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Discovering Shakespeare
 * ** Unit Title ** ||
 * ** Subject ** || ** Grade **** Range ** || ** Time Frame ** ||
 * -Select-MathematicsEnglish Language ArtsSocial StudiesSciencePhysical EducationFamily Consumer ScienceHealthVisual ArtVocal MusicInstrumental MusicTechnology EducationPreKLibraryWorld LanguagesOther || -Select-PKK010203040506070809101112to -Select-PKK010203040506070809101112 || -Select-JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecemberto -Select-JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecember ||
 * ** Unit Description: This unit will introduce Shakespeare’s life and times.Students will become comfortable with some language, play structure, and one comedy.This unit is being designed to reach Special Education students in Core English 7. ** ||
 * ** Unit Description: This unit will introduce Shakespeare’s life and times.Students will become comfortable with some language, play structure, and one comedy.This unit is being designed to reach Special Education students in Core English 7. ** ||

Improbable situations make for very good comedy. Comedy has not changed significantly since Shakespeare’s time. Sometimes we have to suspend belief in order to appreciate a plot. Women in Shakespeare’s England had to abide by different rules and standards.These standards were real, but they also add to the comedy. || ** Essential Questions: ** What makes good comedy work? Is there a connection between Shakespearean and present day comedy? How can we suspend belief? What does Viola teach us about women’s issues in Shakespeare’ s time?How is it different now? || Students will be able to: · brainstorm and classify ideas;identify and describe characters, settings;locate passages and use them to defend ideas and answer discussion questions;paraphrase; understand concepts, e.g. comedy, tragedy, infatuation, irony;perform and communicate || ** Vocabulary: ** Twelfth Night, comedy, word play, pun, irony, love, infatuation. Additionally, some Shakespearean and theater vocabulary. || Response Journals for selected scenes, and for some bigger questions. Anecdotal observations. Final Project Choices: · Present selected scenes (reading directly or paraphrasing) live or with puppets · Design a set for presentations · Create movie poster, comic strip, children’s book · Create classroom Shakespearean word wall ||  || A large part of the comedy depends on Viola’s need to disguise her self as a boy.This brings up issues of gender roles. We also need to explore the lack of women in Shakespearean theater.Why Students will explore social construction of gender- as assigned by the society in which we live and by the society of 17th century Britain. ||
 * ** Major Understandings: **
 * ** Skills: **
 * ** Assessment: **
 * ** Technology Integration: ** audio text, web quest treasure hunt, comiclife (mac), on-line photos, internet research || ** Culturally Affirming Components: **


 * ** Special Needs Accommodation ** || Shortened script (carefully deleted scenes), taped or podcasted text, teacher read-alouds, choice of web sites provided, ||
 * ** Resources ** ||  ||

**NYS Standards**

 * ** Current items: ** || ** No standards available for this subject ** ||
 * ** Edit... ** ** Done ** ||^  ||
 * ** Edit... ** ** Done ** ||^  ||

**Supporting Materials**

 * ** Supporting Files: ** || (None) || ===== **Add Files:** ===== || **Note:** If you upload a file with the same name as an existing file for this lesson or unit, the file on the server will be overwritten. This will not affect any other lessons or units. ||
 * ** Supporting Websites: ** ||||||  ||
 * ** Supporting Websites: ** ||||||  ||

// Site Last Updated: June 13, 2008 //
 * ©2007 Ithaca City School District, 400 Lake St, Ithaca, NY 14850 **


 * Consider the comical effect of the **gender-bending** caused by **Viola**'s masquerade as a young man, "Cesario," who is later confused with her own (supposedly dead) twin brother, Sebastian. (Given that women's parts in Shakespeare's time were originally played by young boys, the gender-bending gets even more complex.) How does the gender-bending within the play add to our picture of what the Renaissance and early seventeenth century saw as "appropriate" behavior for women? ||

