TPA Lesson Plan
#__1 (mini lesson) _____
Course: _English
493______
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1. Teacher Candidate
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Aubrey
Hamilton
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Date Taught
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11/06/2017
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Cooperating
Teacher
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Mr. Sean
Agriss
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School/District
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EWU
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2. Subject
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English
493
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Field
Supervisor
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Stephanie
Boughter
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3. Lesson Title/Focus
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Poe: The Cask of Amontillado”
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5. Length of Lesson
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20 min.
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4. Grade Level
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9th grade
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6. Academic & Content Standards
(Common Core/National)
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CCSS.ELA-LITERACY.SL.9-10.6
Adapt speech to a variety of contexts and tasks, demonstrating command of
formal English when indicated or appropriate.
CCSS.ELA-LITERACY.RL.9-10.7
Analyze the representation of a subject or a key scene in two different
artistic mediums, including what is emphasized or absent in each treatment
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7. Learning Objective(s)
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Given
“The Cask of Amontillado” students will display comprehension of character
and plot development as well as analyze the differences between written and
acted stories by choosing an important scene from the story, creating and
performing a skit of that scene, and explaining how the acted version
differed from the written text.
This
connects to the standards because the students will need to display command
of formal English and will have to analyze the representation of the story in
book vs. skit form in order to create the skit.
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8. Academic Language
demands
(vocabulary, function, syntax, discourse)
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a.
Discourse:
Students will be writing, reading, discussing, and drawing
b.
Language
Function: Analyze
c.
Syntax:
Acting Rubric/template
d.
Vocabulary:
Cask, Amontillado, Catacomb
e.
Language
demand: Students are creating a skit of a scene from “The Cask of
Amontillado” and then explaining how the acted version is different from the
book version.
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9. Assessment
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The
assessment in this lesson will be formative and informal. The acting skits
will be informal formative assessment that will measure student comprehension
of the text as well as student ability to represent the text in a medium
other than written. The student discussion after the skit (comparing how book
and acted forms are different and the effects of those differences) will
measure student ability to analyze different mediums of the same story and
the student ability to see the differences in representation between those
mediums and the effects those differences have on the message of the story. This
directly connects to the standard of comparing artistic mediums.
**Attach** all assessment tools for this
lesson
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10. Lesson Connections
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a.
Research:
In his time working with ELLs (as described in Literacy Con Carino) Hayes found that students in a classroom
often bonded when they were involved in classroom projects where they could
combine their individual work into a finished project. In this lesson, I am
targeting that sense of motivation and ownership via the group discussion and
acting activity where students can apply their individual skills to create a
finished product (the skit) and empower that sense of belonging. While these
students are not ELLs, it is still important to foster that sense of
belonging and classroom unity that supports students being able to comfortably
interact with the classroom content.
Hayes,
Curtis. Literacy Con Carino. Heinemann,
1998.
a.
Prior
Learning: The students in this class have previously worked with discussing
and analyzing stories in their written form. This lesson will build on that
knowledge as they are asked to analyze a story in both written and
verbal/acted form.
b.
Future
Learning: In future lessons the students will compare and contrast different
mediums of “The Cask of Amontillado” including audiobook versions and video
versions.
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11. Instructional
Strategies/Learning Tasks to Support Learning
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Learning Tasks and Strategies
Sequenced Instruction
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Teacher’s
Role
1.
The teacher reads the “I can” statement from
the slideshow. (1 minute)
2.
The
teacher tells the students that they will be working in groups to create a
skit from a chosen scene in the story. (1 minute)
3.
The
teacher asks students to find their groups. (1 minutes)
4.
The
teacher hands assigned scenes to each group. (1 minute)
5.
The
teacher asks the students to read through the scene, assign characters, and
practice their skit. (5 minutes)
6.
The
teacher asks the students to each act out their skit and for the students
listening to take notes on what they noticed about the differences between
the written and acted versions. (4 minutes)
7.
The
teacher asks the students to share their notes and then hand them in. (1
minute)
8.
The
teacher asks the students to fill out the exit slips before they leave. (1
minute)
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Students’
Role
1.
The
students observe and read the “I can” statement from the slideshow. (1
minute)
2.
The
students listen as the teacher explains the activities. (1 minute)
3.
The
students find their groups. (1 minutes)
4.
The
students receive their assigned
scenes. (1 minute)
5.
The
students read through the scene, assign characters, and practice their skit.
(5 minutes)
6.
The
students each act out their skit. Those students who are listening take notes
on what they noticed about the differences between the written and acted
versions. (4 minutes)
7.
The
students share their notes. (1 minute)
8.
