Viewpoints and Reference Points Teacher Resource 11Viewpoints 11 Teacher Resource Reference Points English Language Arts Grade 11 Outcomes 1.1.2.2 seek others’ ideas to clarify and

Viewpoints and Reference Points

Teacher Resource 11 Manitoba Edition

Curriculum Correlation Chart

© 2001 Pearson Education Canada Inc.

Viewpoints 11 Teacher Resource Reference Points

English Language Arts Grade 11 Outcomes

General Outcome 1 – Explore thoughts, ideas, feelings, and experiences 1.1 Discover and Explore 1.1.1 Express Ideas

connect ideas, observations, opinions, and emotions through a variety of means to develop a train of thought and test tentative positions

1.1.1.1

connect ideas, observations, opinions, and emotions to create or understand texts

William Golding, p. 391, #1; How to Turn a Closed-Down Nuclear Reactor, p. 401, #1; e-phobia? p. 438, #1

The Shivering Tree, #2; Brother Dear, #5; Silver Mine, Cobalt, #6; Boys and Girls, #1; SOS, #1; Holy Sonnet 10, #1; Ode to Autumn, #1; The Lake Isle of Innisfree, #1; Beautiful Summer, #1; Schooner, #1; Sonnet, #1; Surf’s Up, #1; Some Paws for Concern, #1; Life of a Sports Writer, #1; From Henry V, #1

pp. 6–7; 51–53

1.1.1.2

connect ideas, observations, opinions, and emotions to develop a train of thought and formulate tentative positions

Brother Dear, p. 34, #3; The Address, p. 41, #3; A Television Drama, p. 152, #1; The Job of an Apple, p. 274, #1; Poetry Wrap-Up, p. 303, #5; From Sense and Sensibility, p. 483, #2

The Shivering Tree, #1; Learning the Language, #1; The Address, #1; Silver Mine, Cobalt, #1; Ramu and Rani, #1; A Handful of Dates, #1; Companions Past and Present, #1; Love Must Not Be Forgotten, #2; Sometimes My Body Leaves Me, #1; My Last Duchess, #1; The Tables Turned, #1; The Lake Isle of Innisfree, #1; Falling Song, #1; My Song, #2; In the Morning (27 May), #1; A Narrow Fellow in the Grass, #1; Macavity, #1; Sonnet, #1; In a Remote Korean Village, #1; Canadian Pioneers, #1; Reaction–Interaction, #1, #5; Fear of Science, #3; Engineered Food, #1; On Boy Trouble, #1

pp. 6–7; 25–26; 230–231

1.1.2 Consider Others' Ideas

seek others’ responses through a variety of means [such as consulting elders, e-mail correspondence, surveys...] to clarify and rework ideas and positions

1.1.2.1

seek others’ responses through a variety of means to clarify and rethink interpretations of texts or to reconsider the shape and nature of own texts

A Handful of Dates, p. 129, #1; SOS, p. 218, #1; My Song, p. 242, #1; Horse-Fly Blue, p. 267, #1; On Veterans, p. 380, #1; Non-Fiction Wrap-up, p. 443, #5

Silver Mine, Cobalt, #1; Love Must Not Be Forgotten, #2; The Storyteller, #1; The Gentlemen of the Jungle, #2; SOS, #1; An Elegy on the Death of a Mad Dog, #1; In Progress, #1, #6; Horse-Fly Blue, #2; ‘Out, Out-‘, #2, #5; The Job of an Apple, #1; Schooner, #6; Mother and Child, #1; Sonnet, #1; In a Remote Korean Village, #3; Neighbour, #1, #2; Canadian Pioneers, #1; Reaction–Interaction, #1; The Cartography of Myself, #1; Albert Einstein, #1, #2; Where the World Began, #1; Wrong Ism, #1; On Veterans, #4; How to Turn a Closed-Down Nuclear Reactor, #1; Fear of Science, #2; On Boy Trouble, #1; Life of a Sports Writer, #2; King Kong, #5; The Ignoble Knight, #1; Survival in the South, #2

pp. 54–55; 104–105

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1.1.2.2

seek others’ ideas to clarify and rework positions, keeping in mind audience and context

Brother Dear, p. 34, #1; Silver Mine, Cobalt, p. 43, #1; Companions Past and Present, p. 131, #2; Sunday in the Park, p. 184, #1; The Gentlemen of Jungle, p. 189, #2; Do Seek Their Meat from God, p. 197, #1; Falling Song, p. 242, #1; My Song, p. 242, #2; Untitled (Vancouver), p. 245, #2; Poetry, p. 250, #2; The Profile of Africa, p. 261, #1; Narrow Fellow, p. 275, #2; My Old Newcastle, p. 309, #2; Canadian Pioneers, p. 313, #3; The Open Car, p. 342, #1; How to Turn, p. 401, #3; Living Languages, p. 422, #1; Life Needs Nourishing, p. 424, #2; On Boy Trouble, p. 426, #2; e-phobia?, p. 438, #1; Survival in the South, p. 522, #1

Address, #3; Silver Mine, Cobalt, #1, #3; Walk to the Jetty, #2; Charmer, #1; Cap for Steve, #2; Sunday in the Park, #4; Gentlemen of Jungle, #4; Do Seek Their Meat from God, #2; SOS, #2; Sometimes My Body Leaves Me, #2; Ode to Autumn, #4; History Lesson, #2; In the Morning, #2; The Job of an Apple, #2; Sonnet, #1; “Where Do You Get Your Ideas From?” #5; Off to War, #2; Surf’s Up, #6; Garbage 101, #1; Reflections of Girls in the Media, #1; Life Needs Nourishing, #1; On Boy Trouble, #1; Sustainable Development, #1, #3; Life of a Sports Writer, #3; King Kong, #1

pp. 4–15; 54–55; 219–221

1.1.3 Experiment with Language and Forms

experiment with language and forms of expression to achieve particular effects

1.1.3.1

experiment with language and forms of expression to explore their effects on content and intent

My Last Duchess, p. 227, #1; A Flower of Waves, p. 251, #1; Horse-Fly Blue, p. 267, #2; Non-Fiction Wrap-up, p. 443, #1 and #6; Engineered Food, p. 408, #2; Sustainable Development, p. 436, #2

Shivering Tree, #3; Learning the Language, #3; Ramu and Rani, #2; A Television Drama, #5; Ode to Autumn, #1; You Walked Gently Towards Me, #1, #6; Untitled (Vancouver), #1; Up, #1; A Flower of Waves, #3; The Profile of Africa, #4; In the Morning (27 May), #2, #6; The Titanic, #2; Mother, #2; Macavity, #4; Neighbour, #4, #6; My Old Newcastle, #6; On Veterans, #4, #5; e-phobia? #1; Henry V, #1

pp. 112; 129; 136–137; 166

1.1.3.2

experiment with language and forms of expression to discover their impact on audience and effect on purpose

Horse-Fly Blue, p. 267, #2; “Where Do You Get Your Ideas From?” p. 357, #1; Non-Fiction Wrap-up, p. 443, #1 and #6

Shivering Tree, #4; Learning the Language, #3; Ramu and Rani, #2; Ode to Autumn, #1; Falling Song, #5; You Walked Gently Towards Me, #1, #6; Untitled (Vancouver), #1; Up, #1; A Flower of Waves, #3; The Profile of Africa, #4; In the Morning (27 May), #2, #6; Mother, #2; Macavity, p. 172, #4; Neighbour, #4, #6; My Old Newcastle, #6; The Open Car, #6; On Veterans, #4, #5; e-phobia? #1; Henry V, #1

pp. 300–301; 303–307

1.1.4 Express Preferences

explore a range of texts and genres and discuss how they affect personal interests, ideas, and attitudes

1.1.4.1

explore a range of texts and genres by various writers, artists, storytellers, and filmmakers, and discuss ideas, images, feelings, people, and experiences both within and associated with these texts

Walk to the Jetty, p. 99, #3; To Da-Duh, p. 122, #2; Initiation, p. 208, #1; My Song, p. 242, #1; Untitled (Vancouver), p. 245, #2; Poetry, p. 250, #2; Macavity, p. 295, #1; Hidden Fence, p. 302, #1; The Cartography of Myself, p. 323, #3; Wrong Ism, p. 347, #1; “Where Do You Get Your Ideas From?” p. 357, #2; William Golding, p. 391, #1, 2; On Boy Trouble, p. 426, #1; Sense and Sensibility, p. 483, #1; Trifles, p. 500, #1; Survival in the South, p. 522, #1

Learning the Language, #2; Boys and Girls, #1; Love Must Not Be Forgotten, #2; Elegy on Mad Dog, #1; Holy Sonnet 10, #5; In Progress, #2; The Lake Isle of Innisfree, #2; ‘Out, Out-’, #1; The Job of an Apple, #1; Sonnet, #5; Neighbour, #2; Canadian Pioneers, # 2; Reaction–Interaction, #1, #2; Shakespearean Baseball Game, #1, #3; Branta Canadensis, #2; Sense and Sensibility, #2; Trifles, #4

pp. 15–18

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1.1.4.2

explore a range of texts and genres and discuss their appeal and potential for affecting particular audiences

The Gentlemen of the Jungle, p. 189, #1; Up, p. 250, #1; Albert Einstein, p. 325, #1; "Where do you get your ideas from?" p. 357, #3; Victory! p. 367, #2; Fear of Science and Love of the Land, p. 404, #1; On Boy Trouble, p. 426, #3; Sustainable Development, p. 436, #1; e-phobia? p. 438, #1

Companions Past and Present, #2; My Song, #2; Macavity, #2, #5; Canadian Pioneers, #2; Reaction–Interaction, #2, #3; Albert Einstein, #3; Marilyn Bell, #4; Animation 101, #1; Fear of Science, #1, #3; Engineered Food, #1; Some Paws for Concern, #3; Shakespearean Baseball Game, 1; Branta Canadensis, #2; King Kong, #4; Trifles, #1; The Ignoble Knight, #2

1.1.5 Set Goals

establish goals and plans for personal language learning based on self-assessment of achievements, needs, and interests

1.1.5.1

develop goals and plans for personal language learning [such as reading new genres or authors, experimenting with various writing forms or styles, developing effective storytelling techniques...]

Silver Mine, Cobalt, #2; Fire Down on the Labrador, #6; The Lamp at Noon, #1; A Television Drama, #1; The Storyteller, #2; Sunday in the Park, #2; Do Seek Their Meat From God, #1; In Progress, #2; Poetry, #2; In the Morning (27 May), #3, #6; A Narrow Fellow in the Grass, #2; Macavity, #2; In a Remote Korean Village, #4; Neighbour, #1; The Cartography of Myself, #6; "Where Do You Get Your Ideas From?" #2; Victory! #4; HMS Repulse, #1; Animation 101, #3; Garbage 101, #6; William Golding, #3; Engineered Food, #6; Living Languages, Lasting Cultures, #5; Shakespearean Baseball Game, #6; Sense and Sensibility, #6; Survival in the South, #3

pp. 163–168

1.1.5.2

formulate goals and plans for personal language learning [such as using visuals, making effective presentation, enhancing clarity of design...] based on self-assessment of achievements and needs

Shivering Tree, #6; The Lamp at Noon, #1; A Handful of Dates, #2; Companions Past and Present, #3; A Television Drama, #1; The Storyteller, #2; Up, #3; ‘Out, Out-', #6; Mother, #6; Hidden Fence, #3; Albert Einstein, #1; Wrong Ism, #3, #6; Marilyn Bell, #5; Victory! #4; On Veterans, #6; Animation 101, #3; William Golding, #3; Engineered Food, #6; The ‘Talking’ Mace, #3; Living Languages, Lasting Cultures, #5; e-phobia? #6

1.2 Clarify and Extend 1.2.1 Develop Understanding

examine and adjust initial understanding according to new knowledge, ideas, experiences, and responses from others

1.2.1.1

modify initial understanding of own and others’ texts, considering new ideas, information, experiences, and responses from others

Do Seek Their Meat from God, p. 197, #3

Silver Mine, Cobalt, 2; Fire Down on the Labrador, #6; The Lamp at Noon, #1; The Charmer, #2; A Handful of Dates, #3; A Television Drama, #1; Do Seek Their Meat From God, #1; In Progress, #1, #2; Ode To My Socks, #3; In the Morning (27 May), #3, #6; A Narrow Fellow in the Grass, #2; "Where Do You Get Your Ideas From?" #2; HMS Repulse, #1; Animation 101, #3; Engineered Food, #6; Living Languages, Lasting Cultures, #5; Henry V, #1; Shakespearean Baseball Game, #6; Sense and Sensibility, #6; Survival in the South, #3

pp. 6–7; 51–53

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1.2.1.2

examine and adjust initial understanding of texts according to new knowledge, ideas, experiences, and responses from others

Poetry Wrap-Up, p. 303, #1; My Old Newcastle, p. 309, #1; From Animation 101, p. 384, #1; William Golding, p. 391, #1; Life of a Sports Writer, p. 440, #2; From Henry V, p. 448, #1; Branta Canadensis, p. 471, #2

Shivering Tree, #1, #2; Address, #1; Lamp at Noon, p. 28, #1; Television Drama, p. 53, #1; Sunday in the Park, p. 66, #2; SOS, p. 78, #1; Sometimes My Body Leaves Me, p. 85, #1; Ode to Autumn, p. 101, #1; A Flower of Waves, p. 127, #1; Ode to My Socks, p. 130, #2; In the Morning, p. 139, #1; Horse-Fly Blue, p. 145, #1; Schooner, p. 157, #2; Canadian Pioneers, p. 192, #1; The Open Car, p. 208, #2; Wrong Ism, p. 211, #1; Marilyn Bell, p. 218, #1; HMS Repulse, p. 224, #1, 2; On Veterans, p. 231, #1, 2; Garbage 101, p. 245, #2; How to Turn, p. 247, #2; Fear of Science, #2; Engineered Food, #2; ‘Talking’ Mace, #2, #3; On Boy Trouble, 2; Paws for Concern, #1; Sustainable Development, #12; Life of a Sports Writer, #1; Branta Canadensis, #1, #5; Trifles, #2; Ignoble Knight, #1; Survival in the South, #1

pp. 16–19

1.2.2 Explain Opinions

explore various viewpoints and consider the consequences of particular positions when generating and responding to texts

1.2.2.1

explore possible interpretations when generating and responding to texts and themes

Fire Down on the Labrador, p. 61, #1; Lamp at Noon, p. 73, #3; Ramu and Rani, p. 85, #1; Charmer, p. 109, #1; Handful of Dates, p. 129, #1, 2; Love Must Not be Forgotten, p. 146, #3; Television Drama, p. 152, #2; Storyteller, p. 165, #1; Short Fiction; In Progress, p. 226, #1; Holy Sonnet 10, p. 226, #1; You Walked Gently Towards Me, p. 243, #2; ‘Out, Out’ p. 274, #1; Narrow Fellow, p. 275, #2; Mother, p. 294, #1; Neighbour, p. 301, #1, 2; Poetry Wrap-Up, p. 303, #6; Where the World Began, p. 333, #1; Surf’s Up, p. 395, #3; Engineered Food, p. 408, #1; ‘Talking’ Mace, p. 412, #3; Survival in the South, p. 522, #2; Drama Wrap-Up, p. 523, #1, 4

Learning the Language, p. 6, #4; Brother Dear, p. 10, #2; Address, p. 14, #4; Boys and Girls, p. 20, #1; Ramu and Rani, p. 32, #4; Charmer, p. 37, #3; To Da-Duh, p. 41, #5; Handful of Dates, p. 44–45, #2, 4; Love Must Not Be Forgotten, p. 50–51, #1, 3; Initiation, p. 75, #2; Initiation, p. 76, #4; The Tables Turned, p. 98, #2; My Song, p. 111, #2; A Flower of Waves, p. 127, #2; History Lesson, p. 134, #3; The Profile of Africa, p. 136, #3; The Job of an Apple, p. 151, #3; Mother, p. 169, #1; Sonnet, p. 175, #2; My Old Newcastle, p. 189, #4; Reaction-Interaction, p. 193, #5; Where the World Began, p. 206, #4; “Where Do You Get Your Ideas From?” p. 216, #4; Marilyn Bell, p. 219, #3; From Animation 101, #2; William Golding, p. 237, #4; Garbage 101, p. 245, #3; How to Turn, p. 247, #1; Engineered Food, p. 254, #4; From Henry V, p. 287, #2; Branta Canadensis, p. 294, #4; Sense and Sensibility, p. 300, #4; Ignoble Knight, p. 307, #3

pp. 4–48; 51–61; 65–68; 87–90; 309–310

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1.2.2.2

explore and consider the consequences of own and others’ viewpoints; confirm or revise personal viewpoints when generating and responding to texts

Brother Dear, p. 34, #2; Address, p. 41, #1; Boys and Girls, p. 59, #1; Lamp at Noon, p. 73, #1; A Handful of Dates, p. 129, #1; A Cap for Steve, p. 178, #1; Do Seek Their Meat from God, p. 197, #3;The Tables Turned, p. 234, #1; Poetry, p. 250, #1; Poetry Wrap-Up, p. 303, #2; Cartography of Myself, p. 323, #1, 2; Albert Einstein, p. 325, #3; Where the World Began, p. 333, #2, 3; Victory! p. 367, #1; From Animation 101, p. 384, #3Wrong Ism, p. 347, #2; Garbage 101, p. 399, #1; Ignoble Knight, p. 512, #1

