.) To be fair, we must view the person from multiple perspectives. Explain that, in order to do this, we must proceed as we do whenever we want to find out about a person. · We look at what the person says about themselves, perhaps by reading their autobiographical works. · We look at what other people say about them by reading essays be critics, friends and others. · We look at what people do by reading about their lives and by reading essays in which they talk about their own lives and works · We look at a variety of their work to see what kinds of characters, events and issues they focus on there. Suggest that students approach their independent reading as they would a research assignment, given that they are, in fact, researching Zora Neale Hurston, the author. Through this research—the required reading from both I Love Myself and Sorrow’s Kitchen—they will look at what Zora Neale Hurston says about her own life in samples form her autobiography. They will examine what others have to say about her life and her work, and they will read several essays, in which she speaks directly about the issues and ideas that are important to her. This information, taken with the impressions they are gathering form reading Their Eyes Were Watching God, give them a breath of exposure to this writer. Students might want to consider themselves as anthropologists, as Nora Zeale Hurston herself did when she was researching the folklore of her people. They should approach these reading with an eye toward validating impressions they have gotten from their study of Their Eyes Were Watching God and toward gathering new information from a variety of sources. It is only with such a breadth that they will be able to draw fair conclusions and make intelligent generalizations about Zora Neale Hurston as an author. Review the Author Study Requirements sheet (students should have this in their folders). Remind them that you are doing this author study is done in class, which means that they will pool their knowledge and rely on each other every step of the way. Explain that students will work in their groups to discuss each of the required independent – reading assignments. Reiterate the importance of having the completed role sheet in class for the group discussion. Work periodPass out the Independent Reading Assignment sheets and have the students highlight Assignment #1 from each set. Assign independent – reading assignment #1. The students should work in their groups to negotiate the reading and share information. Distribute the books. Tell students to actively read these selections and to write substantial responses to them. Encourage them to focus both on the ideas and impressions these essays give them about Nora Neale Hurston the person and Zora Neale Hurston the writer and on how these new selections contribute to or contradict impressions they are getting from our study of Their Eyes Were Watching God. Distribute copies of the rolesheets from Lesson 6 and have the groups decide who will fulfill each role. Note that these rolesheets are the same as those used with Their Eyes Were Watching God. In order to avoid confusion, they should be sure to indicate the exact titles and page numbers of the readings on the sheets. When students finish their reading, they should complete the assigned task sheets in preparation for group discussion. ClosingAllow workshop time for students to complete the assigned reading in Their Eyes Were Watching God (Chapters 12-18) and/or their independent reading. They will be meeting in their small groups to discuss Their Eyes Were Watching God during the next lesson. Lesson LESSON 14: THEIR EYES WERE WATCHING GOD, CHAPTERS 13-15 Note: The purpose of this lesson is to:
OpeningAsk students, In what ways is Janie’s life in the Everglades with Tea Cake different from her life in Eatonville with Jody? How is she behaving differently with Tea Cake then she did with Jody? As always, encourage students to point to specific passages in the text to validate their ideas. You might want to work with a Venn Diagram as the class brainstorms a list of differences and touches on the pivotal events in these chapters.