The
students fill out the exit slips before they leave. (1 minute)
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Student
Voice to Gather
The students
will fill out and hand in an exit slip before they leave. The exit slip asks
them to reflect on the learning goal and lesson impacts and how the students
felt they did in relation to the learning target. The information will be
used by the teacher to enhance future lesson plans. If the students feel like
they didn’t meet the objective, work will be done with them to help them
improve and move closer to the objective in future lessons with more
scaffolding and activities that better support the students. If the students
feel like the lesson was easy, the future lessons will be increased in depth
and difficulty.
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12. Differentiated Instruction
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a.
Interests:
This lesson will interest students because it encourages them to interact in
a fun and humorous manner that is light hearted and low stress. It allows
them to work together on a project that they usually do not get to take part
in since most classes are sit down discussion classes.
b.
One
student uses a walker and has difficulty moving around. This student will be
facilitated by the group work as his group members will be those already
around him and he will not be asked to move to find group members. This student
also will be facilitated by the option to choose his role in the skit and can
choose the amount of mobility he will need to do.
c.
These
students are used to reading text and discussing them and this lesson will
facilitate that through discussion regarding the representation of the text
in play form. They will also be pushed to broaden their usual discussions and
readings through the use of skits.
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13. Resources and Materials
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Teacher
Materials: Copy
of “The Cask of Amontillado,” Computer, google slides slideshow, projector
Student
Materials: Copy
of “The Cask of Amontillado,” Computers or pens and paper for writing the
script, exit slip, copies of assigned scene (color coded)
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14. Management and Safety Issues
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Management
and safety issues will be addressed through redirecting negative behavior via
prompts, questions, and or tasks that take the student’s mind off of their
negative behavior. These tasks could include helping the teacher hand out
exit slips or running the slideshow while the teacher talks. An emotionally
safe environment will be created through respectful talk about student
answers regarding the reading and discussion where all answers and effort
will be considered, encouraged, and critiqued (if needed) in a positive
attitude of how to improv or look deeper into the text or how to go even
farther with their observations.
These
students are very well behaved. The biggest management issue will be keeping
them focused. This will be addressed by keeping the students engaged with
prompts and questions to keep their minds thinking and focused and asking
them to take part in the class.
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15. Parent & Community
Connections
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The
parents will be involved in this lesson at the end of the unit when the
students will create a video assignment that will be based on the works of
Edgar Allan Poe. The students will be asked to show this video to their
parents (via a private Youtube link that will be emailed to the families).
The video will also be on display at the end of the year showcase. The
community will be involved in this unit as the students will be applying
critical thinking approaches regarding character motivation (example: why a
certain character decided to commit murder and if he considered it to be
murder). This is a skill that they will be able to take into their community
and that they can apply to translating media motive and motive of people
around them. It will help prepare them to be thinkers in their community and
not just accepters of what they are fed.
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Scene assignments:
Group 1: Yellow section
Group 2: Green section
Group 3: Blue section
Group 4: pink section
THE CASK OF AMONTILLADO
by Edgar Allan Poe
(1846)
THE
thousand injuries of Fortunato I had borne as I best could, but when he
ventured upon insult I vowed revenge. You, who so well know the nature of my
soul, will not suppose, however, that gave utterance to a threat. At length I
would be avenged; this was a point definitely, settled --but the very
definitiveness with which it was resolved precluded the idea of risk. I must
not only punish but punish with impunity. A wrong is unredressed when
retribution overtakes its redresser. It is equally unredressed when the avenger
fails to make himself felt as such to him who has done the wrong.
It
must be understood that neither by word nor deed had I given Fortunato cause to
doubt my good will. I continued, as was my in to smile in his face, and he did
not perceive that my to smile now was at the thought of his immolation.
He had
a weak point --this Fortunato --although in other regards he was a man to be
respected and even feared. He prided himself on his connoisseurship in wine.
Few Italians have the true virtuoso spirit. For the most part their enthusiasm
is adopted to suit the time and opportunity, to practise imposture upon the
British and Austrian millionaires. In painting and gemmary, Fortunato, like his
countrymen, was a quack, but in the matter of old wines he was sincere. In this
respect I did not differ from him materially; --I was skilful in the Italian
vintages myself, and bought largely whenever I could.
It was
about dusk, one evening during the supreme madness of the carnival season, that
I encountered my friend. He accosted me with excessive warmth, for he had been
drinking much. The man wore motley. He had on a tight-fitting parti-striped
dress, and his head was surmounted by the conical cap and bells. I was so
pleased to see him that I thought I should never have done wringing his hand.
I said to him --"My dear
Fortunato, you are luckily met. How remarkably well you are looking to-day. But
I have received a pipe of what passes for Amontillado, and I have my
doubts."
"How?" said he.
"Amontillado, A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I
replied; "and I was silly enough to pay the full Amontillado price without
consulting you in the matter. You were not to be found, and I was fearful of
losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my
way to Luchresi. If any one has a critical turn it is he. He will tell me
--"
"Luchresi cannot tell Amontillado
from Sherry."