= Shakespeare, it is claimed by many modern critics, was a feminist. Shapiro for example goes so far as to claim that Shakespeare was 'the noblest feminist of them all'. Although I am inclined to agree with McLuskie that as Shakespeare 'wrote for a male entertainment', it is historically incorrect to regard him as a feminist. I believe that Shakespeare because of his extraordinary genius for portraying human behaviour, necessarily depicted the condition of women within a patriarchal system and created women characters which in their richness, transcend the limitations of his time. = =** Liz Lewis, ** //Shakespeare's Women// = ||

Twelfth Night by William Shakespeare: Appearances Versus Reality: In sum, it seems as though [|Shakespeare] wishes audiences to consider the true nature of reality when a multitude of appearances can have an effect on our perception of it. Also, by presenting the issue of appearances versus reality in so many contexts (cross-dressing, outright trickery, mistaken identity, and ambiguous love pairings) the reader is made to understand that appearances can sometimes be of little or no value. If all of the characters had been more in tune with reality rather than centering on their own and other characters’ appearances, one can easily assume this wouldn’t make such a grand comedy.Nicole Smith

Discovering Shakespeare |||||| ** Unit Title ** ||
 * ==Create Unit==
 * ** Subject ** || ** Grade **** Range ** || ** Time Frame ** ||
 * -Select-MathematicsEnglish Language ArtsSocial StudiesSciencePhysical EducationFamily Consumer ScienceHealthVisual ArtVocal MusicInstrumental MusicTechnology EducationPreKLibraryWorld LanguagesOther || -Select-PKK010203040506070809101112to -Select-PKK010203040506070809101112 || -Select-JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecemberto -Select-JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecember ||
 * ** Unit Description: This unit will introduce Shakespeare’s life and times.Students will become comfortable with some language, play structure, and one comedy.This unit is being designed to reach Special Education students in Core English 7. ** ||
 * ** Unit Description: This unit will introduce Shakespeare’s life and times.Students will become comfortable with some language, play structure, and one comedy.This unit is being designed to reach Special Education students in Core English 7. ** ||

Improbable situations make for very good comedy. Comedy has not changed significantly since Shakespeare’s time. Sometimes we have to suspend belief in order to appreciate a plot. Women in Shakespeare’s England had to abide by different rules and standards.These standards were real, but they also add to the comedy. || ** Essential Questions: ** What makes good comedy work? Is there a connection between Shakespearean and present day comedy? How can we suspend belief? What does Viola teach us about women’s issues in Shakespeare’ s time?How is it different now? || Students will be able to: · brainstorm and classify ideas;identify and describe characters, settings;locate passages and use them to defend ideas and answer discussion questions;paraphrase; understand concepts, e.g. comedy, tragedy, infatuation, irony;perform and communicate || ** Vocabulary: ** Twelfth Night, comedy, word play, pun, irony, love, infatuation. Additionally, some Shakespearean and theater vocabulary. || Response Journals for selected scenes, and for some bigger questions. Anecdotal observations. Final Project Choices: · Present selected scenes (reading directly or paraphrasing) live or with puppets · Design a set for presentations · Create movie poster, comic strip, children’s book · Create classroom Shakespearean word wall ||  || A large part of the comedy depends on Viola’s need to disguise her self as a boy.This brings up issues of gender roles. We also need to explore the lack of women in Shakespearean theater.Why Students will explore social construction of gender- as assigned by the society in which we live and by the society of 17th century Britain. ||
 * ** Major Understandings: **
 * ** Skills: **
 * ** Assessment: **
 * ** Technology Integration: ** audio text, web quest treasure hunt, comiclife (mac), on-line photos, internet research || ** Culturally Affirming Components: **


 * ** Special Needs Accommodation ** || Shortened script (carefully deleted scenes), taped or podcasted text, teacher read-alouds, choice of web sites provided, ||
 * ** Resources ** ||  ||

**NYS Standards**

 * ** Current items: ** || ** No standards available for this subject ** ||
 * ** Edit... ** ** Done ** ||^  ||
 * ** Edit... ** ** Done ** ||^  ||