Fire Down on the Labrador, p. 24, #1; The Lamp at Noon, p. 73, #4; Ramu and Rani, p. 31, #2; Walk to the Jetty, p. 34, #1; Charmer, p. 37, #2; Television Drama, p. 53, #2; The Pedestrian, p. 57, #2; Storyteller, p. 59, #1; Cap for Steve, p. 63, #6; Initiation, p. 75, #1; The Tables Turned, p. 98, #1; The Lake Isle of Innisfree, p. 104, #1; Falling Song, p. 108, #1, 4; My Song, p. 111, #1; You Walked Gently Towards Me, p. 114, #1; Up, p. 121, #1; Ode to My Socks, p. 130, #3; Horse-Fly Blue, p. 145, #2; ‘Out, Out’ p. 149, #5; Bear on Delhi Road, p. 163, #1; "Where do you get your ideas from?" p. 216, #4; Surf’s Up, p. 241, #1; Garbage 101, p. 245, #3; Reflections of Girls in the Media, p. 260, #1; e-phobia?, p. 279, #2; Branta Canadensis, p. 294, #4; Sense and Sensibility, p. 300, #5; Survival in the South, p. 310, #2

pp. 51–55; 104–105

1.2.3 Combine Ideas

combine ideas and information through a variety of means to clarify understanding when generating and responding to texts

1.2.3.1

combine viewpoints and interpretations through a variety of means [such as Think-Pair-Share, literary discussion groups on Internet...] when generating and responding to texts

Brother Dear, p. 34, #3; Fire Down on the Labrador, p. 61, #1; A Walk to the Jetty, p. 99, #3; The Charmer, p. 109, #1; An Elegy on the Death of a Mad Dog, p. 218, #1; The Profile of Africa, p. 261, #1; In the Morning (27 May), p. 266, #1; Horse-Fly Blue, p. 267, #1; A Narrow Fellow in the Grass, p. 275, #2; Schooner, p. 284, #1; In a Remote Korean Village, p. 301, #1; Poetry Wrap-Up, p. 303, #6; Marilyn Bell, p. 365, #1; On Veterans, p. 380, #1, 2; Garbage 101, p. 399, #1; Some Paws for Concern, p. 430, #1; Sustainable Development, p. 436, #1; Non-Fiction Wrap-up, p. 443, #1

Shivering Tree, p. 3, #5; Silver Mine, Cobalt, p. 17, #1; Fire Down on the Labrador, p. 25, #6; The Charmer, p. 37, #3; To Da-Duh, In Memoriam, p. 41, #4; Companions Past and Present, p. 48, #6; The Storyteller, p. 59, #1; The Gentlemen of the Jungle, p. 69, #1; Initiation, p. 75, #1; SOS, p. 78, #2 and #3; An Elegy on the Death of a Mad Dog, p. 82, #1 and p. 83, 5; Sometimes My Body Leaves Me, p. 85, #1, #2 and #3; Holy Sonnet 10, p. 91, #1; The Tables Turned, p. 98, #2 and #3; Falling Song, p. 108, #2; My Song, p. 111, #3; Poetry, p. 124, #1; History Lesson, p. 133, #1 and #2; Schooner, p. 157, #2 and p. 158, #6; From The Titanic, p. 160, #2; Mother and Child, p. 166, #1; Mother, p. 169, #3; In a Remote Korean Village, p. 179, #3; The Cartography of Myself, p. 198, #1; Albert Einstein, p. 202, #1 and #2; Wrong Ism, p. 211, #1; "Where Do You Get Your Ideas From?" p. 215, #1; Victory! p. 221, #1 and #4; Off To War, p. 228, #1, 2; From Animation 101, p. 234, #2; William Golding, p. 237, #3; Surf's Up, p. 241, #1; How to Turn a Closed-Down Nuclear Reactor, p. 247, #1; Sustainable Development, p. 276, #3; e-phobia? p. 279, #4; Life of a Sports Writer, p. 282, #1 and #3; From Henry V, p. 286, #1; Shakespearean Baseball Game, p. 290, #3; Branta Canadensis, p. 293, #1, 2; King Kong, p. 296, #1; The Ignoble Knight, p. 306, #1; Survival in the South, p. 310, #5

pp. 33–36

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1.2.3.2

combine ideas and information from multiple sources through a variety of means [such as pro-con charts, alternative Internet search engines, comparison tables...] to ensure consideration of various perspectives when generating and responding to texts

The Shivering Tree, p. 16, #3; Learning the Language, p. 23, #1; Silver Mine, Cobalt, p. 43, #3; Fire Down on the Labrador, p. 61, #3; The Charmer, p. 109, #2; Companions Past and Present, p. 131, #3; Love Must Not Be Forgotten, p. 146, #3; Sunday in the Park, p. 184, #3; Initiation, p. 208, #1; Short Fiction Wrap-Up, p. 209, #3; A Flower of Waves, p. 251, #2; HMS Repulse, p. 373, #3; Engineered Food, p. 408, #3; The ‘Talking’ Mace, p. 412, #3

The Shivering Tree, p. 3, #5; Boys and Girls, p. 21, #6; The Lamp at Noon, p. 29, #5; Ramu and Rani, p. 32, #6; The Charmer, p. 38, #5; Companions Past and Present, p. 48, #3; The Gentlemen of the Jungle, p. 70, #6; Do Seek Their Meat From God, p. 73, #5; SOS, p. 79, #6; Sometimes My Body Leaves Me, p. 85, #6; Ode to Autumn, p. 102, #5; My Song, p. 111, #4; You Walked Gently Towards Me, p. 114, #5; Untitled (Vancouver), p. 118, #3, 4; History Lesson, p. 133, #1 and p. 134, #5; In The Morning (27 May), p. 139, #2; Beautiful Summer, p. 143, #6; Horse-Fly Blue, p. 146, #5; From The Titanic, p. 160, #1 and p. 161, #5; Mother and Child, p. 167, #4 and #5; Albert Einstein, p. 202, #5; Where the World Began, p. 206, #4; Marilyn Bell, p. 219, #5; On Veterans, p. 232, #5; The ‘Talking’ Mace, p. 258, #6; Life of a Sports Writer, p. 282, #1; Trifles, p. 303, #4

pp. 33–36

1.2.4 Extend Understanding

extend understanding by exploring and acknowledging multiple perspectives and ambiguities when generating and responding to texts

1.2.4.1

extend understanding by considering real and vicarious experiences, inquiry findings, and divergent interpretations when generating and responding to texts

Fire Down on the Labrador, p. 61, #1; Ode to My Socks, p. 260, #2; Canadian Pioneers, p. 313, #1; From Animation 101, p. 384, #3; Garbage 101, p. 245, #6

A Cap for Steve, p. 62, #1; Initiation, p. 75, #1; Falling Song, p. 108, #1; The Open Car, p. 208–209, #1, 2; Garbage 101, p. 245, #6; Survival in the South, p. 310, #1

pp. 54–55; 104–105

1.2.4.2

clarify understanding by considering multiple perspectives, research data, and intended audience when generating and responding to texts

Learning the Language, p. 24, #3; Brother Dear, p. 34, #2; Short Fiction Wrap-Up, p. 209, #1; Falling Song, p. 242, #2; Mother, p. 294, #2; The Open Car, p. 342, #3

A Cap for Steve, p. 62, #2; Untitled (Vancouver), p. 118, #4; A Flower of Waves, p. 127, #1; Macavity, p. 172, #2; Canadian Pioneers, p. 192, #5

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General Outcome 2 – Comprehend and respond personally and critically to oral, print, and other media texts 2.1 Use Strategies and Cues 2.1.1 Prior Knowledge examine connections between personal experiences and prior knowledge of language and texts to develop understanding and interpretations of a variety of texts

2.1.1.1 examine connections between personal experiences and prior knowledge of genres, traditions, and a variety of texts [such as plays, poetry, novels, short stories, television programs, Internet book/film discussions...] by writers, artists, storytellers, and filmmakers to develop understanding and interpretations

Macavity, p. 295, #1; Sonnet, p. 295, #1; From Animation 101, p. 384, #3; William Golding, p. 391, #1; On Boy Trouble, p. 426, #1

The Pedestrian, p. 56, #1; The Tables Turned, p. 99, #5; Ode to My Socks, p. 130, #1; Victory! p. 221, #4; Surf's Up, p. 241, #1; Reflections of Girls in the Media, p. 261, #6; From Henry V, p. 287, #3; King Kong, p. 296, #1

pp. 54–55; 104–105

2.1.1.2

examine connections between personal experiences and prior knowledge of particular forms and content and a variety of texts [such as research reports, interviews, articles...] to develop understanding and interpretations

Ramu and Rani, p. 85, #2; Love Must Not Be Forgotten, p. 146, #2; From Animation 101, p. 384, #3

The Pedestrian, p. 56, #1; In the Morning (27 May) #1; In a Remote Korean Village, p. 179, #4 ; How to Turn a Closed-Down Nuclear Reactor, p. 247, #1; Some Paws for Concern, p. 272, #1; Sustainable Development, p. 275, #1; e-phobia? p. 279, #2; Shakespearean Baseball Game, p. 290, #3

2.1.2 Comprehension Strategies use and adjust comprehension strategies to monitor understanding and develop interpretations of a variety of texts

2.1.2.1

use and adjust comprehension strategies [such as inferring character traits and relationships, judging the plausibility of story endings, paraphrasing poetry or film excerpts...] to monitor understanding and develop interpretations of texts

An Elegy on the Death of a Mad Dog, p. 218, #1; Sometimes My Body Leaves Me, p. 219, #2; In the Morning (27 May), p. 139, #1; Beautiful Summer, p. 266, #1; Neighbour, p. 301, #2; HMS Repulse, p. 373, #3; Off to War, p. 375, #1; William Golding, p. 391, #1, 2; How to Turn a Closed-Down Nuclear Reactor, p. 401, #1; Sustainable Development, p. 436, #1; From Henry V, p. 449, #2, 3; Shakespearean Baseball Game, p. 461, #1; Survival in the South, p. 522, #2; Drama Wrap-Up, p. 523, #4

The Shivering Tree, p. 3, #5; Learning the Language, p. 6, #4; Brother Dear, p. 10, #2; Boys and Girls, p. 20, #1; The Storyteller, p. 59, #2; Do Seek Their Meat from God, p. 72, #1; In Progress, p. 88, #3; The Tables Turned, p. 99, #4; Poetry, p. 124, #4; Ode to My Socks, p. 130, #2; The Profile of Africa, p. 136, #1; Horse-Fly Blue, p. 145, #1; ‘Out, Out ' p. 149, #4; A Narrow Fellow in the Grass, p. 154, #2; Mother and Child, p. 166–167, #1, 3, 6; In a Remote Korean Village, p. 178, #2; Albert Einstein, p. 202, #5; Where the World Began, p. 206, #4; Victory! p. 221, #4; HMS Repulse, p. 224, #1; William Golding, p. 237, #1, 2, 3; Garbage 101, p. 245, #2; Living Languages, Lasting Cultures, p. 263, #2 and #4; From Henry V, p. 286–287, #1, 2; Shakespearean Baseball Game, p. 290, #3; Sense and Sensibility, p. 300, #2; Trifles, p. 303, #3

pp. 25–29; 144–147

8



2.1.2.2

use and adjust comprehension strategies [such as skimming to preview texts, varying and adjusting reading and viewing rates to accomplish purpose, paraphrasing and summarizing, remembering pertinent information...] to monitor and develop understanding of texts

Short Fiction Wrap-Up, p. 209, #2; Poetry Wrap-up, p. 303, #1; “Where Do You Get Your Ideas From?” p. 357, #2, 3; Off To War, p. 375, #1; Engineered Food, p. 408, #1

Shivering Tree, p. 2, #2; Brother Dear, p. 10, #2; The Address, p. 13, #1; Boys and Girls, p. 20, #2; The Lamp at Noon, p. 28, #1; A Television Drama, p. 53, #1; The Storyteller, p. 59, #2 and #3; SOS, p. 78, #1 and p. 79, #4; Sometimes My Body Leaves Me, p. 85, #2; Holy Sonnet 10, p. 91, #1; Ode to Autumn, p. 101, #1; Falling Song, p. 108, #2; Poetry, p. 124, #1; A Flower of Waves, p. 127, #2; The Profile of Africa, p. 136, #1; The Job of an Apple, p. 151, #1; Schooner, p. 158, #5; From The Titanic, p. 161, #3; Reaction-Interaction, p. 195, #2; Cartography of Myself, p. 198, #2; Albert Einstein, p. 202, #1, 3; The Open Car, p. 208, #2; "Where Do You Get Your Ideas From?" p. 215, #2; Marilyn Bell, p. 219, #1, 2; HMS Repulse, p. 224, #2; From Animation 101, p. 234, #2; Surf's Up, p. 242, #4; How to Turn a Closed-Down Nuclear Reactor, p. 247, #1; Fear of Science and Love of the Land, p. 251, #3; 'Talking' Mace, p. 257, #2, 3; Living Languages, Lasting Cultures, p. 263, #1; Life Needs Nourishing, p. 266, #2; On Boy Trouble, p. 270, #2; Some Paws for Concern, p. 272, #1, 2; Sustainable Development, p. 275, #1, 2; Life of a Sports Writer, p. 282, #1, 2; Shakespearean Baseball Game, p. 290–291, #1, 2, 6; King Kong, p. 296, #1; From Sense and Sensibility, p. 299, #1; Ignoble Knight, p. 307, #4

pp. 16–19; 21–26

2.1.3 Textual Cues

use textual cues and prominent organizational patterns to construct and confirm meaning and interpret texts

2.1.3.1

use textual cues [such as prologues, stage directions, camera angles...] and prominent organizational patterns [such as acts and scenes, chapters, versification...] to construct and confirm meaning and interpret texts

A Cap for Steve, p. 178, #2; Initiation, p. 208, #2; The Bear on the Delhi Road, p. 284, #1; “Where Do You Get Your Ideas From?” p. 357, #1; Surf’s Up, p. 395, #3; On Boy Trouble, p. 426, #1; Life of a Sports Writer, p. 440, #1; Sense and Sensibility, p. 483, #1, 2; Trifles, p. 500, #1; Survival in the South, p. 522, #1

The Address, p. 14, #2; To Da-Duh, In Memoriam, p. 40, #1; Sunday in the Park, p. 67, #4; The Gentlemen of the Jungle, p. 69, #3; In a Remote Korean Village, p. 178, #1; My Old Newcastle, p. 189, #3; The Cartography of Myself, p. 198, #3; Where the World Began, p. 205, #1; Wrong Ism, p. 211, #2b; HMS Repulse, p. 224, #1; Living Languages, Lasting Cultures, p. 263, #2; Life Needs Nourishing, p. 266, #3; From Henry V, p. 287, #6; Trifles, p. 303, #2; Survival in the South, p. 310, #4

pp. 202; 335–338

9



2.1.3.2

use textual cues [such as visual images, sound tracks, structured overviews, headings and subheadings, summaries...] and prominent organizational patterns [such as generalizations, examples...] to construct and confirm meaning and interpret texts

Address, p. 41, #3; Fire Down on the Labrador, p. 61, #2; Canadian Pioneers, p. 313, #2; Ode to Autumn, p. 235, #2; Bear on Delhi Road, p. 284, #1; Reaction-Interaction, p. 318, #1; Albert Einstein, p. 325, #1; The Open Car, p. 342, #2; “Where Do You Get Your Ideas From?” p. 357, #1; Off to War, p. 375, #3; ‘Talking’ Mace, p. 412, #1; Reflections of Girls in the Media, p. 421, #1; Life Needs Nourishing, p. 424, #1; Paws for Concern, p. 430, #1; Life of a Sports Writer, p. 440, #1; Non-Fiction Wrap-Up, p. 443, #1; From Henry V, p. 449, #3; Survival in the South, p. 522, #2; Drama Wrap-Up, p. 523, #3

Fire Down on the Labrador, p. 25, #4; Walk to the Jetty, p. 34, #4; Handful of Dates, p. 44, #1;In Progress, p. 88, #4; Falling Song, p. 109, #6;My Song, p. 112, #6; You Walked Gently Towards Me, p. 114, #6; Poetry, p. 125, #5; A Flower of Waves, p. 127, #4, 6; History Lesson, p. 134, #6; The Profile of Africa, p. 137, #5; Beautiful Summer, p. 143, #5; ‘Out, Out’ p. 148, #2; The Job of an Apple, p. 152, #5; A Narrow Fellow in the Grass, p. 154, #3; Neighbour, p. 182, #5; Hidden Fence, p. 185, #4;My Old Newcastle, p. 189, #3; Cartography of Myself, p. 198, #3; Albert Einstein, p. 202, #1; The Open Car, p. 208, #3; Wrong Ism, p. 211, #2; Marilyn Bell, p. 219, #2, 4, 5; Off to War, p. 228–229, #1, 3, 6; From Animation 101, p. 234, #1; William Golding, p. 237, #1; Engineered Food, p. 253, #1, 3; ‘Talking’ Mace, p. 258, #6; Reflections of Girls in the Media, p. 260–261, #3, 5; Sustainable Development, p. 276, #2; e-phobia?, p. 279, #2; From Henry V, p. 287, #3; Branta Canadensis, p. 293, #2

pp. 21–25; 33–35; 60–61; 68–72; 81–87; 93–94; 113–128; 183; 213–218; 221–239; 286–296; 299–318

2.1.4 Cueing Systems

use syntactic, semantic, graphophonic, and pragmatic cueing systems to construct and confirm meaning and interpret texts

