Course Syllabusykonline.yksd.com/distanceedcourses/Courses09/British... · Web viewThis course introduces students to an extensive selection of classic and contemporary works written

British Literature (Distance Delivery Course)

Course Syllabus and Correlation to Alaska Performance Standards

Course Title Grade Levels Offered

Credit Awarded

Content Area of Study

Prerequisites Required or Elective

British Literature 9-12 1 Credit/SY Language Arts/English

None Elective

Course DescriptionBritish Literature is a course that is designed to help students , especially those who read significantly below grade level, to appreciate and understand literature of England from Anglo-Saxon times to the present. This course introduces students to an extensive selection of classic and contemporary works written by a variety of authors from Britain and the British dominions. The selections are in chronologic order also giving students a sense of British history as well. This course covers the genres of poetry, short stories, nonfiction, novel excerpts, and drama. It includes works from William Shakespeare, Geoffrey Chaucer, John Milton, Mary Shelley, Charles Dickens, William Wordworth, Virginia Woolf, T.S. Eliot, and Doris Lessing. While completing the course, students learn reading and language arts skills through the use of visual clues, graphic organizers, fourth-grade reading level supporting text, and structured Before, During, and After Reading experiences. Students also explore grammatical skills and other language arts in each unit. This course is designed to meet the Yukon-Koyukuk School District Curriculum, State of Alaska Content and Performance Standards, and National Reading and Language arts Standards.

COURSE OUTLINESemester One

Quarter One: Performance Standards Focus:

Quarter Two: Performance Standards Focus:

Unit 1 The Anglo-Saxon Period and Middle Ages: 449-1485

Unit 3 The Restoration and the 18th Century: 1660-1798

Historical Background and Epic Poem from Beowulf by Anonymous.

4.3.4; 4.9.2; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Historical Background and Satire from Gulliver’s Travels by Jonathan Swift

4.3.4; 4.9.2; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem The Seafarer from the Exeter Book by Anonymous

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4;

Letter from A Letter to Her Daughter by Mary Wortley Montagu

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Joe Marley, Keri McGinty / AIDE / RCS British Literature Review

4.7.2; 4.8.1Ballads Sir Patrick Spens by Anonymous and Get Up and Bar the Door by Anonymous

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Fiction from A journal of the Plague Year by Daniel Defoe

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem from The Canterbury Tales by Geoffrey Chaucer

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem from An Essay on Man by Alexander Pope

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Autobiography from The Book of Margery Kempe by Margery Kempe

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Elegy Written In a country Churchyard by Thomas Gray

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Novel from Le Morte d’Arthur by Thomas Malory

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Nonfiction from Dictionary of the English Language by Samuel Johnson

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Essay from the Book of St. Albans by Juliana Barnes

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Biography from The Life of Samuel Johnson by James Boswell

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Skills Lesson: Mood 4.5.2 Essay from A vindication of the Rights of Woman by Mary Wollstonecraft

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Skills Lesson: Irony 4.5.2

Unit 2 The English Renaissance: 1485-1660

Unit 4 The Romantic Period: 1798-1832

Historical Background and Poem Sonnet 4.3.4; 4.9.2; 4.1.1; 4.1.2; Historical Background and 4.3.4; 4.9.2;

4.3.6; 4.1.1; Joe Marley, Keri McGinty / AIDE / RCS British Literature Review

31 by Philip Sidney 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Lines Composed a Few Miles Above Tintern Abbey by William Wordsworth

4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem On Monsieur’s Departure by Elizabeth I

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Prose from Grasmere Journals by Dorothy Wordsworth

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Sonnet 75 by Edmund Spenser 4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Kubla Khan by Samuel Taylor Coleridge

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Essay of Studies by Francis Bacon 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Novel from Pride and Prejudice by Jane Austen

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poems The Passionate Shepherd to His Love by Chritopher Marlowe and The Nymph’s Reply to the Shepherd by Walter Raleigh