Work periodAsk students to move into groups. Each group should share their rolesheets and lifelines discuss one of the major points listed on the board. Discussions should focus on the following four areas:
Allow 15-20 minutes for the discussion. Then, return to full class discussion. As students share their ideas, you might raise the following questions:
Give students the next reading assignment to finish the book and write a full response to the book as a whole. Remind them to keep up with their independent reading and to continue to collect favorite quotations from all of their readings in the Lifelines section of their Sourcebooks. ClosingAsk students to respond to the following question in their Sourcebooks, relating their responses both to themselves and to Janie: To what extent does where we are contribute to how we behave, or to how we feel about ourselves? Tell them that they will have time to complete the first assignment for their independent reading during Lesson 15. Outside of class, students should read Chapters 19-24 of Their Eyes Were Watching God, complete a role sheet and collect lifelines. Be sure that the students have time to negotiate roles for
their last small group conversation about Their Eyes Were Watching God which
will occur during Lesson 16. Lesson LESSON 15: INDEPENDENT-READING ASSIGNMENT #1, GROUP DISCUSSION OpeningGive the students time to finish independent-reading assignment and to complete their rolesheet. Those who have already finished should work on Chapters 19-24 in preparation for the last small group conversations about Their Eyes Were Watching God, during Lesson 16. Work PeriodHave students gather in their assigned groups with their completed role sheets on their desks. Go over the procedure for the discussion, and let students begin to discuss the reading. Circulate through the class, stamping the role sheets (so you later know who had them completed) and give help and focus where it is needed.
Give students time to discuss their reading. They should discuss each of the assigned essays. Remind students that they all need to take notes from their group discussions. Encourage them to draw connections to our discussions of Their Eyes Were Watching God as much as they can.
ClosingRemind students to finish Their Eyes Were Watching God and to both complete rolesheets and collect lifelines before Lesson 16. Lesson LESSON 16: WRAP-UP DISCUSSION OF THEIR EYES WERE WATCHING GOD, CHAPTERS 19-24 OpeningHave students share their final responses to Their Eyes Were Watching God. You might give them time for a read-around or have them write three certainties and a question about the novel and let these be the catalyst for a general discussion of the ending of the story. Be sure that they understand how Tea Cake dies, why Janie is on trial, and where the woman introduced on page 1 of the novel has “come back” to. Work PeriodHave the groups meet to share their stories, connections, questions, and lines. When they have finished, either have them work in groups or have a full class discussion in which you address the following questions: · In what ways is Janie’s life with Tea Cake different than her life with Jodie? Why? · Contrast Janie’s attitude and behavior at Jody’s funeral with her attitude and behavior at Tea Cake’s funeral. Account for the differences. · How does the narrative structure of this novel enhance themes? Why did Zora Neale Hurston choose to structure this as a story told by the protagonist to a third character?
You might address the following quotations, reviewing both the narrative facts and exploring the figurative language:
Read aloud and discuss the last paragraph of the novel, beginning at the bottom of page 183, “Of course he was not dead….” Then read aloud the opening three paragraphs. Ask students to comment on the following ideas and quotations in their Sourcebooks and/or in a class discussion: · The differences between men and women · “So the beginning of this….” Of what? Why beginning, and not end? · The references to the horizon. Where, finally, does Janie fine her peace? · “Love is lak de sea. It’s uh movin’ thing, but still and all, it takes it’s shape from de shore it meets, and it’s different with every shore.” (page 182)
ClosingAfter the discussion, give students time to add to their final responses to the novel into their Sourcebooks. Lesson OpeningRemind students that one of their goals in this author study is to learn how to study a novel in depth. Explain that you have moved fairly slowly through the discussion of this novel because you are studying it as you go. You have examined each part closely and watched the story and the characters unfold, which is what one does when “studying” something - one examines its parts to see how each functions in the context of the whole. Now it is equally important to see those parts together as a whole. To that end, the students will work in groups to create final interpretive projects dealing as a whole.
Distribute the Their Eyes Were Watching God Interpretive Graphic Map handout and explain the options. Explain that, as is the case with their independent-reading assignment, each group will function as a unit, with everyone discussing all aspects of the project as a whole. Then each individual will accept responsibility for executing one portion of the project. The entire group is responsible for sharing the completed project with the class. Explain that they will have one additional class period to work on their projects, with the final projects due in one week.
For more information about Graphic Maps, see Appendix A.
Work Period
Have students choose their projects, from their groups and determine their individual roles in the group by the end of the period. After clarifying their decisions with you, they should write it in their Sourcebooks with some initial brainstorming notes about how they might proceed.