2.1.4.1

use syntactic, semantic, graphophonic, and pragmatic cueing systems [such as variety in sentence structure and length, words with multiple connotations, foreign derivations, prefixes and suffixes of specialized vocabulary, social context...] to construct and confirm meaning and interpret texts

Learning the Language, p. 23, #2; The Lamp at Noon, p. 73, #2; A Handful of Dates, p. 129, #3; The Storyteller, p. 165, #2; Falling Song, p. 242, #1; Beautiful Summer, p. 266, #1; Macavity, p. 295, #1; Hidden Fence, p. 302, #2; Non-Fiction Wrap-up, p. 443, #2; Poetry Wrap-up, p. 303, #5, 6; On Veterans, p. 380, #2; Non-Fiction Wrap-up, p. 443, #5; From Henry V, p. 448, #1, 2; Drama Wrap-Up, p. 523, #6

Learning the Language, p. 6, #3 and p. 7, #5; The Lamp at Noon, p. 29, #3; A Walk to the Jetty, p. 34, #2; A Television Drama, p. 54, #4; The Storyteller, p. 60, #5; Sunday in the Park, p. 67, #4; Do Seek Their Meat From God, p. 72, #1 and p. 73, #3; SOS, p. 79, #4; An Elegy on the Death of a Mad Dog, p. 82, #3; In Progress, p. 88, #4; Holy Sonnet 10, p. 92, #4; The Lake Isle of Innisfree, p. 105, #2, 5; Falling Song, p. 109, #3; My Song, p. 111, #3; Up, p. 122, #4; The Profile of Africa, p. 137, #4; A Narrow Fellow in the Grass, p. 154, #1; Schooner, p. 157, #3, 4; Sonnet, p. 176, #3; My Last Duchess, p. 94, #3; The Tables Turned, p. 99, #5; Ode to Autumn, p. 101, #1 and #2; Up, p. 121, #2 and p. 122, #4; History Lesson, p. 134, #4; The Profile of Africa, p. 136, #2; In the Morning (27 May), p. 139, #3; BeautifulSummer, p. 142, #2; Horse-Fly Blue, p. 145, #2 and #3; ‘Out, Out ' p. 148, #3; A Narrow Fellow in the Grass, p. 154, #2 and #3; From The Titanic, p. 161, #3; Mother, p. 169, #3 and #4; Macavity, p. 172, #2, 4; In a Remote Korean Village, p. 178, #1 and p. 179, #4; Canadian Pioneers, p. 192, #4; The Cartography of Myself, p. 199, #5; The Open Car, p. 208, #3; "Where Do You Get Your Ideas From?" p. 215, #2; Marilyn Bell, p. 219, #3; Off To War, p. 228, #3; Reflections of Girls in the Media, p. 260, #2; On Boy Trouble, p. 270, #3; Some Paws for Concern, p. 273, #3; From Henry V, p. 287, #3, 4; Shakespearean Baseball Game, p. 291, #6; Branta Canadensis, p. 293, #1, 3; Survival in the South, p. 310, #4

pp. 366–367

10



2.1.4.2

use syntactic, semantic, graphophonic, and pragmatic cueing systems [such as subject-verb- object sequences and qualifiers, prefixes and suffixes of technical vocabulary, acronyms, social context...] to construct and confirm meaning and interpret texts

Initiation, p. 208, #2; Up, p. 250, #1; ‘Out, Out’ p. 274, #1; Macavity, p. 295, #1; Sonnet, p. 295, #2; Non-Fiction Wrap-up, p. 443, #2; From Henry V, p. 449, #2; Drama Wrap-Up, p. 523, #2

Television Drama, p. 54, #4; Storyteller, p. 60, #3, 4; Do Seek Their Meat from God, p. 72, #1; Sometimes My Body Leaves Me, p. 85, #3; Holy Sonnet 10, #3; The Lake Isle of Innisfree, p. 105, #6; Falling Song, p. 109, #4; History Lesson, p. 134, #4; The Job of an Apple, p. 152, #4; Narrow Fellow, p. 154, #2; Schooner, p. 157, #3, 4; Macavity, p. 172, #2; Korean Village, p. 179, #4; Neighbour, p. 182, #4; Reaction-Interaction, p. 195, #64; On Veterans, p. 231, #3; Fear of Science and Love of the Land, p. 251, #4; Reflections of Girls in the Media, p. 260, #2; On Boy Trouble, p. 270, #3; Paws for Concern, p. 273, #3; e-phobia?, p. 279, #3; Life of a Sports Writer, p. 282, #2; Survival in the South, p. 310, #4

pp. 57; 75–81; 139–142; 170; 230–231; 235–238; 327–330; 342–372; 367–368; 379–380

2.2 Respond to Texts 2.2.1 Experience Various Texts

experience texts from a variety of genres and cultural traditions; compare various interpretations of texts

2.2.1.1

experience genres [such as storytelling, myths and legends, historical dramas...] from a variety of cultural traditions; explore and compare various interpretations of texts

Storyteller, p. 165, #1; Falling Song, p. 242, #2; Sonnet, p. 295, #1

The Lamp at Noon, p. 29, #2; The Pedestrian, p. 56, #1; The Tables Turned, p. 99, #5; In a Remote Korean Village, p. 179, #4; Surf's Up, p. 241, #1; From Henry V, p. 287, #3

pp. 129–136

2.2.1.2

experience texts [such as traditional knowledge, ethnic/arts/community newspapers, docudramas...] from a variety of perspectives, disciplines, and cultural traditions; compare various interpretations of texts to clarify understanding of ideas and information

Learning the Language, p. 23, #1; The Gentlemen of the Jungle, p. 189, #3; On Veterans, p. 380, #3; Drama Wrap-up, p. 523, #1

Boys and Girls, p. 21, #5; Love Must Not Be Forgotten, p. 51, #3; The Pedestrian, p. 57, #6; Holy Sonnet 10, p. 92, #5; The Lake Isle of Innisfree, p. 105, #2; Ode To My Socks, p. 131, #5; History Lesson, p. 133, #1 and p. 134, #3; The Profile of Africa, p. 136, #3; The Bear on the Delhi Road, p. 163, #1; The Hidden Fence, p. 184, #1; Fear of Science and Love of the Land, p. 250, #1; Surf's Up, p. 241, #2; From Sense and Sensibility, p. 300, #5; Trifles, p. 303, #3; Survival in the South, p. 310, #3

11



2.2.2 Connect Self, Texts, and Culture

respond personally and critically to ideas and values presented in a variety of Canadian and international texts

2.2.2.1

respond personally and critically to themes, values, and beliefs presented in a variety of texts by Canadian and international writers, artists, storytellers, and filmmakers

The Lamp at Noon, p. 73, #1; Sunday in the Park, p. 184, #1; The Gentlemen of the Jungle, p. 189, #2; Poetry, p. 250, #1; ‘Out, Out ‘ p. 274, #1; Victory! p. 367, #1; Surf’s Up, p. 395, #2; Non-Fiction Wrap-up, p. 443, #4; From Henry V, p. 449, #3; The Ignoble Knight, p. 512, #1

The Shivering Tree, p. 3, #5; Boys and Girls, p. 21, #4; A Cap for Steve, p. 63, #6; Gentlemen of the Jungle, p. 69, #3; Initiation, p. 75–76, #2, #4; In Progress, p. 88, #1; Holy Sonnet 10, p. 92, #5; The Tables Turned, p. 98, #1; You Walked Gently Towards Me, p. 114, #1; Up, p. 121, #1; Ode To My Socks, p. 131, #5; History Lesson, p. 134, #3; The Profile of Africa, p. 136, #3; Horse-Fly Blue, p. 145, #2; 'Out, Out' p. 149, #5; From The Titanic, p. 161, #4; The Bear on the Delhi Road, p. 163, #1, 5; Mother and Child, p. 166, #2; Neighbour, p. 181, #2; Hidden Fence, p. 184, #2; Fear of Science and Love of the Land, p. 250, #2; Trifles, p. 303, #3; The Ignoble Knight, p. 307, #2, 4; Survival in the South, p. 310, #1, #3

pp. 68–72; 125–127

2.2.2.2

examine ideas, issues, and values presented in a variety of texts by Canadian and international communicators [such as writers, photo-journalists, commentators...]

Learning the Language, p. 23, #1; Address, p. 41, #2; Love Must Not Be Forgotten, p. 146, #3; Canadian Pioneers, p. 313, #1, 3; History Lesson, p. 260, #1; Cartography of Myself, p. 323, #1; Wrong Ism, p. 347, #2; Living Languages, p. 422, #2; Drama Wrap-Up, p. 523, #1

Silver Mine, Cobalt, p. 18, #6; Boys and Girls, p. 21, #5; Ramu and Rani, p. 31, #1; Companions Past and Present, p. 47, #1; Love Must Not Be Forgotten, p. 50, #1; Gentlemen of Jungle, p. 69, #1; Hidden Fence, p. 185, #6; My Old Newcastle, p. 189, #5; Reaction-Interaction, p. 195, #2, 5; Sense and Sensibility, p. 300, #5

pp. 11–13; 29–32; 52; 58–59; 69–72; 76–78; 80, 104; 122–123; 125–127; 139–142; 165–167; 205–212; 228–231; 235–238; 252–254; 279–280

2.2.3 Appreciate the Artistry of Texts

examine how language and stylistic choices in oral, print, and other media texts accomplish a variety of purposes

2.2.3.1

examine how images and word choice [such as visual composition, juxtaposition, hyperbole...] in texts convey and evoke emotion and create an overall impression

Shivering Tree, p. 16, #1; Silver Mine, Cobalt, p. 43, #2; Fire Down on the Labrador, p. 61, #2; To Da-Duh, In Memoriam, p. 122, #2; You Walked Gently Towards Me, p. 243, #1; Up, p. 250, #1; A Flower of Waves, p. 251, #1; Beautiful Summer, p. 266, #2; A Narrow Fellow in the Grass, p. 275, #1; From The Titanic, p. 284, #1; Mother, p. 294, #1; Mother and Child, p. 287, #1; In a Remote Korean Village, p. 301, #1; Victory! p. 367, #2; Engineered Food, p. 408, #2; Life of a Sports Writer, p. 440, #3; King Kong, p. 473, #1; Survival in the South, p. 522, #2

Ramu and Rani, p. 32, #4; A Walk to the Jetty, p. 34, #2 and #4; A Handful of Dates, p. 44, #1; Love Must Not Be Forgotten, p. 50, #2; The Tables Turned, p. 98, #1; Ode to Autumn, p. 101, #2; You Walked Gently Towards Me, p. 114, #2; Untitled (Vancouver), p. 118, #1, 2, 3; Poetry, p. 124, #3; A Flower of Waves, p. 127, #1, 2; The Profile of Africa, p. 136, #2; In the Morning (27 May), p. 139, #3; Beautiful Summer, p. 142, #1; Horse-Fly Blue, p. 145, #3; ‘Out, Out ' p. 148, #3; The Job of an Apple, p. 152, #4; Schooner, p. 157, #1, 3; In a Remote Korean Village, p. 179, #5; My Old Newcastle, p. 188, #2; Albert Einstein, p. 202, #4; Where the World Began, p. 205, #1; Victory! p. 221, #2, 3; HMS Repulse, p. 224, #3; Off To War, p. 228, #4; How to Turn a Closed-Down Nuclear Reactor, p. 247, #4; Reflections of Girls in the Media, p. 261, #5; Living Languages, p. 264, #3; Life Needs Nourishing, p. 267, #4; Some Paws for Concern, p. 273, #4; e-phobia? p. 279, #1, 4; King Kong, p. 296, #1, 2, 4; Trifles, p. 302, #1

pp. 150; 159; 245; 249

12



2.2.3.2

examine how visuals and concise language [such as choice of fonts, short and medium sentences, precise nouns, active voice, tables, graphs...] in texts communicate ideas and information to accomplish particular purposes

Silver Mine, Cobalt, p. 43, #1; Beautiful Summer, p. 266, #2; Untitled (Vancouver), p. 245, #1; Up, p. 250, #2; e-phobia? p. 438, #3; Sustainable Development, p. 436, #2

Silver Mine, Cobalt, p. 18, #3, 5; Fire Down on the Labrador, p. 24, 25, #2, p. 25, #4; Ramu and Rani, p. 31, #3; Companions Past and Present, p. 48, #2; In Progress, p. 88, #4; 'Out, Out' p. 149, #4; Mother and Child, p. 166, #2; Reaction-Interaction, p. 195, #4; Albert Einstein, p. 202, #2; Wrong Ism, p. 212, #5; Victory! p. 221, #2, #3 and #4; Off To War, p. 228, #1 and #4; Engineered Food, p. 253, #2; Living Languages, Lasting Cultures, p. 263, #1; Life Needs Nourishing, p. 266, #3 and p. 267, #4; Sustainable Development, p. 276, #6; e-phobia? p. 279, #2; King Kong, p. 297, #4

pp. 239–241; 356–357

2.3 Understand Forms and Techniques

2.3.1 Forms and Genres

analyze how various forms and genres are used for particular audiences and purposes 2.3.1.1

analyze how characteristics of various forms and genres [such as sonnets, feature films, political cartoons, scripts...] are used for various audiences and purposes [such as to persuade, inform, entertain, create mood and theme...]

Learning the Language, p. 24, #3; Storyteller, p. 165, #1; Short Fiction Wrap-Up, p. 209, #1, 6; An Elegy on the Death of a Mad Dog, p. 218, #1; Holy Sonnet 10, p. 226, #1, 2; The Hidden Fence, p. 302, #2; How to Turn a Closed-Down Nuclear Reactor, p. 401, #1; Life Needs Nourishing, p. 424, #2; Survival in the South, p. 522, #3; Drama Wrap-Up, p. 523, #5

The Lamp at Noon, p. 29, #2; The Gentlemen of the Jungle, p. 69, #4; SOS, p. 79, #4; An Elegy on the Death of a Mad Dog, p. 82, #2; In Progress, p. 88, #3 and #4; The Tables Turned, p. 98, #3, 5; Ode to Autumn, p. 102, #6; My Song, p. 111, #2; A Flower of Waves, p. 127, #4; Ode To My Socks, p. 130, #1; In the Morning (27 May), p. 139, #1; Sonnet, p. 176, #3; Canadian Pioneers, p. 192, #3; Fear of Science and Love of the Land, p. 250, #1 and p. 251, #4; Engineered Food, p. 253, #2; Reflections of Girls in the Media, p. 260, #3; e-phobia? p. 279, #3; From Henry V, p. 287, #3; Branta Canadensis, p. 293, #3; Trifles, p. 303, #5

pp. 163–168; 243; 259; 262–263

2.3.1.2

analyze how characteristics of various forms and genres [such as biographies, editorials, television commercials, print advertisements, instructional manuals, proposals... ] are used for various audiences and purposes [such as to advise, persuade, inform, entertain, create mood...]