"And yet some fools will have it
that his taste is a match for your own.
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose
upon your good nature. I perceive you have an engagement. Luchresi--"
"I have no engagement;
--come."
"My friend, no. It is not the
engagement, but the severe cold with which I perceive you are afflicted. The
vaults are insufferably damp. They are encrusted with nitre."
"Let us go, nevertheless. The cold
is merely nothing. Amontillado! You have been imposed upon. And as for
Luchresi, he cannot distinguish Sherry from Amontillado."
Thus speaking, Fortunato possessed
himself of my arm; and putting on a mask of black silk and drawing a roquelaire
closely about my person, I suffered him to hurry me to my palazzo.
There
were no attendants at home; they had absconded to make merry in honour of the
time. I had told them that I should not return until the morning, and had given
them explicit orders not to stir from the house. These orders were sufficient,
I well knew, to insure their immediate disappearance, one and all, as soon as
my back was turned.
I took
from their sconces two flambeaux, and giving one to Fortunato, bowed him
through several suites of rooms to the archway that led into the vaults. I
passed down a long and winding staircase, requesting him to be cautious as he
followed. We came at length to the foot of the descent, and stood together upon
the damp ground of the catacombs of the Montresors.
The gait of my friend was unsteady, and the
bells upon his cap jingled as he strode.
"The pipe," he said.
"It is farther on," said I;
"but observe the white web-work which gleams from these cavern
walls."
He turned towards me, and looked into my
eves with two filmy orbs that distilled the rheum of intoxication.
"Nitre?" he asked, at length.
"Nitre," I replied. "How
long have you had that cough?"
"Ugh! ugh! ugh! --ugh! ugh! ugh!
--ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh!"
My poor friend found it impossible to reply
for many minutes.
"It is nothing," he said, at
last.
"Come," I said, with decision,
"we will go back; your health is precious. You are rich, respected,
admired, beloved; you are happy, as once I was. You are a man to be missed. For
me it is no matter. We will go back; you will be ill, and I cannot be
responsible. Besides, there is Luchresi --"
"Enough," he said; "the
cough's a mere nothing; it will not kill me. I shall not die of a cough."
"True --true," I replied;
"and, indeed, I had no intention of alarming you unnecessarily --but you
should use all proper caution. A draught of this Medoc will defend us from the
damps.
Here I knocked off the neck of a bottle
which I drew from a long row of its fellows that lay upon the mould.
"Drink," I said, presenting him
the wine.
He raised it to his lips with a leer. He
paused and nodded to me familiarly, while his bells jingled.
"I drink," he said, "to the
buried that repose around us."
"And I to your long life."
He
again took my arm, and we proceeded.
"These
vaults," he said, "are extensive."
"The
Montresors," I replied, "were a great and numerous family."
"I
forget your arms."
"A
huge human foot d'or, in a field azure; the foot crushes a serpent rampant
whose fangs are imbedded in the heel."
"And
the motto?"
"Nemo
me impune lacessit."
"Good!"
he said.
The
wine sparkled in his eyes and the bells jingled. My own fancy grew warm with
the Medoc. We had passed through long walls of piled skeletons, with casks and
puncheons intermingling, into the inmost recesses of the catacombs. I paused
again, and this time I made bold to seize Fortunato by an arm above the elbow.
"The
nitre!" I said; "see, it increases. It hangs like moss upon the
vaults. We are below the river's bed. The drops of moisture trickle among the
bones. Come, we will go back ere it is too late. Your cough --"
"It
is nothing," he said; "let us go on. But first, another draught of
the Medoc."
I
broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes
flashed with a fierce light. He laughed and threw the bottle upwards with a
gesticulation I did not understand.
I
looked at him in surprise. He repeated the movement --a grotesque one.
"You
do not comprehend?" he said.
"Not
I," I replied.
"Then
you are not of the brotherhood."
"How?"
"You
are not of the masons."
"Yes,
yes," I said; "yes, yes."
"You?
Impossible! A mason?"
"A
mason," I replied.
"A
sign," he said, "a sign."
"It
is this," I answered, producing from beneath the folds of my roquelaire a
trowel.
"You
jest," he exclaimed, recoiling a few paces. "But let us proceed to
the Amontillado."
"Be
it so," I said, replacing the tool beneath the cloak and again offering
him my arm. He leaned upon it heavily. We continued our route in search of the
Amontillado. We passed through a range of low arches, descended, passed on, and
descending again, arrived at a deep crypt, in which the foulness of the air
caused our flambeaux rather to glow than flame.