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem She Walks in Beauty by George Gordon, Lord Byron

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poems Sonnet 116 and Sonnet 130 by William Shakespeare

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Novel from Frankenstein by Mary Shelley

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Drama from Hamlet by William Shakespeare

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Ozymandias by Percy Bysshe Shelley

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Prose Psalm 23 from the King James Bible 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Ode on a Grecian Urn by John Keats

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Valediction, Forbidding Mourning by John Donne

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2;

Skills Lesson: Plot 4.5.2


4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Still to Be Neat and To Celia by Ben Jonson

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem To the Virgins, to Make Much of Time by Robert Herruick

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem To Lucasta, on Going to the Wars by Richard Lovelace

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem To his Coy Mistress by Andrew Marvell

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Epic Poem from Paradise Lost by John Milton

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem from Eve’s Apology in Defense of Women by Amelia Lanier

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Skills Lesson: Sonnet 4.5.2

Quarter Three: Performance Standards Focus:

Quarter Four: Performance Standards Focus:

Unit 5 The Victorian Age: 1832-1901 Unit 6 Contemporary British Literature: 1901-Present

Historical Background and Poem from In Memoriam by Alfred, Lord

4.3.4; 4.9.2; 4.1.1; 4.1.2; 4.1.3; 4.1.4;

Historical Background and Poem The Soldier by Rupert Brooke

4.3.4; 4.9.2; 4.1.1; 4.1.2; 4.1.3; 4.1.4;


Tennyson

4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem My Last Duchess by Robert Browning

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Dulce et decorum est by Wilfred Owen

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Sonnet 43 by Elizabeth Barrett Browning

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem The Second Coming by William Butler Yeats

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Novel from Jane Eyre by Charlotte Bronte

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Essay Shooting an Elephant by George Orwell

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Novel from David Copperfield by Charles Dickens

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem The Hollow Men by T.S. Eliot

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Dover Beach by Matthew Arnold

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Short Story The Duchess and the Jeweller by Virginia Woolf

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Pied Beauty by Gerard Manley Hopkins

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Short Story A Cup of Tea by Katherine Mansfield

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Play from The Importance of Being Earnest by Oscar Wilde

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Mesee des Beaux Arts by W. H. Auden

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem To an Athlete Dying Young by A.E. Housman

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2;

Poem What I Expected by Stephen Spender 4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2;


4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Recessional by Rudyard Kipling

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Speech Blood, Toil, Tears and Sweat by Winston Churchill

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem “Ah, Are You Digging on My Grave?” by Thomas Hardy

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Do Not Go Gentle into That Good Night by Dylan Thomas

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Skills Lesson: Point of View 4.5.2 Poem The Horses by Ted Hughes

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Short Story A Shocking Accident by Graham Greene

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Poem Not Waving but Drowning by Stevie Smith

4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Column Beat the Blues with Brian by Jane Shilling

4.3.5; 4.6.1; 4.6.3; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Skills Lesson: Simile 4.5.2

Unit 7 From the British DominionsHistorical Background and Short Story Araby by James Joyce

4.3.4; 4.9.2; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1


Short Story Next Term We’ll Mash You by Penelope Lively

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Short Story A Mild Attack of Locusts by Doris Lessing

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Short Story Games at Twilight by Anita Desai

4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Epic Poem from Omeros by Derek Walcott 4.3.6; 4.1.1; 4.1.2; 4.1.3; 4.1.4; 4.1.5; 4.2.1; 4.2.2; 4.3.1; 4.3.2; 4.4.1; 4.4.2; 4.5.1; 4.5.2; 4.5.3; 4.6.4; 4.7.2; 4.8.1