**Supporting Materials**

 * ** Supporting Files: ** || (None) || ===== **Add Files:** ===== || **Note:** If you upload a file with the same name as an existing file for this lesson or unit, the file on the server will be overwritten. This will not affect any other lessons or units. ||
 * ** Supporting Websites: ** ||||||  ||
 * ** Supporting Websites: ** ||||||  ||

// Site Last Updated: June 13, 2008 //
 * ©2007 Ithaca City School District, 400 Lake St, Ithaca, NY 14850 **


 * Consider the comical effect of the **gender-bending** caused by **Viola**'s masquerade as a young man, "Cesario," who is later confused with her own (supposedly dead) twin brother, Sebastian. (Given that women's parts in Shakespeare's time were originally played by young boys, the gender-bending gets even more complex.) How does the gender-bending within the play add to our picture of what the Renaissance and early seventeenth century saw as "appropriate" behavior for women? ||

= Shakespeare, it is claimed by many modern critics, was a feminist. Shapiro for example goes so far as to claim that Shakespeare was 'the noblest feminist of them all'. Although I am inclined to agree with McLuskie that as Shakespeare 'wrote for a male entertainment', it is historically incorrect to regard him as a feminist. I believe that Shakespeare because of his extraordinary genius for portraying human behaviour, necessarily depicted the condition of women within a patriarchal system and created women characters which in their richness, transcend the limitations of his time. = =** Liz Lewis, ** //Shakespeare's Women// = ||

Twelfth Night by William Shakespeare: Appearances Versus Reality: In sum, it seems as though [|Shakespeare] wishes audiences to consider the true nature of reality when a multitude of appearances can have an effect on our perception of it. Also, by presenting the issue of appearances versus reality in so many contexts (cross-dressing, outright trickery, mistaken identity, and ambiguous love pairings) the reader is made to understand that appearances can sometimes be of little or no value. If all of the characters had been more in tune with reality rather than centering on their own and other characters’ appearances, one can easily assume this wouldn’t make such a grand comedy.Nicole Smith


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** E. ** ** Boisvert8/21/09Core English 7 ** || // What will your students know and be able to do as a result of this lesson? // || Students will be able to answer the question: What is comedy?What makes a story funny? Students willbe able to relate Shakespearean comedy to present day comedy. || // What materials, texts, manipulatives, visuals, etc. will you need for this lesson? What technological resources (if any) will you need? // || Projector/Computer or DVD player, using either a video clip, or a sit com. || If “funny” can be articulated, it can be shared.By relating The things we laugh at now to the things we laughed at in Shakespeare’s time, we hope to make it more relevant. || // What activities will you and your students do and how are they connected to the objectives? // ||  ||
 * ** Teacher Date Class **
 * = Skills, understandings and Essential Questions from Content Map addressed: = ||
 * ** Objectives: **
 * = Instructional materials and resources =
 * **Learner Factors:** //How does this lesson accommodate different developmental levels of students? How does this lesson accommodate differences in approaches to learning, create connections between the subject matter and student experiences, and/or include provisions for students with particular learning differences or needs?// || Everyone understands comedy in one way or another.
 * ** Instructional activities and tasks: **
 * **Assessment activities:** //How will you determine what your students know and are able to do as a result of this lesson?// ||  ||
 * **Context:** //How were students prepared for this lesson?// ||  ||


 * Instructional tasks and activities **
 * // What activities will you and your students do and how are they connected to the objectives? // ||
 * // Time // |||| // What will you be doing? // || // What will the students be doing? // ||

[|Edit this page (if you have permission)] | [|Google Docs -- Web word processing, presentations and spreadsheets.]