SOS, p. 218, #1; Reaction-Interaction, p. 318, #1; From Animation 101, p. 384, #2; Fear of Science and Love of the Land, p. 404, #1; On Boy Trouble, p. 426, #2, 3; Some Paws for Concern, p. 430, #1; Sustainable Development, p. 436, #2, 3; e-phobia? p. 438, #1, 3; Life of a Sports Writer, p. 440, #1; Non-Fiction Wrap-up, p. 443, #5; King Kong, p. 473, #1; Survival in the South, p. 522, #3

Fire Down on the Labrador, p. 25, #4; The Bear on the Delhi Road, p. 163, #2 and p. 164, #3; On Veterans, p. 231, #2; Surf's Up, p. 241, #2, 5; Fear of Science and Love of the Land, p. 250, #1; Engineered Food, p. 253, #1; Living Languages, Lasting Cultures, p. 263, #2; On Boy Trouble, p. 270, #6; Sustainable Development, p. 276, #1, 2, 5; From Henry V, p. 287, #4

13



2.3.2 Techniques and Elements

examine how various techniques and elements are used in oral, print, and other media texts to accomplish particular purposes

2.3.2.1

examine how various techniques and elements [such as foreshadowing, interior dialogue, juxtaposition, hyperbole, motifs, symbols...] are used in texts to accomplish particular purposes

Boys and Girls, p. 59, #2; The Lamp at Noon, p. 73, #2; Companions Past and Present, p. 131, #2; Ode to My Socks, p. 260, #1; History Lesson, p. 261, #2; A Narrow Fellow in the Grass, p. 275, #1; Surf’s Up, p. 395, #1; Garbage 101, p. 399, #2; Branta Canadensis, p. 471, #1; Trifles, p. 500, #2; Drama Wrap-Up, p. 523, #2

Brother Dear, p. 10, #3; The Address, p. 14, #3; Ramu and Rani, p. 32, #3; A Walk to the Jetty, p. 34, #3; The Charmer, p. 38, #6; The Pedestrian, p. 57, #4; The Storyteller, p. 60, #3; A Cap for Steve, p. 63, #3; Do Seek Their Meat from God, p. 73, #3; Do Seek Their Meat from God, p. 73, #3; SOS, p. 78, #3; An Elegy on the Death of a Mad Dog, p. 82, #2, 4; Holy Sonnet 10, p. 92, #5; The Tables Turned, p. 99, #4; Ode to Autumn, p. 101, #3; My Song, p. 111, #4; You Walked Gently Towards Me, p. 114, #3, 4; Up, p. 121–122, #2, 3; A Flower of Waves, p. 127, #3; History Lesson, p. 134, #4; In the Morning (27 May), p. 139, #4; Beautiful Summer, p. 142, #3; Horse-Fly Blue, p. 145, #3, 4; The Job of an Apple, p. 151, #2, 3; A Narrow Fellow in the Grass, p. 154, #4; Schooner, p. 157, #3; The Bear on the Delhi Road, p. 164, #3, 4; Mother and Child, p. 167, #4; Mother, p. 169, #3, 4; Macavity, p. 172, #3; Sonnet, p. 176, #4; Reaction-Interaction, p. 195, #4; The Cartography of Myself, p. 199, #4; The Open Car, p. 208, #4; Wrong Ism, p. 212, #3; "Where do you get your ideas from?" p. 216, #4; HMS Repulse, p. 224, #3; Off To War, p. 228, #3; William Golding, p. 238, #5; Engineered Food, p. 254, #4; On Boy Trouble, p. 270, #4; e-phobia?, p. 279, #1, 2; Life of a Sports Writer, p. 282, #4; From Henry V, p. 287, #4, 6; Branta Canadensis, p. 294, #4; Sense and Sensibility, p. 300, #4; Trifles, p. 302, #1; Survival in the South, p. 310, #3

pp. 68–72; 81–87; 113–128; 190–218; 221–239; 286–296; 299–318

2.3.2.2

examine how various techniques and elements [such as exaggeration, illustrations, flashbacks, comparisons and contrasts, sound tracks, charts and graphs, highlighting, formatting...] are used in texts to accomplish particular purposes

Learning the Language, p. 24, #3; Boys and Girls, p. 59, #2; To Da-Duh, p. 122, #1; The Pedestrian, p. 158, #1; A Cap for Steve, p. 178, #2; Sunday in the Park, p. 184, #2; The Gentlemen of Jungle, p. 189, #1; Canadian Pioneers, p. 313, #2; Fear of Science and Love of the Land, p. 404, #2; Life Needs Nourishing, p. 424, #1; Paws for Concern, p. 430, #1; Life of a Sports Writer, p. 440, #1; Sense and Sensibility, p. 483, #2

Shivering Tree, p. 2, #1; Address, p. 14, #2; Lamp at Noon, p. 29, #3; Charmer, p. 38, #4; To Da-Duh, p. 40, #1; Sunday in the Park, p. 66, #3; My Old Newcastle, p. 189, #3; Canadian Pioneers, p. 192, #3; Cartography of Myself, p. 198, #3; The Open Car, p. 208, #3; Wrong Ism, p. 211, #2; “Where Do You Get Your Ideas From?” p. 215, #3; Marilyn Bell, p. 219, #2, 4; Garbage 101, p. 245, #6; Engineered Food, p. 253, #1; Shakespearean Baseball Game, p. 290, #3; Sense and Sensibility, p. 300, #3; Trifles, p. 303, #3

pp. 68–72; 81–87; 113–128; 190–218; 221–239; 286–296; 299–318

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2.3.3 Vocabulary

demonstrate understanding of how vocabulary and idiom affect meaning and impact; use appropriate vocabulary when discussing and creating texts

2.3.3.1

explain how vocabulary, idiom, and turn of phrase [such as figurative language, connotations...] are used to create an impression and impact on an audience; use vocabulary and language appropriate for topic and context

Learning the Language, p. 23, #2; Storyteller, p. 165, #2; The Charmer, p. 109, #3; To Da-Duh, In Memoriam, p. 122, #2; Do Seek Their Meat from God, p. 197, #3; A Flower of Waves, p. 251, #1; The Profile of Africa, p. 261, #2; The Hidden Fence, p. 302, #1; Poetry Wrap-Up, p. 303, #6; Where the World Began, p. 333, #2; From Henry V, p. 449, #2; Branta Canadensis, p. 471, #1; Trifles, p. 500, #2; Ignoble Knight, p. 512, #2; Drama Wrap-up, p. 523, #6

Learning the Language, p. 6, #2; A Walk to the Jetty, p. 34, #4; The Charmer, p. 38, #6; To Da-Duh, In Memoriam, p. 41, #3, 4; The Pedestrian, p. 57, #3; Storyteller, p. 59–60, #2, 4; Do Seek Their Meat From God, p. 73, #3; SOS, p. 78, #3; Sometimes My Body Leaves Me, p. 85, #1; Holy Sonnet 10, p. 91, #3; My Last Duchess, p. 95, #3, 4; The Lake Isle of Innisfree, p. 105, #2; Falling Song, p. 109, #4; You Walked Gently Towards Me, p. 114, #2 and #4; Up, p. 122, #4; Poetry, p. 124, #1; In the Morning (27 May) #4a; ‘Out, Out ' p. 149, #4; The Job of an Apple, p. 151–152, #2, 4; From The Titanic, p. 160, #2; Sonnet, p. 176, #4; In a Remote Korean Village, p. 179, #5, 6; Neighbour, p. 182, #3; Where the World Began, p. 206, #3; "Where Do You Get Your Ideas From?" p. 215, #2; Marilyn Bell, p. 219, #4; HMS Repulse, p. 224, #3; William Golding, p. 237, #2; Surf's Up, p. 241, #3; Garbage 101, p. 245, #4; From Henry V, p. 287, #5, 6; Shakespearean Baseball Game, p. 290, #3

pp. 50; 111–112; 116–118; 150–151

2.3.3.2

explain how choice of vocabulary and idiom [such as media and advertising jargon, technical language...] affect meaning and create impact; use vocabulary appropriate for topic and language community

Short Fiction Wrap-Up, p. 209, #5; Non-Fiction Wrap-Up, p. 443, #1, 6; Drama Wrap-Up, p. 523, #6

Profile of Africa, p. 136, #1; Canadian Pioneers, p. 192, #4; “Where Do You Get Your Ideas From?” p. 215, #2; HMS Repulse, p. 225, #4; Fear of Science and Love of the Land, p. 251, #4; Reflections of Girls in the Media, p. 260, #2; Living Languages, p. 264, #3; On Boy Trouble, p. 270, #3; Some Paws for Concern, p. 273, #3; e-phobia?, p. 279, #3

pp. 50–51; 52; 54–55; 62; 75; 111–112; 116; 119; 349–351; 356–357; 371; 373–386

15



2.3.4 Experiment with Language

experiment with language, visuals, and sounds to convey intended meaning and impact

2.3.4.1

use creative combinations of language, visuals, and sounds in a variety of texts [such as photo-essays, collages, commemorative presentations...] to convey content and achieve effect

Silver Mine, Cobalt, p. 43, #3; A Walk to the Jetty, p. 99, #2; Companions Past and Present, p. 131, #3; Television Drama, p. 152, #3; A Flower of Waves, p. 251, #1; Sunday in the Park, p. 184, #3; Short Fiction Wrap-Up, p. 209, #3; The Tables Turned, p. 234, #2; Macavity, p. 295, #2; Poetry Wrap-Up, p. 303, #3; Albert Einstein, p. 325, #2; The Open Car, p. 342, #3; ‘Talking’ Mace, p. 412, #2; Living Languages, p. 422, #3; Ignoble Knight, p. 512, #2; Drama Wrap-Up, p. 523, #5

Shivering Tree, p. 3, #6; Learning the Language, p.7, #6; Address, p. 14, #6; Fire Down on the Labrador, p. 24, #6; Charmer, p. 38, #5; Handful of Dates, p. 45, #5; Companions Past and Present, p. 48, #6; Television Drama, p. 54, #5; Storyteller, p. 60, #5; Initiation, p. 76, #6; Sometimes My Body Leaves Me, p. 85, #6; In Progress, p. 89, #5; My Last Duchess, p. 95, #5; The Tables Turned, p. 99, #6; Ode to Autumn, p. 102, #5;The Lake Isle of Innisfree, p. 105, #5; Up, p. 122, #6; Poetry, p. 125, #6; Ode to My Socks, p. 131, #6; History Lesson, p. 133–134, #2, 5; The Job of an Apple, p. 152, #6; A Narrow Fellow in the Grass, p. 155, #6; Mother and Child, p. 167, #3, 6; Mother, p. 169, #5; Neighbour, p. 182, #5; Hidden Fence, p. 185, #4, 5; Cartography of Myself, p. 199, #5; Where the World Began, p. 206, #6; “Where Do You Get Your Ideas From?” p. 216, #6; Victory! #5, 6; Off to War, p. 228, #5; William Golding, p. 238, #5; Surf’s Up, p. 242, #6; How to Turn, p. 248, #5; Fear of Science and Love of the Land, p. 251, #6; Reflections of Girls in the Media, p. 261, #5; Living Languages, p. 264, #6; Life Needs Nourishing, p. 267, #5; Life Needs Nourishing, p. 267, #6; Paws for Concern, p. 273, #6; Sustainable Development, p. 276, #16; Life of a Sports Writer, p. 282, #4; Shakespearean Baseball Game, p. 291, #4; Branta Canadensis, p. 293, #3; Survival in the South, p. 310, #5

pp. 213–272; 335–338

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2.3.4.2

use creative combinations of language, visuals, and sounds in a variety of texts [such as advertising visuals and logos, graphs and charts in reports...] to communicate clearly and effectively

A Television Drama, p. 152, #3; Short Fiction Wrap-Up, p. 209, #4; The Lake Isle of Innisfree, p. 235, #1; ‘Out, Out ‘ p. 274, #2; The ‘Talking’ Mace, p. 412, #2; Life of a Sports Writer, p. 440, #2; Non-Fiction Wrap-up, p. 443, #2; Shakespearean Baseball Game, p. 461, #2, #3

Learning the Language, p. 7, #6; Brother Dear, p. 11, #6; Boys and Girls, p. 21, #5; The Lamp at Noon, p. 28, #1; Ramu and Rani, p. 32, #5 and #6; A Walk to the Jetty, p. 35, #5 and #6; The Charmer, p. 38, #5; Love Must Not Be Forgotten, p. 51, #5; Do Seek Their Meat From God, p. 73, #6; Sometimes My Body Leaves Me, p. 85, #5; In Progress, p. 89, #6; My Song, p. 112, #6; Up, p. 122, #5 and #6; A Flower of Waves, p. 127, #5; History Lesson, p. 134, #5; In the Morning (27 May), p. 139, #5; Beautiful Summer, p. 143, #5; ‘Out, Out ' p. 149, #5; Macavity, p. 173, #6; In a Remote Korean Village, p. 179, #4 and #6; The My Old Newcastle, p. 189, #5; Reaction-Interaction, p. 196, #6; Where the World Began, p. 206, #5 and #6; Victory! p. 222, #6; From Animation 101, p. 234, #5; How to Turn a Closed-Down Nuclear Reactor, p. 248, #5; Fear of Science and Love of the Land, p. 251, #6; Engineered Food, p. 253, #3 & #6; The ‘Talking’ Mace, p. 258, #5; Reflections of Girls in the Media, p. 261, #5; Life Needs Nourishing, p. 267, #5; Some Paws for Concern, p. 272, #2, p. 273, #5, #6; Sustainable Development, p. 276, #6; Living Languages, p. 264, #5; e-phobia? p. 279, #4; King Kong, p. 297, #6; Trifles, p. 302, #1; The Ignoble Knight, p. 307, #5, #6; Survival in the South, p. 310, #5, #6

pp. 249; 262–264; 335–338

2.3.5 Create Original Texts

create original texts to communicate ideas and enhance understanding of forms and techniques

2.3.5.1

create original texts [such as poetry, scripts, short stories, storyboards, children’s books...] to explore and enhance understanding of literary forms and techniques

Silver Mine, Cobalt, p. 43, #2; The Charmer, p. 109, #3; A Handful of Dates, p. 129, #2; Love Must Not Be Forgotten, p. 145, #1; Sunday in the Park, p. 184, #3; Initiation, p. 208, #3; Short Fiction Wrap-up, p. 209, #6; Sometimes My Body Leaves Me, p. 219, #1; Ode to Autumn, p. 235, #2; The Lake Isle of Innisfree, p. 235, #2; Ode to My Socks, p. 260, #2; In the Morning (27 May), p. 266, #2; ‘Out, Out’ p. 274, #2; The Job of an Apple, p. 274, #1; Schooner, p. 284, #2; Mother and Child, p. 287, #2; Neighbour, p. 301, #2; Where the World Began, p. 333, #3; Surf’s Up, p. 395, #3; Garbage 101, p. 399, #2; Shakespearean Baseball Game, p. 461, #3; Sense and Sensibility, p. 483, #3; Trifles, p. 500, #3; Ignoble Knight, p. 512, #3; Survival in the South, p. 522, #2

The Lamp at Noon, p. 73, #6; Ramu and Rani, p. 32, #6; The Charmer, p. 38, #5; To Da-Duh, In Memoriam, p. 41, #6; A Handful of Dates, p. 45, #6; SOS, p. 79, #6; Sometimes My Body Leaves Me, p. 85, #3, #5 and #6; The Tables Turned, p. 99, #5; Falling Song, p. 109, #6; Untitled (Vancouver), p. 118, #2; Up, p. 122, #5; Poetry, p. 125, #6; History Lesson, p. 134, #6; In the Morning (27 May), p. 140, #6; The Job of an Apple, p. 152, #5; A Narrow Fellow in the Grass, p. 155, #5; Schooner, p. 158, #6; From The Titanic, p. 161, #5, 6; Mother, p. 169, #4; Sonnet, p. 176, #5; In a Remote Korean Village, p. 178, #2; Neighbour, p. 182, #6; Fear of Science and Love of the Land, p. 251, #6; King Kong, p. 297, #4, 5; Sense and Sensibility, p. 300, #6; Trifles, p. 303, #4

pp. 163–168; 192–195; 335–338

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2.3.5.2

create original texts [such as speeches, news stories, computer graphics, video essays, e-zines, brochures, advertisements...] to communicate ideas and enhance understanding of forms and techniques

Poetry Wrap-Up, p. 303, #5; Reaction-Interaction, p. 318, #3; How to Turn a Closed-Down Nuclear Reactor, p. 401, #2; Fear of Science and Love of the Land, p. 404, #3; Some Paws for Concern, p. 430, #2; Non-Fiction Wrap-up, p. 443, #2, 4; King Kong, p. 473, #3; Survival in the South, p. 522, #3

Brother Dear, p. 11, #5; Silver Mine, Cobalt, p. 18, #4; Boys and Girls, p. 21, #4; Fire Down on the Labrador, p. 24, #3; Ramu and Rani, p. 32, #5; A Walk to the Jetty, p. 34, #4; Love Must Not Be Forgotten, p. 51, #4, 5; Storyteller, p. 60, #6; A Cap for Steve, p. 63, #4; Do Seek Their Meat from God, p. 73, #3; Holy Sonnet 10, p. 92, #6; 'Out, Out' p. 149, #4; From The Titanic, p. 160, #1; In a Remote Korean Village, p. 179, #4; Hidden Fence, p. 185, #6; Canadian Pioneers, p. 193, #6; "Where do you get your ideas from?" p. 216, #4; Marilyn Bell, p. 365, #3; Surf's Up, p. 242, #4; Life Needs Nourishing, p. 266, #1; Some Paws for Concern, p. 273, #6; On Boy Trouble, p. 270, #6; Life of a Sports Writer, p. 283, #6

pp. 225–230; 241; 244; 248–250; 270

General Outcome 3 – Manage ideas and information 3.1 Plan and Focus 3.1.1 Use Personal Knowledge

determine inquiry or research focus and parameters based on personal knowledge and others’ expertise

3.1.1.1

consider experiences and explore imagination as sources for topics and ideas

Shivering Tree, p. 16, #2; To Da-Duh, In Memoriam, p. 122, #3; SOS, p. 218, #2; The Lake Isle of Innisfree, p. 235, #2; Survival in the South, p. 522, #3

Brother Dear, p. 10, #1; Sunday in the Park, p. 67, #5; Untitled (Vancouver), p. 118, #6; Up, p. 121, #1; Neighbour, p. 182, #6; Albert Einstein, p. 203, #6; The Open Car, p. 208, #1; Some Paws for Concern, p. 273, #5

pp. 68–72; 104–106; 125

3.1.1.2

determine inquiry or research focus based on personal knowledge and experiences, others’ expertise, time parameters, available resources, purpose, and audience needs

Non-Fiction Wrap-up, p. 443, #5; Shakespearean Baseball Game, p. 461, #1; Survival in the South, p. 522, #2

Ramu and Rani, p. 32, #6; To Da-Duh, In Memoriam, p. 40, #2; Sunday in the Park, p. 67, #6; An Elegy on the Death of a Mad Dog, p. 83, #5; The Tables Turned, p. 99, #6; Poetry, p. 125, #5 and #6; A Flower of Waves, p. 127, #5; History Lesson, p. 134, #5; The Job of an Apple, p. 152, #6; Reaction-Interaction, p. 196, #6; Marilyn Bell, p. 219, #5; On Veterans, p. 232, #5; The ‘Talking’ Mace, p. 257, #4; Some Paws for Concern, p. 273, #5; Sustainable Development, p. 276, #4, 5; Branta Canadensis, p. 294, #6; King Kong, p. 297, #5

p. 88

3.1.2 Ask Questions

formulate and revise questions to focus inquiry or research topic and purpose

3.1.2.1

generate questions to extend initial understanding of the imagined world of texts

In Progress, p. 226, #2; You Walked Gently Towards Me, p. 243, #2; A Flower of Waves, p. 251, #2; Narrow Fellow, p. 275, #2