Skills Lesson: Metaphor 4.5.2

Textbook(s) and/or MaterialsBritish Literature 2007 AGS Publishing

ISBN 0785440909

Student Progress Evaluations76 quizzes, 7 Unit Tests

Quarter Progress EvaluationsFirst Quarter24 lesson quizzes2 chapter tests

Second Quarter18 lesson quizzes2 chapter tests

Third Quarter12 lesson quizzes1 chapter tests

Fourth Quarter22 lesson quizzes2 chapter tests

Location the standards will be met in the course

Performance Standard Lesson, Tasks & Tools used to meet standardThe student uses strategies to decode or comprehend the meaning of

words in text by (Reading)[9] 4.1.1 Determining meanings ofunfamiliar words in context using

Each selection contains work on this standard.


knowledge of sounds, syllables,derivational roots and affixes, includingcultural derivations (e.g., the root ofphotography and photosynthesis, kayak)

[10] 4.1.1 Determining meaningsof unfamiliar words in context usingknowledge of sounds, syllables,derivational roots and affixes, includingcultural derivations (e.g., the root ofphotography and photosynthesis, kayak)*

[9] 4.1.2 Determining meanings ofunfamiliar words by utilizing contextclues, literary allusions, syntax, orsemantics in• dialectical English (e.g., Huck Finn)• other languages adopted into English(e.g., pie à la mode)• idiomatic expressions (e.g., “it drivesme up a wall”)

[10] 4.1.2 Determining meanings ofunfamiliar words by utilizing contextclues, literary allusions, syntax, orsemantics in• dialectical English (e.g., Huck Finn)• other languages adopted into English(e.g., pie à la mode)• idiomatic expressions (e.g., “it drivesme up a wall”)*


[9] 4.1.3 Identifying complexrelationships among words includingsynonyms, antonyms, homonyms/homophones, [shades of meaning L],analogies*[10] 4.1.3 Identifying complexrelationships among words includingsynonyms, antonyms, homonyms/homophones, [shades of meaning L],analogies*


[9] 4.1.4 Determining the meaningof words in context including



[connotation/denotation L], use ofprecise or technical vocabulary, contentspecificvocabulary (symbiosis, suffrage,apartheid), or multiple meanings (e.g.,Raven as a character in a myth and alsorepresentative of Native Alaskan notionof “trickster”)

[10] 4.1.4 Determining the meaning ofwords in context including [connotation/denotation L], use of precise or technicalvocabulary, content-specific vocabulary(symbiosis, suffrage, apartheid), ormultiple meanings (e.g., the James Joycecharacter Stephen Dedalus–Dedalusis a character and reference to Greekmythological figure)[9] 4.1.5 Self-monitoring and selfcorrectingwhile reading (e.g., rereading,adjusting reading pace, sub-vocalizing,consulting resources, questioning,flexible note taking/mapping, skimming,scanning, etc.)* (L)

[10] 4.1.5 Self-monitoring and selfcorrectingwhile reading (e.g. rereading,adjusting reading pace, sub vocalizing,consulting resources, questioning,flexible note taking/mapping, skimming,scanning, etc.)* (L)


The student restates/ summarizes and connects information. (Reading)

[9] 4.2.1 Restating and summarizingmain ideas or events, in correctsequence, after reading a text (e.g.,paraphrasing, constructing a topicoutline, charting or mapping mainideas or events) or identifying accuraterestatements and summaries of mainideas or events or generalizations of atext*

[10] 4.2.1 Restating and summarizingmain ideas or events, in correctsequence, after reading a text (e.g.,



paraphrasing, constructing a topicoutline, charting or mapping mainideas or events) or identifying accuraterestatements and summaries of mainideas or events or generalizations of atext*[9] 4.2.2 Connecting information bymaking inferences and/or drawingconclusions within a text (e.g., why isthe information in the chart included),across texts or other summarizedinformation

[10] 4.2.2 Connecting informationby making inferences and/or drawingconclusions within a text (e.g., why isthe information in the chart included),across texts or other summarizedinformation*