Closing
Tell students that they will have the next class period to work with their groups on the graphics, but they will also have to work on it outside of class. Remind students that they begin the second assignment for their independent reading with an eye toward putting this core novel (Their Eyes Were Watching God) in the context of the larger body or Zora Neale Hurston’s work.
Be sure that the students negotiate the roles they will fulfill when they meet to discuss their second independent readings during Lesson 19.
POSSIBILITIES FOR INTERPRETIVE GRAPHIC MAPSTHEIR EYES WERE WATCHING GOD Directions:
You will work in groups to create projects in which you visually track your subject through the entire novel. This involves the following:
1. Create a interpretive graphic in which you explore the difference between Janie’s internal world and her external world-between the faces she puts on for the outside world and what she is actually feeling inside. Examine the process through which Janie finally allows her inside feelings to show in her outside behavior and words.
2. Create a graphic in which you examine the idea of masks through the novel. Who wears them? Why? Who sheds them? Why?
3. Create a graphic in which you examine one of the major symbols and all that it represents through all the “worlds” of the story. You might consider the pear tree, the mule, the horizon, or any other symbol that we have discussed. You will need to decide what idea your symbol represents, and then trace that idea through the story to show how it develops and/or changes.
4. Create a graphic in which you examine the changes in Janie’s physical appearance through the novel.
5. Create a graphic in which you examine the interrelationship between Janie and her world in which she lives: Nanny’s world, Logan’s world, Joe Starks’ world, Tea Cake’s world, and finally, her own world. Examine the conflicts she faces in each of these worlds as she finds her values and those of her environment in conflict.
6. Examine Janie’s search of her own identity-her struggle to find and use her own voice, to stop living the “shoulds” of others and begin living for herself, as herself. Graphics
A graphic must incorporate color, shape, symbols, and words to make a point about your subject.
Your graphic must include a central symbol to represent the main idea of the graphic. Then work with that symbol through the graphic to make your point. You might allow your central symbol to change to reflect changes in the novel. Or, use it as a central point around which you bring in quotations and examples to make your point.
You must incorporate a single sentence on your graphic, asserting your overall point.
Your graphic must include at least 10 quotations and/or direct references to the text to explain and validate your ideas. You must include commentary with each quotation, explaining how that specific example furthers your point. NOTE: The quotations must appear on the graphic itself with a word or two to indicate why they are important. Two group members will then write each quotation again on separate paper with full commentary to explain their importance.
You must include a process paper with your final project, explaining your graphic and examples and sharing the process you went through to arrive at your final product. This should be written as a narrative.
THE DIVISION OF LABOR
Lesson LESSON 18: WORKING ON INTERPRETIVE GRAPHIC MAP
OpeningRemind students of the process
Work PeriodStudents are to use the class period for working with their groups in their maps.
ClosingAsk for questions and for statements of progress. You
might give them a few minutes to write in their Sourcebooks about their process
of creating and developing this project. Remind students of their presentation
dates, and remind them to continue with their independent-reading assignments.
Lesson LESSON 19: INDEPENDENT READING ASSIGNMENT #2, GROUP DISCUSSION
OpeningHave students move into their discussion groups.
Work PeriodFollow the procedure outlined in Lesson 15, checking to be sure that students have completed their rolesheets and monitoring the group discussion as necessary.
ClosingDistribute new task sheets to be used for the discussion of independent-reading assignment #3, to be completed prior to Lesson 21 Lesson LESSON 20: THEIR EYES WERE WATCHING GOD INTERPRETIVE GRAPHIC MAP PRESENTATIONS
OpeningDuring this lesson, students share their graphics with the class.
Work PeriodUsing their interpretive graphics as visual aids, students will explain what they have done, what they learned and how they learned it. These presentations must go beyond a simple reading from the graphics and accompanying quotations. Rather, students should informally explain their experiences as catalyst for a full class discussion of their particular element of the novel.
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