Shivering Tree, p. 3, #5; Address, p. 14, #5; Sunday in the Park, p. 66, #2; Gentlemen of Jungle, p. 70, #6; Elegy on Mad Dog, p. 83, #5; Sometimes My Body Leaves Me, p. 85, #4; My Last Duchess, p. 94, #1; Ode to Autumn, p. 102, #5; The Lake Isle of Innisfree, p. 105, #2; Untitled (Vancouver), #3; Up, p. 121, #3; Schooner, p. 157, #2; Poetry, p. 124–125, #2, 5; Ode to My Socks, p. 131, #5; Bear on Delhi Road, p. 164, #5, 6; Mother, p. 170, #6; Neighbour, p. 181, #2; Hidden Fence, p. 184, #1, 5; King Kong, p. 297, #5; Survival in the South, p. 310, #2

pp. 4–48; 87–90; 309–310

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3.1.2.2

formulate questions to define the inquiry or research problem or task relative to context, medium, and anticipated audience needs

Open Car, p. 342, #3; HMS Repulse, p. 373, #3; From Animation 101, p. 384, #1; William Golding, p. 391, #3; ‘Talking’ Mace, p. 412, #3; e-phobia? p. 438, #3

A Television Drama, p. 53, #3; 'Out, Out' p. 149, #6; The Bear on the Delhi Road, p. 164, #6; Reaction-Interaction, p. 195, #1; Albert Einstein, p. 202, #2; “Where Do You Get Your Ideas From?” p. 215, #1; Victory! #1; HMS Repulse, p. 224, #2; William Golding, p. 238, #6; Living Languages, p. 263, #2; Living Languages, p. 264, #6; On Boy Trouble, p. 269, #1; Paws for Concern, p. 273, #6; Sustainable Development, p. 276, #4; e-phobia?, p. 280, #6; Life of a Sports Writer, p. 283, #5

pp. 4–48; 87–90; 309–310

3.1.3 Participate in Group Inquiry

explore group knowledge and strengths to determine inquiry or research topic, purpose, and procedures

3.1.3.1

assist and support peers in connecting, shaping, and clarifying ideas for creating texts

The Shivering Tree, p. 16, #2; Companions Past and Present, p. 131, #3; A Television Drama, p. 152, #1, 2; Poetry Wrap-up, p. 303, #6; Sometimes My Body Leaves Me, p. 219, #1;Canadian Pioneers, p. 313, #3

Silver Mine, Cobalt, p. 18, #6; Ramu and Rani, p. 31, #1; SOS, p. 79, #5; Sometimes My Body Leaves Me, p. 85, #4; Beautiful Summer, p. 143, #4; Where the World Began, p. 206, #5; Victory! p. 221, #1; Surf's Up, p. 242, #6; How to Turn a Closed-Down Nuclear Reactor, p. 248, #5; Reflections of Girls in the Media, p. 260, #1, 6; Living Languages, p. 264, #6; Sustainable Development, p. 276, #3; e-phobia? p. 280, #6; King Kong, p. 297, #5

p. 6

3.1.3.2

identify group knowledge and expertise, and clarify group topic, perspective, and procedures according to audience, purpose, and context

Non-Fiction Wrap-up, p. 443, #1 Boys and Girls, p. 20, #3; Fire Down on the Labrador, p. 24, #2; A Handful of Dates, p. 45, #4; Sometimes My Body Leaves Me, p. 85, #2; Ode to Autumn, p. 101, #4; Up, p. 122, #6; The Job of an Apple, p. 152, #6; Reaction-Interaction, p. 195, #2; How to Turn a Closed-Down Nuclear Reactor, p. 248, #3; Survival in the South, p. 310, #3

3.1.4 Create and Follow a Plan

develop, use, and adapt an inquiry or research plan appropriate for content, audience, purpose, context, sources, and procedures

3.1.4.1

develop strategies [such as keeping journals, revisiting fascinating places...] for gathering and accessing ideas to understand and generate texts

Companions Past and Present, p. 131, #1; Love Must Not Be Forgotten, p. 146, #3; The Lake Isle of Innisfree, p. 235, #2; My Song, p. 242, #1; My Old Newcastle, p. 309, #1; Where the World Began, p. 333, #1; "Where do you get your ideas from?" p. 357, #2; On Boy Trouble, p. 426, #1; Branta Canadensis, p. 471, #1

Brother Dear, p. 10, #1; Sometimes My Body Leaves Me, p. 85, #2; In Progress, p. 226, #2; Falling Song, p. 108, #1; A Flower of Waves, p. 128, #6; In the Morning (27 May), p. 140, #6; Schooner, p. 157, #1; Sonnet, p. 175, #1; In a Remote Korean Village, p. 178, #2; The Open Car, p. 208, #1; Victory! p. 221, #2; From Animation 101, p. 235, #6; Living Languages, p. 263, #1; On Boy Trouble, p. 269, #1; Life of a Sports Writer, p. 282, #2

pp. 104–106

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3.1.4.2

develop, use, and adapt an inquiry or research plan appropriate for the task or problem, audience needs, and context, using multiple sources

Sometimes My Body Leaves Me, p. 219, #2; In Progress, p. 226, #2; Poetry Wrap-Up, p. 303, #5, 6; 'Talking' Mace, p. 412, #3; Sustainable Development, p. 436, #2

Silver Mine, Cobalt, p. 17, #2; Ramu and Rani, p. 32, #6; Sunday in the Park, p. 67, #6; Do Seek Their Meat From God, p. 73, #5; Gentlemen of the Jungle, p. 70, #6; Initiation, p. 76, #5; Sometimes My Body Leaves Me, p. 85, #6; The Lake Isle of Innisfree, p. 105, #5; You Walked Gently Towards Me, p. 114, #5; Up, p. 121, #3; History Lesson, p. 133, #1; ‘Out, Out ' p. 148, #2; From The Titanic, p. 160, #1; Mother and Child, p. 167, #5; Mother, p. 170, #6; My Old Newcastle, p. 189, #5; Where the World Began, p. 205, #2 and p. 206, #4; "Where Do You Get Your Ideas From?" p. 216, #5; Marilyn Bell, p. 219, #5; William Golding, p. 238, #6; Living Languages, Lasting Cultures, p. 264, #5; Life of a Sports Writer, p. 283, #5; Branta Canadensis, p. 294, #5; From Sense and Sensibility, p. 300, #5

pp. 88–90

3.2 Select and Process 3.2.1 Identify Personal and Peer Knowledge

select ideas and information from prior knowledge of inquiry or research topic appropriate for audience, purpose, and personal perspective or focus 3.2.1.1

select and connect ideas from prior knowledge, observations, and experiences to understand and support the development of texts

Poetry Wrap-up, p. 303, #2; Marilyn Bell, p. 365, #2; Surf’s Up, p. 395, #3; How to Turn a Closed-Down Nuclear Reactor, p. 401, #2; 'Talking' Mace, p. 412, #1

Silver Mine, Cobalt, p. 17, #2; Ramu and Rani, p. 32, #6; Sunday in the Park, p. 67, #6; The Gentlemen of the Jungle, p. 70, #6; Untitled (Vancouver), p. 118, #3 and #4; History Lesson, p. 133, #1; The Cartography of Myself, p. 198, #1; Where the World Began, p. 206, #4; On Veterans, p. 231, #1; From Animation 101, p. 234, #3; William Golding, p. 237, #2 and p. 238, #6; 'Talking' Mace, p. 257, #1; Sustainable Development, p. 276, #3; Life of a Sports Writer, p. 283, #5; Shakespearean Baseball Game, p. 290, #3

pp. 104–106

3.2.1.2

select ideas and information from prior knowledge appropriate for audience characteristics and needs, purpose, and form

My Old Newcastle, p. 188, #1; Garbage 101, p. 399, #3; Drama Wrap-up, p. 523, #5

Ramu and Rani, p. 32, #6; Love Must Not Be Forgotten, p. 51, #5; Sunday in the Park, p. 67, #6; My Song, p. 112, #5; A Flower of Waves, p. 127, #5; History Lesson, p. 134, #6; The Job of an Apple, p. 152, #6; On Veterans, p. 232, #5; From Animation 101, p. 234, #5; Life Needs Nourishing, p. 267, #5; Some Paws for Concern, p. 273, #5; Sustainable Development, p. 276, #4; From Henry V, p. 287, #3; King Kong, p. 297, #5

3.2.2 Identify Sources

identify and discuss the purpose and usefulness of information sources relevant to particular inquiry or research needs

3.2.2.1

identify the need for additional information to supplement prior knowledge, observations, and experiences for understanding and developing texts

Poetry Wrap-Up, p. 303, #6; My Old Newcastle, p. 188, #1; How to Turn a Closed-Down Nuclear Reactor, p. 401, #2

Boys and Girls, p. 21, #6; Love Must Not Be Forgotten, p. 50, #1; The Gentlemen of the Jungle, p. 70, #5; ‘Out, Out ' p. 148, #2; From The Titanic, p. 161, #5; Mother and Child, p. 166, #1;HMS Repulse, p. 224, #1 and #2; On Veterans, p. 231, #1; William Golding, p. 238, #6; Engineered Food, p. 254, #6; The ‘Talking’ Mace, p. 257, #1, 3; Ignoble Knight, p. 307, #2

20



3.2.2.2

assess audience characteristics and needs, topic, and purpose to identify appropriate primary and secondary information sources [such as journals, surveys, reports, newspapers, periodicals...]

Up, p. 250, #2; Shakespearean Baseball Game, p. 461, #1

Ramu and Rani, p. 32, #6; Do Seek Their Meat From God, p. 73, #5; Ode to Autumn, p. 102, #5; History Lesson, p. 133, #1; Beautiful Summer, p. 143, #6; Garbage 101, p. 245, #5; Some Paws for Concern, p. 273, #6; Life of a Sports Writer, p. 283, #5

p. 88

3.2.3 Evaluate Sources

evaluate how perspectives and biases influence the choice of information sources for inquiry or research

3.2.3.1

explain how choice of information from various sources affects the credibility and authenticity of texts

In Progress, p. 226, #2; Off To War, p. 375, #3; William Golding, p. 391, #3; Reflections of Girls in the Media, p. 421, #3

Ramu and Rani, p. 32, #6; A Television Drama, p. 54, #6; History Lesson, p. 133, #1; My Old Newcastle, p. 189, #5; Wrong Ism, p. 212, #4; Some Paws for Concern, p. 273, #6

pp. 46–47; 262

3.2.3.2

explain how audience perspectives and biases influence the choice and effectiveness of information sources for inquiry or research

Reflections of Girls in the Media, p. 421, #3

Brother Dear, p. 10, #3; Ramu and Rani, p. 32, #6; Love Must Not Be Forgotten, p. 50, #1; The Gentlemen of the Jungle, p. 70, #6; Initiation, p. 76, #5; The Bear on the Delhi Road, p. 164, #6; Hidden Fence, p. 184, #1; Off to War, p. 229, #6; From Animation 101, p. 234, #4; The ‘Talking’ Mace, p. 258, #6; Some Paws for Concern, p. 273, #6

3.2.4 Access Information

access information using a variety of tools, skills, and sources to accomplish a particular purpose

3.2.4.1

record and explore ideas and information using a variety of means [such as interviewing authors, artists, and elders, observing sights and sounds, listening to others’ responses...]

My Song, p. 242, #2; Non-Fiction Wrap-up, p. 443, #5

The Shivering Tree, p. 3, #5; Fire Down on the Labrador, p. 25, #5; The Gentlemen of the Jungle, p. 70, #6; Poetry, p. 124, #5; In the Morning (27 May), p. 140, #6; In a Remote Korean Village, p. 179, #3; Hidden Fence, p. 184, #2; Where the World Began, p. 205, #2; William Golding, p. 238, #6; e-phobia?, p. 280, #6; Life of a Sports Writer, p. 283, #5; Branta Canadensis, p. 294, #5; From Sense and Sensibility, p. 300, #3

pp. 5–6; 10–11; 113–116

3.2.4.2

access information using a variety of tools, skills, and sources [such as databases, CD-ROMs, manuals, textbooks...]

Shivering Tree, p. 16, #3; Brother Dear, p. 34, #3; Gentlemen of the Jungle, p. 69, #1; Short Fiction Wrap-Up, p. 209, #1; Sometimes My Body Leaves Me, p. 219, #2; You Walked Gently Towards Me, p. 243, #2; The Job of an Apple, p. 274, #2; A Narrow Fellow in the Grass, p. 275, #2; Albert Einstein, p. 325, #3; The Open Car, p. 342, #3; Victory! p. 367, #2; HMS Repulse, p. 373, #3; Off to War, p. 375, #3; Fear of Science and Love of the Land, p. 404, #3; 'Talking' Mace, p. 412, #3; Reflections of Girls in the Media, p. 421, #1; King Kong, p. 473, #2

Shivering Tree, p. 3, #5; Silver Mine, Cobalt, p. 17, #2; Fire Down on the Labrador, p. 25, #6; Do Seek Their Meat from God, p. 73, #5; Untitled (Vancouver), p. 118, #4, 6; The Profile of Africa, p. 137, #5; Sonnet, p. 176, #6; Hidden Fence, p. 185, #5, 6; Wrong Ism, p. 212, #5; "Where do you get your ideas from?" p. 215, #1; Marilyn Bell, p. 365, #3, 5; Off to War, p. 229, #6; Sustainable Development, p. 275, #1; King Kong, p. 297, #5

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3.2.5 Make Sense of Information

use knowledge of text cues, organizational patterns, and persuasive techniques to sort and relate ideas in extended texts; adjust reading and viewing rates according to purpose, content, and context

3.2.5.1

use knowledge of text cues, organizational patterns [such as flashbacks, chronological order, stream-of-consciousness...], and sensory and emotional appeals [such as empathy, anecdotes, suspense, narrative hooks...] to sort and relate ideas in extended texts

Do Seek Their Meat from God, p. 197, #2; My Old Newcastle, p. 189, #3; Surf’s Up, p. 395, #3; Fear of Science and Love of the Land, p. 404, #3; Survival in the South, p. 522, #1

A Walk to the Jetty, p. 34, #4; Gentlemen of the Jungle, p. 69, #2; An Elegy on the Death of a Mad Dog, p. 82, #4; The Bear on the Delhi Road, p. 164, #3; "Where do you get your ideas from?" p. 215, #1; Marilyn Bell, p. 219, #2; William Golding, p. 237, #3; King Kong, p. 297, #3; Trifles, p. 303, #2

3.2.5.2

use knowledge of text cues, organizational patterns [such as logical order...], and persuasive techniques [such as flattery, appeals to success, happiness, prejudice...] to sort and relate ideas in extended texts

My Old Newcastle, p. 189, #3; Surf’s Up, p. 395, #3; Fear of Science and Love of the Land, p. 404, #2, 3; Reflections of Girls in the Media, p. 421, #2; Life Needs Nourishing, p. 424, #3

Sonnet, p. 176, #6; Hidden Fence, p. 185, #6; "Where do you get your ideas from?" p. 215, #1; On Boy Trouble, p. 270, #6; From Henry V, p. 287, #6

3.3 Organize, Record, and Evaluate 3.3.1 Organize Information

organize and reorganize information and ideas in a variety of ways for different audiences and purposes

3.3.1.1

organize and reorganize ideas and information in a variety of forms [such as poems, plays, collages...] for a variety of purposes

Shivering Tree, p. 16, #1; Fire Down on the Labrador, p. 61, #1; A Handful of Dates, p. 129, #2; ; The Storyteller, p. 166, #3; Mother, p. 294, #2; In a Remote Korean Village, p. 301, #2; Poetry Wrap-Up, p. 303, #5; My Old Newcastle, p. 309, #3; The Open Car, p. 342, #2; Wrong Ism, p. 347, #2; Victory! p. 367, #3; HMS Repulse, p. 373, #1, 2; Off to War, p. 375, #2; William Golding, p. 391, #2; Some Paws for Concern, p. 430, #2; Shakespearean Baseball Game, p. 461, #2; Branta Canadensis, p. 471, #3

A Walk to the Jetty, p. 35, #6; The Job of an Apple, p. 152, #5; Mother, p. 169, #5; In a Remote Korean Village, p. 178, #2; Albert Einstein, p. 203, #6; Marilyn Bell, p. 219, #5

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3.3.1.2

organize and reorganize main ideas and supporting information in a variety of ways [such as flow charts, webs, lists...] according to audiences and purposes

The Charmer, p. 109, #1; A Walk to the Jetty, p. 99, #2; A Handful of Dates, p. 129, #1; Companions Past and Present, p. 131, #1; Love Must Not Be Forgotten, p. 145, #1; A Television Drama, p. 152, #3A Cap for Steve, p. 178, #3; From The Titanic, p. 284, #1; Poetry Wrap-Up, p. 303, #2; Reaction-Interaction, p. 318, #3; From Animation 101, p. 384, #1; Surf’s Up, p. 395, #3; Non-Fiction Wrap-up, p. 443, #1, 5; From Henry V, p. 449, #3; Shakespearean Baseball Game, p. 461, #1, 2; King Kong, p. 473, #2; Drama Wrap-up, p. 523, #1, #3, #6