[9] 4.3.1 Identifying or explainingthe main ideas in various types oftexts (i.e., recognizing or developingappropriate titles, generalizations,assertions)*

[10] 4.3.1 Identifying or explaining themain ideas in various types of texts (i.e.,recognizing or developing appropriatetitles, generalizations, assertions)*


[9] 4.3.2 Locating information innarrative and informative text toanswer questions related to main ideasor key details*

[10] 4.3.2 Locating information innarrative and informative text to answerquestions related to main ideas or keydetails*


[9] 4.3.3 Comparing/contrastingthe main ideas or concepts betweenrelated texts*

[10] 4.3.3 Comparing/contrasting themain ideas or concepts between relatedtexts*

Very little coverage. Inferred in comparisons between various poetry.

[9] 4.3.4 Explaining connectionsamong main ideas/concepts (text toself, text to text, text to world)* (L)

Students complete this standard while working on lessons in the historical backgrounds of each unit. 7 times total.


[10] 4.3.4 Explaining connectionsamong main ideas/concepts (text to self,text to text, text to world)* (L)[9] 4.3.5 Locating and using evidencefrom texts to assess the validity of anauthor’s ideas (e.g., is the reasoninglogical) and adequacy of support (e.g.,is there enough supporting evidence)

[10] 4.3.5 Locating and using evidencefrom texts to assess the validity ofan author’s main ideas (e.g., is thereasoning logical) and adequacy ofsupport (e.g., is there enough supportingevidence)*

Students complete this standard while working on the essay, nonfiction, articles, short stories, novels, and biographical selections.

Found in Unit 1, Unit 2, Unit 3, Unit 4, Unit 5, Unit 6, and Unit 7.

[9] 4.3.6 Using evidence from thetext to evaluate the power, logic,reasonableness, and audience appealof arguments (e.g., identifies bias andpropaganda techniques, emotionaleffect of specific word choices andsentence structures, well-supportedlogical arguments)

[10] 4.3.6 Using evidence from thetext to evaluate the power, logic,reasonableness, and audience appealof arguments (e.g., identifies bias andpropaganda techniques, emotional effectof specific word choices and sentencestructures, well-supported logicalarguments)*


The student follows written directions (Reading)[9] 4.4.1 Reading, understanding,and applying multi-step directionsto perform complex procedures andtasks (e.g., filling out a catalog order)

[10] 4.4.1 Reading, understanding, andapplying multi-step directions to performcomplex procedures and tasks (e.g.,filling out a sample income tax return orpermanent fund dividend



application)[9] 4.4.2 Identifying the sequenceof steps in a list of directions (e.g.,design a science experiment)

[10] 4.4.2 Identifying the sequence ofsteps in a list of directions (e.g., design ascience experiment)*


The student analyzes and evaluates conventions and techniques of genres. (Reading)

[9] 4.5.1 Analyzing the characteristicsand the effect on the reader ofnonfiction and the four majorstructural genres: poetry, drama,novel, short story*

[10] 4.5.1 Analyzing the characteristicsand the effect on the reader of nonfictionand the four major structural genres:poetry, drama, novel, short story*


[9] 4.5.2 Analyzing the use ofliterary devices appropriate to genre(i.e., dialogue, simile, metaphor,personification, foreshadowing, timesequence, imagery, repetition, allusionor symbolism) to analyze literaryworks and nonfiction

[10] 4.5.2 Analyzing the use ofliterary devices appropriate to genre(i.e., dialogue, simile, metaphor,foreshadowing, personification, timesequence, imagery, repetition, allusion,symbolism, or syntax) to analyze literary

Students complete this standard while working on each of the skills lessons of each unit. 7 times total.