At the
most remote end of the crypt there appeared another less spacious. Its walls
had been lined with human remains, piled to the vault overhead, in the fashion
of the great catacombs of Paris. Three sides of this interior crypt were still
ornamented in this manner. From the fourth side the bones had been thrown down,
and lay promiscuously upon the earth, forming at one point a mound of some
size. Within the wall thus exposed by the displacing of the bones, we perceived
a still interior crypt or recess, in depth about four feet, in width three, in
height six or seven. It seemed to have been constructed for no especial use
within itself, but formed merely the interval between two of the colossal
supports of the roof of the catacombs, and was backed by one of their
circumscribing walls of solid granite.
It was in vain that Fortunato, uplifting
his dull torch, endeavoured to pry into the depth of the recess. Its
termination the feeble light did not enable us to see.
"Proceed," I said; "herein
is the Amontillado. As for Luchresi --"
"He is an ignoramus," interrupted
my friend, as he stepped unsteadily forward, while I followed immediately at
his heels. In niche, and finding an instant he had reached the extremity of the
niche, and finding his progress arrested by the rock, stood stupidly
bewildered. A moment more and I had fettered him to the granite. In its surface
were two iron staples, distant from each other about two feet, horizontally.
From one of these depended a short chain, from the other a padlock. Throwing
the links about his waist, it was but the work of a few seconds to secure it.
He was too much astounded to resist. Withdrawing the key I stepped back from
the recess.
"Pass your hand," I said,
"over the wall; you cannot help feeling the nitre. Indeed, it is very
damp. Once more let me implore you to return. No? Then I must positively leave
you. But I must first render you all the little attentions in my power."
"The Amontillado!" ejaculated my
friend, not yet recovered from his astonishment.
"True," I replied; "the
Amontillado."
As I said these words I busied myself among
the pile of bones of which I have before spoken. Throwing them aside, I soon
uncovered a quantity of building stone and mortar. With these materials and
with the aid of my trowel, I began vigorously to wall up the entrance of the
niche.
I had scarcely laid the first tier of the
masonry when I discovered that the intoxication of Fortunato had in a great
measure worn off. The earliest indication I had of this was a low moaning cry
from the depth of the recess. It was not the cry of a drunken man. There was
then a long and obstinate silence. I laid the second tier, and the third, and
the fourth; and then I heard the furious vibrations of the chain. The noise
lasted for several minutes, during which, that I might hearken to it with the
more satisfaction, I ceased my labours and sat down upon the bones. When at
last the clanking subsided, I resumed the trowel, and finished without
interruption the fifth, the sixth, and the seventh tier. The wall was now
nearly upon a level with my breast. I again paused, and holding the flambeaux
over the mason-work, threw a few feeble rays upon the figure within.
A succession of loud and shrill
screams, bursting suddenly from the throat of the chained form, seemed to
thrust me violently back. For a brief moment I hesitated, I trembled.
Unsheathing my rapier, I began to grope with it about the recess; but the
thought of an instant reassured me. I placed my hand upon the solid fabric of
the catacombs, and felt satisfied. I reapproached the wall; I replied to the
yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume
and in strength. I did this, and the clamourer grew still.
It was now midnight, and my task was
drawing to a close. I had completed the eighth, the ninth and the tenth tier. I
had finished a portion of the last and the eleventh; there remained but a
single stone to be fitted and plastered in. I struggled with its weight; I
placed it partially in its destined position. But now there came from out the
niche a low laugh that erected the hairs upon my head. It was succeeded by a
sad voice, which I had difficulty in recognizing as that of the noble
Fortunato. The voice said--
"Ha! ha! ha! --he! he! he! --a
very good joke, indeed --an excellent jest. We will have many a rich laugh
about it at the palazzo --he! he! he! --over our wine --he! he! he!"
"The Amontillado!" I said.
"He! he! he! --he! he! he!
--yes, the Amontillado. But is it not getting late? Will not they be awaiting
us at the palazzo, the Lady Fortunato and the rest? Let us be gone."
"Yes," I said, "let us
be gone."
"For the love of God,
Montresor!"
"Yes," I said, "for
the love of God!"
But to these words I hearkened in
vain for a reply. I grew impatient. I called aloud --
"Fortunato!"
No answer. I called again --
"Fortunato!"
No answer still. I thrust a torch
through the remaining aperture and let it fall within. There came forth in
return only a jingling of the bells. My heart grew sick; it was the dampness of
the catacombs that made it so. I hastened to make an end of my labour. I forced
the last stone into its position; I plastered it up. Against the new masonry I
re-erected the old rampart of bones. For the half of a century no mortal has
disturbed them. In pace requiescat!
Exit Slip
Your
Name:_________________Date_____________
1.
What
was today’s learning target?
2.
On
the scale below, draw an X or a check mark where you think you are in relation
to the learning target.
I know this so well
I can show someone else how to do it.
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I can do this well all the time.
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I know how to do this but don’t have it mastered.
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I am working on this but am not very sure of myself.
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I really don’t know how to do this.
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1______________2_________________3_______________4_______________5_________
3.
What
resources do you have available to help you get closer to the learning target?