Learning the Language, p. 6, #1, 4; The Lamp at Noon, p. 29, #6; Ramu and Rani, p. 32, #6; A Walk to the Jetty, p. 34, #4 and p. 35, #5; The Charmer, p. 38, #5; To Da-Duh, In Memoriam, p. 41, #4; A Cap for Steve, p. 62, #1; Gentlemen of the Jungle, p. 69, #3; Initiation, p. 75, #3; Holy Sonnet 10, p. 92, #6; Falling Song, p. 109, #6; My Song, p. 111, #4 and p. 112, #5; You Walked Gently Towards Me, p. 114, #4; Untitled (Vancouver), p. 119, #5; Up, p. 121, #2; A Flower of Waves, p. 127, #4 and #5; Ode To My Socks, p. 131, #5; In the Morning (27 May), p. 139, #5; From The Titanic, p. 160, #1 and p. 161, #6; In a Remote Korean Village, p. 179, #3, 6; Reaction-Interaction, p. 196, #6; Cartography of Myself, p. 199, #4; Albert Einstein, p. 202, #3; Where the World Began, p. 205, #2; Where the World Began, p. 206, #6; Wrong Ism, p. 212, #1, 5; Victory! p. 221–222, #5, #6; HMS Repulse, p. 224, #2; Off To War, p. 228, #5; Fear of Science and Love of the Land, p. 251, #6; The ‘Talking’ Mace, p. 258, #5; Reflections of Girls in the Media, p. 261, #4, 5; Life Needs Nourishing, p. 266, #1, 6; Sustainable Development, p. 276, #3; e-phobia?, p. 279, #1; Life of a Sports Writer, p. 282, #1, 2; King Kong, p. 297, #5; Sense and Sensibility, p. 299, #1, 3; Trifles, p. 302, #1, 2; The Ignoble Knight, p. 307, #3

3.3.2 Record Information

summarize and record information, ideas, and perspectives from a variety of sources; document sources accurately

3.3.2.1

record and review ideas and perspectives from a variety of sources pertinent to understanding and creating texts; refer to texts for support

Fire Down on the Labrador, p. 61, #3; Love Must Not Be Forgotten, p. 146, #2; A Flower of Waves, p. 251, #2; Marilyn Bell, p. 365, #2; How to Turn a Closed-Down Nuclear Reactor, p. 401, # 2; Non-Fiction Wrap-up, p. 443, #4, 5; From Henry V, p. 448, #1; The Ignoble Knight, p. 512, #2

Love Must Not Be Forgotten, p. 51, #6; SOS, p. 79, #6; An Elegy on the Death of a Mad Dog, p. 83, #6; Sometimes My Body Leaves Me, p. 85, #6; Falling Song, p. 109, #5 and #6; You Walked Gently Towards Me, p. 114, #5; Up, p. 122, #5 and #6; Horse-Fly Blue, p. 146, #6; From The Titanic, p. 161, #5; Neighbour, p. 182, #5; My Old Newcastle, p. 189, #5; Canadian Pioneers, p. 193, #5; Where the World Began, p. 206, #5 and #6; HMS Repulse, p. 225, #5; Off To War, p. 228, #5; Fear of Science and Love of the Land, p. 251, #6; Engineered Food, p. 254, #6; Living Languages, Lasting Cultures, p. 264, #6; Life Needs Nourishing, p. 267, #5; Some Paws for Concern, p. 273, #6; e-phobia? p. 279, #5; Shakespearean Baseball Game, p. 291, #4; King Kong, p. 297, #5, #6

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3.3.2.2

summarize and record important information, ideas, and perspectives from a variety of sources in an organized manner; document sources accurately

Non-Fiction Wrap-up, p. 443, #4 Brother Dear, p. 11, #4; Ramu and Rani, p. 32, #6; The Charmer, p. 38, #5; A Handful of Dates, p. 129, #2; Love Must Not Be Forgotten, p. 50, #1; The Gentlemen of the Jungle, p. 70, #6; Do Seek Their Meat from God, p. 73, #2; Holy Sonnet 10, p. 92, #6; Ode to Autumn, p. 102, #5; You Walked Gently Towards Me, p. 114, #5; History Lesson, p. 133, #1; In the Morning (27 May), p. 139, #1 and p. 140, #6; Beautiful Summer, p. 143, #6; Horse-Fly Blue, p. 146, #5; From The Titanic, p. 160, #1 and p. 161, #5; My Old Newcastle, p. 189, #5; Where the World Began, p. 206, #4; On Veterans, p. 231, #1; From Animation 101, p. 234, #4; Reflections of Girls in the Media, p. 261, #4; Life of a Sports Writer, p. 283, #5

3.3.3 Evaluate Information

evaluate information for completeness, accuracy, currency, historical context, relevance, and balance of perspectives

3.3.3.1

evaluate the completeness and relevance of ideas for achieving a variety of purposes [such as to inform, entertain, inspire, promote social change...]

Brother Dear, p. 34, #3; History Lesson, p. 261, #2; Canadian Pioneers, p. 313, #3; The Open Car, p. 342, #1; How to Turn a Closed-Down Nuclear Reactor, p. 401, #3

Sonnet, p. 176, #6; Off to War, p. 228, #5

3.3.3.2

evaluate the completeness and relevance of information for achieving a variety of purposes [such as to develop convincing arguments, provide sequential instructions, initiate action...]

Canadian Pioneers, p. 313, #2; Reflections of Girls in the Media, p. 421, #1; The Open Car, p. 342, #1

Ramu and Rani, p. 32, #6; A Television Drama, p. 54, #6; My Song, p. 112, #5; History Lesson, p. 133, #1; My Old Newcastle, p. 189, #5; Off to War, p. 228, #5;Reflections of Girls in the Media, p. 261, #4; Some Paws for Concern, p. 273, #6

3.3.4 Develop New Understanding

explain the importance of new understanding to self and others; assess own inquiry and research skills

3.3.4.1

explain self-knowledge acquired through understanding and creating texts; explain insights into own creative process

An Elegy on the Death of a Mad Dog, p. 82, #1; The Tables Turned, p. 234, #1; My Song, p. 111, #1; Poetry, p. 250, #1; Poetry Wrap-up, p. 303, #4; Non-Fiction Wrap-up, p. 443, #4

Initiation, p. 75–76, #1, 4; Marilyn Bell, p. 365, #2

3.3.4.2

explain new understanding of breadth or depth of a topic; explain implications of new understanding for future inquiry or research

Shivering Tree, p. 16, #1; A Handful of Dates, p. 129, #1; Short Fiction Wrap-Up, p. 209, #1, 6; An Elegy on the Death of a Mad Dog, p. 218, #2; Poetry Wrap-Up, p. 303, #6; Non-Fiction Wrap-up, p. 443, #4

Sonnet, p. 176, #5; Living Languages, p. 263, #2

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General Outcome 4 – Enhance the clarity and artistry of communication 4.1 Generate and Focus 4.1.1 Generate Ideas

generate, evaluate, and select ideas to develop a topic, express a perspective, engage an audience, and achieve a purpose

4.1.1.1

generate, assess, and select ideas to develop a topic and achieve a particular purpose [such as to create empathy, commemorate a special event...]

Ramu and Rani, p. 85, #2; A Handful of Dates, p. 129, #2; Poetry Wrap-up, p. 303, #4; Reflections of Girls in the Media, p. 421, #2

Holy Sonnet 10, p. 92, #6; The Tables Turned, p. 99, #5; Untitled (Vancouver), p. 118, #6; Sonnet, p. 176, #6

4.1.1.2

generate, evaluate, and select ideas, information, and data to solve a problem or accomplish a task [such as addressing a local community issue, identifying a situation that needs change, preparing a speech...] for a particular audience with a specific need at a specific time and place

Short Fiction Wrap-up, p. 209, #3; Reflections of Girls in the Media, p. 421, #2; King Kong, p. 473, #3

Life Needs Nourishing, p. 267, #5

4.1.2 Choose Forms

select and use a variety of forms appropriate for content, audience, and purpose

4.1.2.1

experiment with a variety of forms [such as poems, one-act plays, reflective essays, impromptu speeches...] to discover preferences

The Shivering Tree, p. 16, #2; Boys and Girls, p. 59, #3; The Gentlemen of the Jungle, p. 189, #3; Do Seek Their Meat From God, p. 197, #3; Ode to Autumn, p. 234, #1; Ode To My Socks, p. 260, #1; In the Morning (27 May), p. 266, #1; Schooner, p. 284, #2; The Cartography of Myself, p. 323, #2; Non-Fiction Wrap-up, p. 443, #3; King Kong, p. 473, #2; Trifles, p. 500, #2

Boys and Girls, p. 21, #6; Fire Down on the Labrador, p. 25, #5; The Lamp at Noon, p. 29, #5 and #6; Ramu and Rani, p. 32, #5; To Da-Duh, In Memoriam, p. 41, #6; A Handful of Dates, p. 45, #6; Love Must Not Be Forgotten, p. 51, #6; SOS, p. 79, #6; An Elegy on the Death of a Mad Dog, p. 83, #6; Sometimes My Body Leaves Me, p. 85, #3; The Lake Isle of Innisfree, p. 105, #5; Falling Song, p. 109, #6; You Walked Gently Towards Me, p. 114, #6; Untitled (Vancouver), p. 119, #5; The Profile of Africa, p. 137, #6; A Narrow Fellow in the Grass, p. 155, #5; Mother and Child, p. 167, #6; Mother, p. 169, #2; "Where Do You Get Your Ideas From?" p. 216, #6; Marilyn Bell, p. 219, #6; From Animation 101, p. 235, #6; Engineered Food, p. 254, #6; Living Languages, Lasting Cultures, p. 264, #6; Trifles, p. 303, #5

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4.1.2.2

select and use a variety of forms [such as letters of commendation/complaint, debates, commercials, scenarios...] appropriate for audience, purpose, and context

Silver Mine, Cobalt, p. 43, #2; Poetry Wrap-up, p. 303, #4; Sunday in the Park, p. 184, #3; My Old Newcastle, p. 309, #1; Garbage 101, p. 399, #3; Life Needs Nourishing, p. 424, #3; Drama Wrap-Up, p. 523, #3

Boys and Girls, p. 21, #5; Ramu and Rani, p. 32, #6; The Charmer, p. 38, #5; A Handful of Dates, p. 45, #6; Sometimes My Body Leaves Me, p. 85, #3, #5 and #6; In Progress, p. 89, #5; HMS Repulse, p. 225, 5; From Animation 101, p. 234, #5; Fear of Science and Love of the Land, p. 251, #5, 6; Reflections of Girls in the Media, p. 260, #1; Some Paws for Concern, p. 273, #6; On Boy Trouble, p. 270, #5; Sustainable Development, p. 276, #4; King Kong, p. 297, #5; Sense and Sensibility, p. 300, #5

4.1.3 Organize Ideas

select and use a variety of organizational structures and techniques and appropriate transitions in oral, written, and visual texts to communicate clearly and effectively

4.1.3.1

select and use a variety of organizational structures [ such as point-example-conclusion, prologue and epilogue, acts and scenes...], techniques, and transitions [such as transitional paragraphs, fade-outs...] to express ideas clearly and effectively

The Charmer, p. 109, #2; The Pedestrian, p. 158, #2; The Storyteller, p. 166, #3; Short Fiction Wrap-up, p. 209, #6; Poetry Wrap-Up, p. 303, #5; The Cartography of Myself, p. 323, #3; Garbage 101, p. 399, #2

A Handful of Dates, p. 45, #6; Companions Past and Present, p. 48, #6; The Gentlemen of the Jungle, p. 70, #5; Do Seek Their Meat From God, p. 73, #6; An Elegy on the Death of a Mad Dog, p. 83, #5 and #6; Sometimes My Body Leaves Me, p. 85, #4 and #5; Poetry, p. 124, #4; Beautiful Summer, p. 142, #3 and p. 143, #5; The Job of an Apple, p. 152, #6; From The Titanic, p. 161, #5; In a Remote Korean Village, p. 179, #4; Where the World Began, p. 206, #6; Marilyn Bell, p. 219, #5; HMS Repulse, p. 225, #6; From Surf's Up, p. 242, #5; Engineered Food, p. 254, #6; The ‘Talking’ Mace, p. 257, #4; Reflections of Girls in the Media, p. 261, #6; Sustainable Development, p. 276, #5; Trifles, p. 303, #5

4.1.3.2

select and use a variety of organizational structures [such as proposition and support, problem and solution, inverted pyramid...] , techniques, and transitions [such as headings and subheadings, arrows in flow charts and cycles, dissolves...] to communicate ideas clearly and effectively

The Shivering Tree, p. 16, #2; Boys and Girls, p. 59, #3; The Gentlemen of the Jungle, p. 189, #3; Non-Fiction Wrap-up, p. 443, #3; Poetry Wrap-Up, p. 303, #2, 5; Garbage 101, p. 399, #2

Boys and Girls, p. 21, #6; Fire Down on the Labrador, p. 25, #5; The Lamp at Noon, p. 29, #5 and #6; Ramu and Rani, p. 32, #5; To Da-Duh, In Memoriam, p. 40, #1; A Handful of Dates, p. 45, #6; Love Must Not Be Forgotten, p. 51, #, 3; Sunday in the Park, p. 184, #2; The Lake Isle of Innisfree, p. 105, #5; Untitled (Vancouver), p. 119, #5; Poetry, p. 124, #4; The Profile of Africa, p. 137, #6; Marilyn Bell, p. 219, #6;; Engineered Food, p. 254, #6; Reflections of Girls in the Media, p. 261, #6; Living Languages, Lasting Cultures, p. 264, #6; Life Needs Nourishing, p. 267, #5; Some Paws for Concern, p. 273, #6; Sustainable Development, p. 276, #5; King Kong, p. 297, #6

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4.2 Enhance and Improve 4.2.1 Appraise Own and Others’ Work

appraise own choices of ideas, language use, and forms relative to purpose and audience, and provide others with constructive appraisals

4.2.1.1

appraise choices of content, language use, and form in own and others’ drafts relative to intent

Silver Mine, Cobalt, p. 43, #3; A Walk to the Jetty, p. 99, #1; My Last Duchess, p. 227, #1; Non-Fiction Wrap-up, p. 443, #5; Poetry Wrap-up, p. 303, #4

The Address, p. 14, #6; The Lamp at Noon, p. 29, #5; Ramu and Rani, p. 32, #6; SOS, p. 79, #5 and #6; An Elegy on the Death of a Mad Dog, p. 83, #5; Sometimes My Body Leaves Me, p. 85, #3, #5 and #6; My Song, p. 112, #5; Up, p. 122, #5 and #6; A Flower of Waves, p. 128, #6; Beautiful Summer, p. 143, #5; Neighbour, p. 182, #5; Where the World Began, p. 206, #6; Fear of Science and Love of the Land, p. 251, #6; Engineered Food, p. 254, #6; Living Languages, Lasting Cultures, p. 264, #5 and #6; Life Needs Nourishing, p. 267, #5; Some Paws for Concern, p. 272, #2; e-phobia? p. 279, #5; King Kong, p. 297, #6; Survival in the South, p. 310, #5

4.2.1.2

consider audience needs and characteristics in appraising choices of content, language use, and form in own and others’ drafts

Lamp at Noon, p. 73, #3; To Da–Duh, p. 122, #3; Schooner, p. 284, #2; Poetry Wrap-Up, p. 303, #3; King Kong, p. 473, #3

Charmer, p. 38, #6; Mother and Child, p. 166, #3; Neighbour, p. 182, #6; Canadian Pioneers, p. 193, #6; HMS Repulse, p. 225, #6; On Boy Trouble, p. 270, #6; Paws for Concern, p. 273, #5

pp. 61–63; 95; 342–372

4.2.2 Revise Content

analyze and revise drafts to ensure appropriate content and to enhance unity, clarity, and coherence

4.2.2.1

consider purpose and intent in revising drafts to ensure appropriate content and to enhance unity and coherence

The Pedestrian, p. 158, #3; Short Fiction Wrap-Up, p. 209, #4; ; Tables Turned, p. 234, #2; ‘Out, Out ‘ p. 274, #2; Mother and Child, p. 287, #2; In a Remote Korean Village, p. 301, #2; Poetry Wrap-up, p. 303, #4; Where the World Began, p. 333, #3; Victory! p. 367, #3; Engineered Food, p. 408, #3; Shakespearean Baseball Game, p. 461, #3; From Sense and Sensibility, p. 483, #3; Trifles, p. 500, #3

Learning the Language, p. 7, #6; Brother Dear, p. 11, #6; Boys and Girls, p. 21, #5; The Lamp at Noon, p. 28, #1; Ramu and Rani, p. 32, #5 and #6; A Walk to the Jetty, p. 35, #5 and #6; The Charmer, p. 38, #5; Love Must Not Be Forgotten, p. 51, #6; An Elegy on the Death of a Mad Dog, p. 83, #6; In Progress, p. 89, #6; The Lake Isle of Innisfree, p. 105, #6; You Walked Gently Towards Me, p. 114, #6; Up, p. 122, #5 and #6; Ode To My Socks, p. 130, #4; ‘Out, Out ' p. 149, #5; In a Remote Korean Village, p. 179, #4 and #6; Neighbour, p. 182, #6; The Hidden Fence, p. 185, #4; Where the World Began, p. 206, #5 and #6; Victory! p. 222, #6; Surf's Up, p. 242, #5; How to Turn a Closed-Down Nuclear Reactor, p. 248, #5; Fear of Science and Love of the Land, p. 251, #6; Engineered Food, p. 253, #3 & #6; Some Paws for Concern, p. 272, #2, p. 273, #5 and #6; Sustainable Development, p. 276, #6; e-phobia? p. 279, #4; Life of a Sports Writer, p. 283, #6; Shakespearean Baseball Game, p. 291, #5 and #6; King Kong, p. 297, #6; Trifles, p. 303, #4; The Ignoble Knight, p. 307, #6; Survival in the South, p. 310, #5, #6

