In White Fang, Jack London sought to trace the “development of domesticity, faithfulness, love, morality, and all the amenities and virtues.” In this lesson, students explore images from the Klondike and read White Fang closely to learn how to define and differentiate the terms “nature” and “culture."
A close study of the poetry of contemporary Hopi artist and poet, Ramson Lomatewama. Students analyze Lomatewama’s masterful use of figurative language that creates a sense of place and describes his intimate relationship with the land and his experience of corn.
One of Douglass's goals in his autobiography is to illustrate beyond doubt that slavery had an insidious, spirit-killing effect on the slaveholder as well as the slave.
After encountering visually stunning examples of Anglo-Saxon manuscripts and engaging with the literary conventions of Anglo-Saxon poetry, students will be prepared to study Beowulf. Dispelling stereotypes about the so-called “dark ages,” this lesson helps students learn about the production of early manuscripts and the conventions of Anglo-Saxon poetry, solve online riddles, and write riddles of their own.
Frederick Douglass's 1845 narrative of his life is a profile in both moral and physical courage. In the narrative Douglass openly illustrates and attacks the misuse of Christianity as a defense of slavery. He also reveals the turning point of his life: his spirited physical defense of himself against the blows of a white "slave-breaker."
In this lesson students will be introduced to the basics of the color wheel, as well as the ways in which artists use color to guide the viewer's attention through a painting's composition.
As a man and his animal companion take a less-traveled path to their Yukon camp, they step into a tale of wilderness survival and dire circumstances in Jack London's "To Build a Fire". Throughout this short stories, students will have the opportunity to analytically read the short story while discussing major themes and American naturalism.
Students align original FSA photographs from the 1930s and the author’s own journal entries, to trace parallel elements John Steinbeck then incorporated into passages in The Grapes of Wrath.