This is also found in the stories as students come across these literary devices in each of the selections.


works and nonfiction[9] 4.5.3 Evaluating the intendedeffects of the author’s use ofconventions and techniques ofgenres on the reader (e.g., makinginferences and judgments about ironicor hyperbolic statements, identifyingimpact of rich imagery, identifyingmultiple levels of meaning)

[10] 4.5.3 Evaluating the intendedeffects of the author’s use of conventionsand techniques of genres on the reader(e.g., making inferences and judgmentsabout ironic or hyperbolic statements,identifying impact of rich imagery,identifying multiple levels of meaning)*


The student analyzes and evaluates literary elements and devices. (Reading)[9] 4.6.1 Identifying or describing ormaking logical predictions about (citingevidence and support from text) plot,setting, character, point of view, theme,and tone

[10] 4.6.1 Identifying or describing ormaking logical predictions about (citingevidence and support from text) plot,setting, character, point of view, theme,and tone*



[9] 4.6.2 Comparing and contrastingliterary elements and devices in

This will be developed through the culmination of all the assignments and readings within the course.


a variety of works by a variety ofauthors*

[10] 4.6.2 Comparing and contrastingliterary elements and devices in avariety of works by a variety of authors*[9] 4.6.3 Analyzing and evaluating theimportance to the story of plot, setting,character, point of view, and theme*

[10] 4.6.3 Analyzing and evaluating theimportance to the story of plot, setting,character, point of view, theme, andtone



[9] 4.6.4 Citing evidence from the textto analyze and evaluate the author’sintent for utilizing literary elementsand devices and tone

[10] 4.6.4 Citing evidence from thetext to analyze and evaluate the author’sintent for utilizing literary elements anddevices and tone*


The student expresses opinion/differentiates fact from opinion/critiques the effectiveness of text (Reading)

[9] 4.7.1 Identifying bias/propagandaby citing textual evidence*

[10] 4.7.1 Identifying bias/propagandaby citing textual evidence*


[9] 4.7.2 Analyzing author’s purpose(e.g. to narrate, inform, entertain,



explain, persuade) by citing textualevidence* [10] 4.7.2 Analyzing author’s purpose(e.g., to narrate, inform, entertain,explain, persuade) by citing textualevidence*

The Student Connects Themes[9] 4.8.1 Analyzing and evaluatingevidence within the text to identify anauthor’s message, theme, or purpose

[10] 4.8.1 Analyzing and evaluatingevidence within the text to identify anauthor’s message, theme, or purpose*


[9] 4.8.2 Analyzing and evaluatingtextual evidence to make thematicconnections between texts

[10] 4.8.2 Analyzing and evaluatingtextual evidence to make thematicconnections between texts*


[9] 4.8.3 Analyzing and evaluatingthematic connections between textsrelated to personal experiences, theexperience of others, prior knowledge,and the broader world of ideas (L)

[10] 4.8.3 Analyzing and evaluatingthematic connections between texts



related to personal experiences, theexperience of others, prior knowledge,and the broader world of ideas* (L)

Student Connects and evaluates cultural influences/events (Reading)

[9] 4.9.1 Comparing and contrastingcultural events, ideas, settings, andinfluences in one story or text acrossother similar stories or texts in othercultures (e.g., mythology, colonialism,Western/Eastern medicine) (L)

[10] 4.9.1 Comparing andcontrasting cultural events, ideas,settings, and influences in one storyor text across other similar storiesor texts in other cultures (e.g.,Puritanism, immigration, HarlemRenaissance) (L)

Not evident for different cultures. However, there is some differences between The British dominion in the 7th unit and the British works in the first 6 units.

[9] 4.9.2 Analyzing the effects ofhistorical or cultural influences/eventson texts* (L)

[10] 4.9.2 Analyzing the effects ofhistorical or cultural influences/events on texts* (L)

Each Unit is set in a different time period. By working through the first lesson of each unit, students will understand the effects of historical events on the texts.


Documents

Course Syllabusykonline.yksd.com/distanceedcourses/Courses09/British... · Web viewThis course introduces students to an extensive selection of classic and contemporary works written