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4.2.2.2

consider audience needs and characteristics in analyzing and revising drafts to ensure appropriate content and to enhance unity, clarity, and coherence

Lamp at Noon, p. 73, #3; Cap for Steve, p. 178, #3; Horse-Fly Blue, p. 267, #1; Mother and Child, p. 287, #2; Korean Village, p. 301, #2; Albert Einstein, p. 325, #1

Ramu and Rani, p. 32, #5; Handful of Dates, p. 45, #6; Sunday in the Park, p. 67, #5; You Walked Gently Towards Me, p. 114, #6; Horse-Fly Blue, p. 146, #5; Titanic, p. 161, #5; Hidden Fence, p. 185, #6; Canadian Pioneers, p. 193, #6; Cartography of Myself, p. 198, #2; From Animation 101, #6; Surf’s Up, p. 242, #5; Some Paws for Concern, p. 273, #5; On Boy Trouble, p. 270, #6; King Kong, p. 297, #6

pp. 61–62; 95

4.2.3 Enhance Legibility

use appropriate text features to enhance legibility for particular audiences, purposes, and contexts

4.2.3.1

consider format in selecting text features [such as illustrations, chapter headings, white space, charts and maps, music...] to enhance legibility

Up, p. 250, #2; Poetry Wrap-Up, p. 303, #3; Reaction-Interaction, p. 318, #3; Branta Canadensis, p. 471, #3

4.2.3.2

consider audience needs in selecting text features [such as graphs, colour, shading, framing...] to enhance legibility

Reaction-Interaction, p. 318, #3

4.2.4 Enhance Artistry

use effective language, visuals, and sounds, and arrange ideas for emphasis and desired effect

4.2.4.1

use effective language, visuals, and sounds, and arrange ideas for emphasis and desired effect, considering voice and style

Poetry Wrap-Up, p. 303, #3; Off to War, p. 375, #3

Ode to Autumn, p. 102, #6; Untitled (Vancouver), p. 118, #5; Victory! p. 221, #5

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4.2.4.2

use effective language, visuals, and sounds, and arrange ideas for emphasis and desired effect, considering audience characteristics and needs

A Television Drama, p. 152, #2; The Pedestrian, p. 158, #3; Sunday in the Park, p. 184, #3; ; Tables Turned, p. 234, #2; The Lake Isle of Innisfree, p. 235, #1; ‘Out, Out ‘ p. 274, #2; Poetry Wrap-Up, p. 303, #3; Reaction-Interaction, p. 318, #3; Albert Einstein, p. 325, #2; The ‘Talking’ Mace, p. 412, #2; Life of a Sports Writer, p. 440, #2; Shakespearean Baseball Game, p. 461, #2

Learning the Language, p. 7, #6; Brother; Boys and Girls, p. 21, #5; The Lamp at Noon, p. 28, #1; Ramu and Rani, p. 32, #5 and #6; A Walk to the Jetty, p. 35, #5 and #6; The Charmer, p. 38, #5; Love Must Not Be Forgotten, p. 51, #6; The Pedestrian, p. 57, #5; Do Seek Their Meat From God, p. 73, #6 ; ; Sometimes My Body Leaves Me, p. 85, #5; In Progress, p. 89, #6; The Tables Turned, p. 99, #6; Ode to Autumn, p. 102, #5; My Song, p. 112, #6; Up, p. 122, #5 and #6; Poetry, p. 125, #6; A Flower of Waves, p. 127, #5; History Lesson, p. 134, #5; In the Morning (27 May), p. 139, #5; Beautiful Summer, p. 143, #5; ‘Out, Out ' p. 149, #5; From The Titanic, p. 161, #6; Mother, p. 169, #2; Macavity, p. 173, #6; In a Remote Korean Village, p. 179, #4 and #6;; The Hidden Fence, p. 185, #4; My Old Newcastle, p. 189, #5; Reaction-Interaction, p. 196, #6; Where the World Began, p. 206, #5 and #6; The Open Car, p. 209, #5; Victory! p. 222, #6; HMS Repulse, p. 225, #5; William Golding, p. 238, #5; Garbage 101, p. 245, #5; How to Turn a Closed-Down Nuclear Reactor, p. 248, #5; Fear of Science and Love of the Land, p. 251, #6; Engineered Food, p. 253, #3 & #6; The ‘Talking’ Mace, p. 258, #5; Reflections of Girls in the Media, p. 261, #5; Life Needs Nourishing, p. 267, #5; Some Paws for Concern, p. 272, #2, p. 273, #5 and #6; Sustainable Development, p. 276, #6; e-phobia? p. 279, #4; From Henry V, p. 287, #5; Shakespearean Baseball Game, p. 291, #5 and #6; King Kong, p. 297, #6; Trifles, p. 302, #1 and p. 303, #4; The Ignoble Knight, p. 307, #5; Survival in the South, p. 310, #5, #6

4.2.5 Enhance Presentation use appropriate strategies and devices to enhance the clarity and appeal of presentations 4.2.5.1 consider purpose and intent when experimenting with strategies and devices [such as props, mime, visuals, sound effects, fonts, page layout...] to enhance presentations

Up, p. 250, #2; My Old Newcastle, p. 309, #3; The Cartography of Myself, p. 323, #3; HMS Repulse, p. 373, #2; How to Turn, p. 401, #2; Drama Wrap-Up, p. 523, #4

Silver Mine, Cobalt, p. 18, #6; Walk to the Jetty, p. 35, #5; Companions Past and Present, p. 48, #5; Sometimes My Body Leaves Me, p. 85, #5; Untitled (Vancouver), p. 118, #5; The Profile of Africa, p. 137, #6; Where the World Began, p. 206, #6; Wrong Ism, p. 212, #5, 6; Shakespearean Baseball Game, p. 291, #5; Branta Canadensis, p. 294, #6

pp. 41–43; 63–64; 95–96; 321–325; 342–372

4.2.5.2

consider audience characteristics and needs when selecting and using strategies and devices [such as graphics, layout and design, music, visuals, fonts, placement of print...] to enhance the clarity and appeal of presentations

Silver Mine, Cobalt, p. 43, #2; Poetry Wrap-Up, p. 303, #3; HMS Repulse, p. 373, #2; How to Turn, p. 401, #2; Branta Canadensis, p. 471, #3

Sunday in the Park, p. 67, #6; Do Seek Their Meat from God, p. 73, #6; Initiation, p. 76, #5; My Last Duchess, p. 94, #2; A Flower of Waves, p. 127, #4; Where the World Began, p. 206, #6; The Open Car, p. 209, #5; Wrong Ism, p. 212, #5, 6; How to Turn, p. 248, #6; Canadensis, p. 294, #6

pp. 41–43; 63–64; 95–96; 321–325; 342–372

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4.3 Attend to Conventions 4.3.1 Grammar and Usage

select appropriate words, grammatical structures, and register for audience, purpose, and context

4.3.1.1

select appropriate words, grammatical structures, and register [such as descriptive, sensory words, varied and complex sentence patterns, authentic dialogue...] to achieve intent and desired effect in texts

A Television Drama, p. 152, #2; The Pedestrian, p. 158, #3; Short Fiction Wrap-Up, p. 209, #4; SOS, p. 218, #2; Beautiful Summer, p. 266, #2; ‘Out, Out ‘ p. 274, #2; Mother and Child, p. 287, #2; In a Remote Korean Village, p. 301, #2; Where the World Began, p. 333, #3; Victory! p. 367, #3; The ‘Talking’ Mace, p. 412, #2; Shakespearean Baseball Game, p. 461, #3

Learning the Language, p. 7, #6; Brother Dear, p. 11, #6; Boys and Girls, p. 21, #5; The Lamp at Noon, p. 28, #1; Ramu and Rani, p. 32, #5 and #6; A Walk to the Jetty, p. 35, #5 and #6; The Charmer, p. 38, #5; Love Must Not Be Forgotten, p. 51, #6; The Pedestrian, p. 57, #5; SOS, p. 79, #6; An Elegy on the Death of a Mad Dog, p. 83, #6; Holy Sonnet 10, p. 91, #3; My Last Duchess, p. 95, #6; The Lake Isle of Innisfree, p. 105, #6; You Walked Gently Towards Me, p. 114, #6; Up, p. 122, #5 and #6; Ode To My Socks, p. 130, #4; History Lesson, p. 134, #5; ‘Out, Out ' p. 149, #5; From The Titanic, p. 161, #6; Macavity, p. 173, #6; In a Remote Korean Village, p. 179, #4 and #6; Neighbour, p. 182, #6; The Hidden Fence, p. 185, #4;; The Cartography of Myself, p. 199, #6; Where the World Began, p. 206, #5 and #6; Victory! p. 222, #6; From Animation 101, p. 234, #5; Surf's Up, p. 242, #5; Garbage 101, p. 245, #5; How to Turn a Closed-Down Nuclear Reactor, p. 248, #5; Fear of Science and Love of the Land, p. 251, #6; Engineered Food, p. 253, #3 & #6; Reflections of Girls in the Media, p. 261, #5; Life Needs Nourishing, p. 267, #5; On Boy Trouble, p. 270, #5; Some Paws for Concern, p. 272, #2, p. 273, #5 and #6; Sustainable Development, p. 276, #6; e-phobia? p. 279, #4; Life of a Sports Writer, p. 283, #6; Shakespearean Baseball Game, p. 291, #5 and #6; Trifles, p. 302, #1 and p. 303, #4; The Ignoble Knight, p. 307, #6; Survival in the South, p. 310, #6

4.3.1.2

select appropriate words, grammatical structures, and register [such as unambiguous words, short or medium length sentences, subject-verb-object sentences, formal language in technical communication, emotive words, catch phrases, colloquial language in advertising...] according to audience, purpose, and context

The Storyteller, p. 165, #2; The Lake Isle of Innisfree, p. 235, #2; Poetry Wrap-up, p. 303, #4, 5; HMS Repulse, p. 373, #1; Engineered Food, p. 408, #3; From Henry V, p. 449, #2; The Ignoble Knight, p. 512, #2

The Charmer, p. 38, #6; A Walk to the Jetty, p. 35, #6; Love Must Not Be Forgotten, p. 51, #4; Do Seek Their Meat From God, p. 73, #5; ; In Progress , p. 88, #3b; A Flower of Waves, p. 128, #6; In the Morning (27 May), p. 140, #6; ‘Out, Out ' p. 149, #4; My Old Newcastle, p. 189, #6; The Open Car, p. 209, #6; From Animation 101, p. 234, #5; HMS Repulse, p. 225, #5 and #6; On Veterans, p. 232, #5; Life Needs Nourishing, p. 267, #6; Some Paws for Concern, p. 272, #2 and #3; Shakespearean Baseball Game, p. 291, #6; From Sense and Sensibility, p. 300, #6; Survival in the South, p. 310, #6

30



4.3.2 Spelling

know and apply Canadian spelling conventions and monitor for correctness using appropriate resources; recognize adapted spellings for particular effects

4.3.2.1

know and apply Canadian spelling conventions [such as “slough” to give local colour...] in texts; recognize adapted spellings for stylistic effect or to convey dialect

A Cap for Steve, p. 63, #6; Ode To My Socks, p. 130, #4; Garbage 101, p. 245, #6

4.3.2.2

know and apply Canadian spelling conventions [such as eliminating contractions in technical documents...] in formal texts; recognize adapted spellings [such as “congradulations”...] for desired effect

A Cap for Steve, p. 63, #6; Ode To My Socks, p. 130, #4; Garbage 101, p. 245, #6; Garbage 101, p. 245, #6

4.3.3 Capitalization and Punctuation

know and apply capitalization and punctuation conventions to clarify intended meaning, using appropriate resources as required

4.3.3.1

know and apply capitalization and punctuation conventions to clarify intended meaning in editing and proofreading texts, using resources when required; experiment with capitalization and punctuation to convey intended meaning

A Walk to the Jetty, p. 99, #1; Off to War, p. 375, #2

A Cap for Steve, p. 63, #6; Untitled (Vancouver), p. 118, #2; Ode To My Socks, p. 130, #4; Beautiful Summer, p. 143, #6; 'Out, Out' p. 149, #4; HMS Repulse, p. 225, #6; Garbage 101, p. 245, #6; Garbage 101, p. 245, #6; On Boy Trouble, p. 270, #6

4.3.3.2

know and apply capitalization and punctuation conventions to clarify intended meaning in editing and proofreading texts, using resources when required; attend to capitalization and punctuation etiquette in electronic texts [such as e-mail...]

Off to War, p. 375, #2 A Cap for Steve, p. 63, #6; Ode To My Socks, p. 130, #4; Beautiful Summer, p. 143, #6; HMS Repulse, p. 225, #6; Garbage 101, p. 245, #6; On Boy Trouble, p. 270, #6

31



4.4 Present and Share 4.4.1 Share Ideas and Information

demonstrate confidence when presenting ideas and information; revise presentations as needed for subsequent occasions

4.4.1.1

develop and share oral, written, or dramatic presentations using a variety of approaches [such as literary circles, readers’ theatre, dramatic readings...] for a variety of purposes [such as to express thoughts and emotions, invite response, entertain...]

The Shivering Tree, p. 16, #3; To Da-Duh, In Memoriam, p. 122, #3; An Elegy on the Death of a Mad Dog, p. 218, #2; A Narrow Fellow in the Grass, p. 275, #1; Poetry Wrap-up, p. 303, #3; Reaction-Interaction, p. 318, #2; Some Paws for Concern, p. 430, #3; Shakespearean Baseball Game, p. 461, #3; Drama Wrap-up, p. 523, #5

Learning The Language, p. 7, #5, 6; Silver Mine, Cobalt, p. 18, #6; The Lamp at Noon, p. 29, #5; A Walk to the Jetty, p. 35, #5; A Handful of Dates, p. 45, #6; Companions Past and Present, p. 48, #4; The Pedestrian, p. 57, #5; A Cap for Steve, p. 63, #5; The Gentlemen of the Jungle, p. 70, #5; Do Seek Their Meat From God, p. 73, #6; SOS, p. 79, #5; An Elegy on the Death of a Mad Dog, p. 83, #5 and #6; In Progress, p. 89, #3, 6; My Last Duchess, p. 95, #6; Falling Song, p. 109, #5 and #6; My Song, p. 112, #5; Untitled (Vancouver), p. 119, #5; Up, p. 122, #5; Ode To My Socks, p. 131, #5; History Lesson, p. 134, #5; In the Morning (27 May), p. 139, #5 and p. 140, #6; Horse-Fly Blue, p. 146, #6; Schooner, p. 158, #5; Mother, p. 169, #2 and #5; Macavity, p. 172, #5 and p. 173, #6; Canadian Pioneers, p. 192, #5; Albert Einstein, p. 202, #5; Where the World Began, p. 206, #5, #6; The Open Car, p. 209, #5; Marilyn Bell, p. 219, #5 and #6; Victory! p. 221, #5; HMS Repulse, p. 225, #5; On Veterans, p. 232, #5; William Golding, p. 238, #5 and #6; Garbage 101, p. 245, #5; How to Turn a Closed-Down Nuclear Reactor, p. 248, #6; Fear of Science and Love of the Land, p. 251, #6; The ‘Talking’ Mace, p. 257, #4; Life Needs Nourishing, p. 267, #5; Sustainable Development, p. 276, #4; e-phobia? p. 279, #5; From Henry V, p. 287, #5; Shakespearean Baseball Game, p. 291, #4 and #5; King Kong, p. 297, #5; Trifles, p. 303, #6; The Ignoble Knight, p. 307, #5, #6

4.4.1.2

present ideas and information using a variety of interactive approaches [such as workshops, demonstrations, oral reports...] for a variety of purposes [such as to inform, motivate...]