 * [|Sign In] ||

** E. ** ** Boisvert8/21/09Core English 7 ** || // What will your students know and be able to do as a result of this lesson? // || Students will be able to answer the question: What is comedy?What makes a story funny? Students willbe able to relate Shakespearean comedy to present day comedy. || // What materials, texts, manipulatives, visuals, etc. will you need for this lesson? What technological resources (if any) will you need? // || Projector/Computer or DVD player, using either a video clip, or a sit com. || If “funny” can be articulated, it can be shared.By relating The things we laugh at now to the things we laughed at in Shakespeare’s time, we hope to make it more relevant. || // What activities will you and your students do and how are they connected to the objectives? // ||  ||
 * ** Teacher Date Class **
 * = Skills, understandings and Essential Questions from Content Map addressed: = ||
 * ** Objectives: **
 * = Instructional materials and resources =
 * **Learner Factors:** //How does this lesson accommodate different developmental levels of students? How does this lesson accommodate differences in approaches to learning, create connections between the subject matter and student experiences, and/or include provisions for students with particular learning differences or needs?// || Everyone understands comedy in one way or another.
 * ** Instructional activities and tasks: **
 * **Assessment activities:** //How will you determine what your students know and are able to do as a result of this lesson?// ||  ||
 * **Context:** //How were students prepared for this lesson?// ||  ||


 * ** Instructional tasks and activities ** |||| // What activities will you and your students do and how are they connected to the objectives? // ||
 * // Time // |||| // What will you be doing? // || // What will the students be doing? // ||

[|Edit this page (if you have permission)] | [|Google Docs -- Web word processing, presentations and spreadsheets.]

Elinor BoisvertWhat is the difference between wiki, blog, pb works? We are using wiki. PB is like a wiki that we can keep private. Today we will be discussing DI:
 * instructing to reach different students with different learning styles, modifying instruction accordingly
 * how will we assess?
 * Will DI help to focus the class during negative interaction?
 * Can DI create a community learning environment?

Twelfth Night: Essential Question How could Shakespeare write a story with so many improbable characters and situations?
 * Kids want to know how a female can masquerade as her twin brother - they can't possibly look alike?
 * How could Orsino continue to believe that Olivia might still fall in love with him?
 * How could Olivia really think Viola/Cesario was really a man?
 * Did people really buy into this
 * Would we believe these things today?

Let's relate these questions to the twenty first century - to your own experience


 * 1) Present a model sitcom/comic/cartoon - ask how much students can really believe
 * 2) Kids present their own examples

Shakespeare's times, his audience, and perhaps his style -


 * //Integrating Differentiated Instruction,// Tomlinson and McTighe**

What knowledge is truly essential and enduring? Understading big ideas and core processes:
 * Too much content; not enough time
 * Essential Questions: understanding big ideas transferring to essential questions = conceptual lens where speciifoic facts and skills

Planning backward: Three stages:
 * 1) Identify desired results - what should students know, understand and be able to do? Choosing content that is worthy of understanding
 * 2) Determine acceptable evidence - evaluation/assessment
 * 3) Activities, sequence, resources

Planning Template:
 * 1) specify desired understandings (U) and companion essential questions (Q), reflecting content standards (G), more specific knowledge and skills ojectives
 * 2) distinguishing performance tasks and other evidence - transferring learning to new and authentic situation for assessment, or toher evidence such as quezzes, tests, observationsw, and work samples (OE)
 * 3) planning purposeful learning activities and directed teaching to reach //all// students - here is where concerns for content and kids combine = responsive teaching

From Barry Derfel's site
 * Culture-generated materials are far more readily accessible via 21st century technologies than through more traditional sources, such as books and periodicals. This is because historically disenfranchised groups no longer have to wait for textbook companies and other publishers to become more inclusive. The read-write web allows disenfranchised groups to publish on their own. As students and teachers engage in learning that is grounded in a diversity of culture-generated materials, each of their unique identities and histories is affirmed as a matter of routine. Classrooms that affirm all students have been shown to reduce disproportionality (Allen, J. 2007. //Creating Welcoming Schools: A practical guide to home-school partnerships with diverse families//. New York: Teachers College Press).

I hear...I forget I see...and I remember I do...and I understand //Ancient Chinese Proverb//

Evidence of Learning in Diverse Classrooms //-//
 * //Integrating Differentiated Instruction//**

Principles of Effective Assessment
 * 1) Photo Albums instead of snapshots
 * 2) Match the measure w/the goods - collecting multiple evidence to assess understanding: can explain, interpret, apply, have perspective, display empathy, have self-knowledge -
 * 3) Form follows function - summative, diagnostic, formative (concurrent with instruction),