Lesson Plans

15 Result(s)
Grade Range
9-12
Scottsboro Boys and To Kill a Mockingbird: Two Trials for the Classroom

This lesson is designed to apply Common Core State Standards and facilitate a comparison of informational texts and primary source material from the Scottsboro Boys trials of the 1931 and 1933, and the fictional trial in Harper Lee’s novel, To Kill A Mockingbird (1960).

Grade Range
9-12
Lesson 1: Magical Elements in Magical Realism

In this triumph of magical realism, "One Hundred Years of Solitude," chronicles a century of the remarkable Buendía family’s history in the fictional Colombian town of Macondo. The three lessons presented here explore the fantastic elements of this imaginary world, the real history that lies behind them, and García Márquez’s own philosophical musings on writing about Latin America.

Grade Range
6-8
Vengeful Verbs in Shakespeare’s Hamlet

Expose middle school students to a first taste of Shakespeare from the angle of the ghost story and launch into the subject of verbs. In this lesson, they learn how Shakespeare uses verbs to move the action of the play. Students then distinguish generic verbs from vivid verbs by working with selected lines in Hamlet’s Ghost scene. Finally they test their knowledge of verbs through a crossword interactive puzzle.

Grade Range
9-12
Sor Juana the Nun and Writer: Las Redondillas and The Reply

Sor Juana Inés de la Cruz, the first great Latin American poet, is still considered one of the most important literary figures of the American Hemisphere, and one of the first feminist writers. In the 1600s, she defended her right to be an intellectual, suggesting that women should be educated and educators and accusing men of being the cause of the very ills they blamed on women.

Grade Range
9-12
Sor Juana, the Poet: The Sonnets

Sor Juana Inés de la Cruz, a major literary figure and the first great Latin American poet, is a product of el Siglo de Oro Español (Spanish Golden Age). In this lesson students will analyze two of Sor Juana’s sonnets: “A su retrato” and “En perseguirme, Mundo, ¿qué interesas?” in their original language of publication.

Grade Range
9-12
Listening to Poetry: Sounds of the Sonnet

At the heart of the lesson are; seven sound experiments designed to help students understand how form, meter, and rhythm all combine to shape our experience of poetry and the meanings we derive from it.

Grade Range
9-12
Charles Baudelaire: Poète Maudit (The Cursed Poet)

French Language and World Literature classes will study the works of 19th-century poet Charles Baudelaire and will learn about the connections between the Romantic Movement and themes of 21st-century popular culture.

Grade Range
9-12
Lesson 2: Faulkner's The Sound and the Fury: Benjy's Sense of Time and Narrative Voice

In the first chapter of William Faulkner's emotionally charged novel, "The Sound and the Fury," Benjy Compson, the son with intellectual disability who narrates this section, matters in a most profound sense. It is through his voice--childlike, detached, and often disorienting--that readers are confronted with the reality of time as a recurring motif and how time affects and informs human experiences.

Grade Range
9-12
Folklore in Zora Neale Hurston's Their Eyes Were Watching God

Learn how writer Zora Neale Hurston incorporated and transformed black folklife in her novel Their Eyes Were Watching God. By exploring Hurston’s own life history and collection methods, listening to her WPA recordings of folksongs and folktales, and comparing transcribed folk narrative texts with the plot and themes of the novel, students will learn about the crucial role of oral folklore in Hurston’s written work.

Grade Range
6-8
Jack London's The Call of the Wild: Nature Faker?

A critic of writer Jack London called his animal protagonists “men in fur,” suggesting that his literary creations flaunted the facts of natural history. London responded to such criticism by maintaining that his own creations were based on sound science and in fact represented “…a protest against the ‘humanizing’ of animals, of which it seemed to me several ‘animal writers’ had been profoundly guilty.” How well does London succeed in avoiding such “humanizing” in his portrayal of Buck, the hero of his novel, The Call of the Wild?