Brother Dear, p. 34, #3; Ramu and Rani, p. 85, #3; Storyteller, p. 166, #3; My Last Duchess, p. 227, #2; Narrow Fellow, p. 275, #1; Macavity, p. 295, #2; Paws for Concern, p. 430, #3; Non-Fiction Wrap-up, p. 443, #5; Shakespearean Baseball Game, p. 461, #3; King Kong, p. 473, #3

Silver Mine, Cobalt, p. 17, 18, #2, 6; Walk to the Jetty, p. 35, #5; Companions Past and Present, p. 48, #5; Love Must Not Be Forgotten, p. 50–51, #1, 6; The Pedestrian, p. 57, #5; Cap for Steve, p. 63, #5; Sunday in the Park, p. 67, #6; Initiation, p. 76, #5; Sometimes My Body Leaves Me, p. 85, #5; Untitled (Vancouver), #5; Horse-Fly Blue, p. 146, #6; ‘Out, Out’ p. 149, #6; Mother and Child, p. 167, #4, 5; Macavity, p. 172, #5; Hidden Fence, p. 185, #5; My Old Newcastle, p. 189, #5; Canadian Pioneers, p. 193, #5; The Open Car, p. 209, #5; Garbage 101, p. 245, #5; How to Turn, p. 248, #6; Engineered Food, p. 254, #5; Sustainable Development, p. 276, #5; From Henry V, p. 287, #6; Shakespearean Baseball Game, p. 291, #5; King Kong, p. 297, #5; Branta Canadensis, p. 294, #6; Ignoble Knight, p. 307, #5

pp. 321–325; 342–372

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4.4.2 Effective Oral and Visual Communication

use appropriate voice and visual production factors to communicate and emphasize intent in personal and public communication 4.4.2.1

use a variety of voice and visual production factors [such as tone, pacing, volume, images, photographs...] to create atmosphere or mood, stir emotion, or encourage reflection

Ramu and Rani, p. 85, #3; To Da–Duh, p. 122, #3; Storyteller, p. 166, #3; Macavity, p. 295, #2; Poetry Wrap-Up, p. 303, #3; My Old Newcastle, p. 309, #3

Shivering Tree, p. 3, #4; Silver Mine, Cobalt, p. 18, #6; Boys and Girls, p. 20, #2; Walk to the Jetty, p. 35, #5; Companions Past and Present, p. 48, #5; Storyteller, p. 60, #4; Do Seek Their Meat from God, p. 73, #6; Initiation, p. 76, #5; Sometimes My Body Leaves Me, p. 85, #3, 5; My Last Duchess, p. 94, #2; Falling Song, p. 109, #5; The Bear on the Delhi Road, p. 163, #2; Mother and Child, p. 167, #4; Mother, p. 169, #1; Macavity, p. 172, #5; Sonnet, p. 175, #2; Hidden Fence, p. 184, #3; The Open Car, p. 208, #4; Marilyn Bell, p. 219, #5; From Henry V, p. 287, #6; Shakespearean Baseball Game, p. 291, #5; Branta Canadensis, p. 294, #6; Trifles, p. 303, #5; Ignoble Knight, p. 307, #5

pp. 321–325; 342–372

4.4.2.2

select from a range of voice and visual production factors [such as voice modulation, gestures, graphics, headings...] to communicate and highlight main points

Garbage 101, p. 399, #3; Paws for Concern, p. 430, #3

Hidden Fence, p. 184, #3; Where the World Began, p. 206, #5; The Open Car, p. 209, #5; Wrong Ism, p. 212, #6; Garbage 101, p. 245, #5; How to Turn, p. 248, #6; King Kong, p. 297, #5

pp. 321–325; 342–372

4.4.3 Attentive Listening and Viewing

demonstrate critical listening and viewing behaviours [such as analyzing message, qualifications of presenter, support used, reasoning used...] to understand and respond to presentations in a variety of ways

4.4.3.1

demonstrate critical listening and viewing behaviours to understand, interpret, and respond to presentations in a variety of ways [such as discussing with peers, recounting personal experiences, creating alternatives, using presentations as models...]

In Progress, p. 226, #1; The Job of an Apple, p. 274, #2; Wrong Ism, p. 347, #3; Garbage 101, p. 399, #3

Television Drama, p. 53, #3; My Last Duchess, p. 95, #6; You Walked Gently Towards Me, p. 114, #2; Poetry, p. 125, #5; Mother, p. 169, #2; Macavity, p. 173, #6; Neighbour, p. 181, #1; Where the World Began, p. 205, #1; On Veterans, p. 232, #6Fear of Science and Love of the Land, p. 251, #5; On Boy Trouble, p. 270, #5

pp. 4–6; 14–15; 24–25; 219–221

4.4.3.2

analyze presentations for development of positions, relevance of examples, and plausibility of recommendations, and respond in a variety of ways [such as asking questions, identifying arguments, stating opinions...]

Elegy on Mad Dog, p. 218, #2; My Last Duchess, p. 227, #2; From The Titanic, p. 285, #2; Macavity, p. 295, #2; Shakespearean Baseball Game, p. 461, #3

Handful of Dates, p. 45, #3; Sunday in the Park, p. 67, #6; Reaction-Interaction, p. 195, #3; On Veterans, p. 232, #6; Garbage 101, p. 245, #5; ‘Talking’ Mace, p. 257, #4

pp. 321–325

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General Outcome 5 – Celebrate and build community 5.1 Encourage, Support, and Work with Others 5.1.1 Cooperate with Others

use language to build and maintain collaborative relationships; take responsibility for respectfully questioning others’ viewpoints and requesting further explanation

5.1.1.1

use respectful and encouraging language to support others in creating or responding to texts

e-phobia? p. 438, #2; Non-Fiction Wrap-up, p. 443, #5

Boys and Girls, p. 20, #1; Gentlemen of the Jungle, p. 70, #4; Holy Sonnet 10, p. 91, #2; Poetry, p. 124, #4; The Profile of Africa, p. 137, #6; Horse-Fly Blue, p. 145, #2; Canadian Pioneers, p. 193, #6; Reaction-Interaction, p. 195, #3; Wrong Ism, p. 212, #4; HMS Repulse, p. 225, #5; William Golding, p. 237, #3a; Fear of Science and Love of the Land, p. 251, #6; Life Needs Nourishing, p. 266, #3; Trifles, p. 303, #3

5.1.1.2

use language to build and maintain respectful relationships with people in various roles; investigate various viewpoints to solve problems and accomplish tasks, using tactful language for constructive criticism

Poetry Wrap-Up, p. 303, #3; Survival in the South, p. 522, #1

Ramu and Rani, p. 31, #2; My Song, p. 112, #5; ‘Out, Out ' p. 149, #6; The Canadian Pioneers, p. 193, #5; Reaction-Interaction, p. 196, #5 and #6; The Open Car, p. 209, #5; Surf's Up, p. 242, #4; Reflections of Girls in the Media, p. 260, #1; Some Paws for Concern, p. 273, #5; From Henry V, p. 287, #6

5.1.2 Work in Groups

demonstrate flexibility in assuming a variety of group roles and take responsibility for tasks that achieve group goals

5.1.2.1

demonstrate flexibility in assuming a variety of group roles and participate in open, respectful interactions

The Shivering Tree, p. 16, #3; The Charmer, p. 109, #2; The Storyteller, p. 166, #3; The Gentlemen of the Jungle, p. 189, #2; Initiation, p. 208, #3; Short Fiction Wrap-up, p. 209, #4, 5; The Hidden Fence, p. 302, #1; HMS Repulse, p. 373, #3; Shakespearean Baseball Game, p. 461, #2

The Address, p. 14, #3; Fire Down on the Labrador, p. 24, #2; To Da-Duh, In Memoriam, p. 40, #2; A Handful of Dates, p. 44, #2; The Charmer, p. 37, #3; Companions Past and Present, p. 48, #3; Do Seek Their Meat From God, p. 73, #6 Initiation, p. 76, #5; SOS, p. 79, #5; Sometimes My Body Leaves Me, p. 85, #5; Ode to Autumn, p. 101, #4; The Lake Isle of Innisfree, p. 105, #2; Untitled (Vancouver), p. 118, #5; Up, p. 122, #6; The Job of an Apple, p. 151, #1 and p. 152, #6; The Hidden Fence, p. 185, #5; Reaction-Interaction, p. 195, #3; "Where Do You Get Your Ideas From?" p. 216, #5; HMS Repulse, p. 225, #5; Surf's Up, p. 242, #6; How to Turn a Closed-Down Nuclear Reactor, p. 247, #2; Fear of Science and Love of the Land, p. 251, #5; Reflections of Girls in the Media, p. 261, #6; e-phobia?, p. 279, #4; Shakespearean Baseball Game, p. 291, #5; Sense and Sensibility, p. 299, #1; Trifles, p. 303, #6; Survival in the South, p. 310, #3, #5

34



5.1.2.2

demonstrate flexibility in assuming a variety of group roles, support risk taking, and encourage effective participation to accomplish tasks

Initiation, p. 208, #3; Short Fiction Wrap-up, p. 209, #3; In Progress, p. 226, #1; My Old Newcastle, p. 309, #3; Reaction-Interaction, p. 318, #2; Wrong Ism, p. 347, #3; Garbage 101, p. 399, #3; Shakespearean Baseball Game, p. 461, #1; Sense and Sensibility, p. 483, #3

Fire Down on the Labrador, p. 24, #2; To Da-Duh, p. 40, #2; Companions Past and Present, p. 48, #4; SOS, p. 78, #2; Holy Sonnet 10, #2; My Last Duchess, p. 94, #1; The Lake Isle of Innisfree, p. 105, #2; Up, p. 121, #2; Poetry, p. 124, #2; Korean Village, p. 178, #1; Reaction-Interaction, p. 195, #63; Where the World Began, p. 206, #4; William Golding, p. 238, #6; Fear of Science and Love of the Land, p. 251, #5; Engineered Food, p. 254, #5; Reflections of Girls in the Media, p. 260, #1; On Boy Trouble, p. 270, #5; e-phobia?, p. 279, #5; Shakespearean Baseball Game, p. 291, #5; Trifles, p. 303, #3; Ignoble Knight, p. 307, #5; Survival in the South, p. 310, #3

pp. 4–15; 54–55; 219–221

5.1.3 Use Language to Show Respect

recognize and analyze how personal language use may create and sustain an inclusive community

5.1.3.1

recognize and analyze how language use may foster inclusive, respectful communication that is sensitive to linguistic, cultural, and historical considerations; recognize that language meaning and use change over time

The Open Car, p. 342, #1 Ramu and Rani, p. 31, #2; The Bear on the Delhi Road, p. 164, #4; The Hidden Fence, p. 184, #1; The Open Car, p. 209, #5; Life Needs Nourishing, p. 266, #3; Trifles, p. 303, #3

5.1.3.2

recognize and analyze how language use may foster inclusive, respectful communication that is sensitive to linguistic and cultural considerations [such as titles of address, gender inclusive nouns and pronouns...]

Poetry Wrap-up, p. 303, #4 My Song, p. 112, #5; ‘Out, Out ' p. 149, #6; The Hidden Fence, p. 184, #1; Canadian Pioneers, p. 193, #5; Reaction-Interaction, p. 196, #5 and #6; The Open Car, p. 209, #5; Reflections of Girls in the Media, p. 260, #1; From Henry V, p. 287, #6

5.1.4 Evaluate Group Process

evaluate the effectiveness of group process to improve subsequent success 5.1.4.1

evaluate the effectiveness of group process using various criteria [such as breadth of knowledge and experience, richness of discussion, quality of created text...] to enhance future group experiences

Elegy on Mad Dog, p. 218, #2; From The Titanic, p. 285, #2; Macavity, p. 295, #2; Shakespearean Baseball Game, p. 461, #3

The Address, p. 14, #6; Silver Mine, Cobalt, p. 17, #2; Handful of Dates, p. 45, #3; Sunday in the Park, p. 67, #6; Untitled (Vancouver), p. 118, #5; 'Out, Out' p. 149, #6; Mother, p. 169, #2; Macavity, p. 172, #2; Garbage 101, p. 245, #5; ‘Talking’ Mace, p. 257, #4; On Boy Trouble, p. 270, #5

pp. 321–325

35



5.1.4.2

evaluate the effectiveness of group process using various criteria [such as cost and time effectiveness, compatibility of personalities, relevance of expertise...] to enhance future group performance

Wrong Ism, p. 347, #2 Boys and Girls, p. 20, #3; Fire Down on the Labrador, p. 24, #2; A Handful of Dates, p. 45, #4; Sometimes My Body Leaves Me, p. 85, #2; Ode to Autumn, p. 101, #4; Up, p. 122, #6; The Job of an Apple, p. 152, #6; How to Turn a Closed-Down Nuclear Reactor, p. 248, #3; Trifles, p. 303, #6; Survival in the South, p. 310, #3

pp. 283–284

5.2 Develop and Celebrate Community 5.2.1 Share and Compare Responses

identify various factors [such as experiences, age, gender, culture...] that shape understanding of texts, others, and self

5.2.1.1

demonstrate awareness of how various factors [such as prior knowledge, experiences, cultural background...] affect interpretation of texts and understanding of others and self

Brother Dear, p. 34, #1; The Lamp at Noon, p. 73, #1; A Television Drama, p. 152, #1; Mother, p. 294, #1; The Cartography of Myself, p. 323, #2; On Veterans, p. 380, #1; Living Languages, p. 422, #2; e-phobia? p. 438, #1; Non-Fiction Wrap-up, p. 443, #1

Boys and Girls, p. 20, #3 and p. 21, #5; Fire Down on the Labrador, p.24, #1; Ramu and Rani, p. 31, #2; The Charmer, p. 38, #5; Companions Past and Present, p. 48, #6; A Television Drama, p. 54, #5; The Pedestrian, p. 56–57, #1, 2; A Cap for Steve, p. 62, #1; Sunday in the Park, p. 66, #1; Initiation, p. 75, #1; In Progress, p. 88, #2; History Lesson, p. 133, #1; History Lesson, p. 134, #3 and #4; The Bear on the Delhi Road, p. 163, #1; "Where Do You Get Your Ideas From?" p. 215, #1; Surf's Up, p. 241, #2; 'Talking' Mace, p. 257, #3; Some Paws for Concern, p. 272, #1; Ignoble Knight, p. 307, #4; Survival in the South, p. 310, #1, #3

pp. 51–57

5.2.1.2

identify how roles, relationships, and contexts shape varying reactions to ideas and experiences

Brother Dear, p. 34, #1; The Charmer, p. 109, #2; Drama Wrap-Up, p. 523, #1

The Lamp at Noon, p. 73, #4; Life of a Sports Writer, p. 282, #3

pp. 51–57

5.2.2 Relate Texts to Culture identify and examine ways in which culture, society, and language conventions shape texts

5.2.2.1

identify and examine ways in which society and culture shape the language, content, and forms of texts [such as post-modern novels, situation comedies, street theatre...]

The Lamp at Noon, p. 73, #3; Love Must Not Be Forgotten, p. 146, #3; The Open Car, p. 342, #3; How to Turn a Closed-Down Nuclear Reactor, p. 401, #3; Living Languages, p. 422, #2; Non-Fiction Wrap-up, p. 443, #4; Ignoble Knight, p. 512, #1, 3; Drama Wrap-Up, p. 523, #1

The Address, p. 14, #5; Boys and Girls, p. 21, #5; A Handful of Dates, p. 45, #5; Love Must Not Be Forgotten, p. 50, #1; Initiation, p. 76, #5; Initiation, p. 76, #6; History Lesson, p. 134, #3; The Bear on the Delhi Road, p. 163, #1, 5; Engineered Food, p. 254, #5; Trifles, p. 303, #3; Survival in the South, p. 310, #1, 2

pp. 205–212; 271–272

5.2.2.2 identify and examine ways in which society and culture shape the language, content, and forms of texts [such as web sites, catalogues, CD-ROMs, advertisements, self-help books...]

Learning the Language, p. 23, #1; Address, p. 41, #2; History Lesson, p. 260, #1

Silver Mine, Cobalt, p. 18, #6; Boys and Girls, p. 21, #5; Ramu and Rani, p. 31, #1; Companions Past and Present, p. 47, #1; Love Must Not Be Forgotten, p. 50, #1; Ode to My Socks, p. 131, #5; My Old Newcastle, p. 189, #5; Sense and Sensibility, p. 300, #5

pp. 36–38; 46–47; 233–235

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5.2.3 Appreciate Diversity

explain ways in which languages and texts express and shape the perceptions of people and diverse communities

5.2.3.1

explain ways in which languages and texts reveal and shape understanding of human diversity and universality

The Open Car, p. 342, #1 The Profile of Africa, p. 137, #6; Hidden Fence, p. 184, #1

pp. 130–131

5.2.3.2

explain ways in which languages and texts express and shape the perceptions of particular audiences

A Television Drama, p. 152, #3; ‘Out, Out’ p. 274, #1;Macavity, p. 295, #1, 2; “Where Do You Get Your Ideas From?” p. 357, #2; Drama Wrap-Up, p. 523, #2

The Storyteller, p. 59, #1 and p. 60, #6; A Cap for Steve, p. 63, #5; The Gentlemen of the Jungle, p. 70, #5; Initiation, p. 76, #6; An Elegy on the Death of a Mad Dog, p. 83, #5; The Lake Isle of Innisfree, p. 105, #5; Falling Song, p. 109, #5; The Job of an Apple, p. 152, #6; Mother, p. 169, #2; Marilyn Bell, p. 219, #5; The ‘Talking’ Mace, p. 257, #4; Branta Canadensis, p. 294, #6; King Kong, p. 297, #6

pp. 57; 75–76; 139–142; 170; 230–231; 235–238; 327–330

5.2.4 Celebrate Special Occasions

use language and texts to celebrate personal and community occasions and accomplishments

5.2.4.1

use language and texts to appeal to imagination, senses, and emotions, and examine the use of texts to commemorate special occasions and celebrate human experiences

Marilyn Bell, p. 365, #1 Victory! p. 222, #6; On Veterans, p. 232, #5; William Golding, p. 238, #6; From Henry V, p. 287, #6; Survival in the South, p. 310, #6

pp. 116–118; 252–254

5.2.4.2

use language and texts to acknowledge accomplishments and celebrate significant events and to create desired effect and promote action [such as support for an organization, charity, or group...]

A Walk to the Jetty, p. 34, #1; A Television Drama, p. 54, #5 and #6; My Song, p. 112, #5; A Flower of Waves, p. 127, #5; The Profile of Africa, p. 137, #6; Victory! p. 221, #1 and p. 222, #6; On Veterans, p. 232, #5; From Henry V, p. 287, #6; Survival in the South, p. 310, #6

p. 306

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Documents

Viewpoints and Reference Points Teacher Resource 11Viewpoints 11 Teacher Resource Reference Points English Language Arts Grade 11 Outcomes 1.1.2.2 seek others’ ideas to clarify and