LESSON PLANS ON TEACHING SHORT STORIES & POEMS

Prototype lesson plans Fully detailed and semi-detailed

________________________

In partial fulfillment of the requirements of the course ELL 205 Issues and Approaches in Teaching Literature

Submitted by Marciano A. Paroy Jr.

Submitted to Prof. Hannelli G. Magbual Graduate School Mariano Marcos State University

First Semester SY 2009-2010

TWO LESSON PLANS ON TEACHING A SHORT STORY Story: Grandpa and the Statue by Arthur Miller

BRIEF LECTURE ON CHARACTER DEVELOPMENT Character development is perhaps the most important element in a successful drama. In drama, characters come alive through spoken dialogue and through their actions. Carefully written dialogue, with distinct words and actions, is essential in revealing the characters private thoughts to the audience. Through the major and minor characters, the playwright is able to develop the theme, or major idea(s) of the play. As you read Grandpa and the Statue, pay close atte ntion to what the characters say and do as the play develops. You will see certain characters grow and change, while other characters remain the same. The meaning or the theme of the play and its importance will be revealed through the changes in the characters. THE SELECTION (distributed as a handout)

The story Grandpa and the Statue

by Arthur Miller CHARACTERS Announcer Grandfather monaghan Jack Girl August Child monaghan Mike Young man Young monaghan George Joe Megaphone voice Sheean Charley Alf Veteran [Music: Theme] ANNOUNCER. The scene is the fourth floor of a giant army hospital overlooking New York Harbor. A young man sitting in a wheel chair is looking out a window: just

looking. After a while another young man in another wheel chair rolls over to him and both look. [Music out] AUGUST. You want to play some checkers with me, Monaghan? MONAGHAN. Not right now. AUGUST. Okay. [Slight pause] You dont want to go feeling blue, Monaghan. MONAGHAN. Im not blue. AUGUST. All you do most days is sit here looking out this window. MONAGHAN. What do you want me to do, jump rope? AUGUST. No, but what do you get out of it? MONAGHAN. Its a beautiful view. Some companies make millions of dollars just printing that view on postcards. AUGUST. Yeh, but nobody keeps looking at a postcard six, seven hours a day. MONAGHAN. I come from around here, it reminds me of things. My young days. AUGUST. Thats right, youre Brooklyn, arent you? MONAGHAN. My house is only about a mile away. AUGUST. That so. Tell me, are you looking at just the water all the time? Im curious. I dont get a kick out of this view. MONAGHAN. Theres the Statue of Liberty out there. Dont you see it? AUGUST. Oh, thats it. Yeh, thats nice to look at. MONAGHAN. I like it. Reminds me a lot of laughs. AUGUST. Laughs? The Statue of Liberty? MONAGHAN. Yeh, my grandfather. He got all twisted up with the Statue of Liberty. AUGUST. [Laughs a little] That so? What happened? MONAGHAN. Well. My grandfather was the stingiest man in Brooklyn. Mercyless Monaghan, they used to call him. He even used to save umbrella handles. AUGUST. What for? MONAGHAN. Just couldnt stand seeing anything go to waste. After a big windstorm thered be a lot of broken umbrellas laying around in the streets. AUGUST. Yeh? MONAGHAN. Hed go around picking them up. In our house the closets were always full of umbrella handles. My grandma used to say that he would go across the Brooklyn Bridge on the trolley just because he could come back on the same nickel. See, if you stayed on the trolley theyd let you come back for the same nickel. AUGUST. Whatd he do, just go over and come back? MONAGHAN. Yeh, it made him feel good. Savin money. Two and a half cents. AUGUST. So howd he get twisted up with the Statue of Liberty? MONAGHAN. Well, way back in 1887 around there they were living on Butler Street. Butler Street, Brooklyn, practically runs right down to the river. One day hes sitting on the front porch, reading a paper he borrowed from the neighbors, when along comes this man Jack Sheean who lived up the block.

[Music: Sneak into above speech, then bridge, then out] SHEEAN. [Slight brogue] A good afternoon to you, Monaghan. MONAGHAN. Howre you, Sheean, howre ya? SHEEAN. Fair, fair. And hows Mrs. Monaghan these days? MONAGHAN. Warm. Same as everybody else in summer. SHEEAN. Ive come to talk to you about the fund, Monaghan. MONAGHAN. What fund is that? SHEEAN. The Statue of Liberty Fund. MONAGHAN. Oh, that. SHEEAN. Its time we come to grips with the subject, Monaghan. MONAGHAN. Im not interested, Sheean. SHEEAN. Now hold up on that a minute. Let me tell you the facts. This here Frenchman has gone and built a fine statue of Liberty. It costs the Lord knows how many millions to build. All theyre askin us to do is contribute is enough to put up a base for the statue to stand on. MONAGHAN. Im not..! SHEEAN. Before you answer me. People all over the whole United States are puttin in for it. Butler Street is doin the same. Wed like to hand up a flag on the corner sayingButler Street, Brooklyn is one hundred percent behind the Statue of Liberty. And Butler Street is a hundred percent subscribed except for you. Now will you give us a dime, Monaghan? One dime and we can put up the flag. Now what do you say to that? MONAGHAN. Im not throwin me good money away for somethin I dont even know exists. SHEEAN. Now what do you mean by that? MONAGHAN. Have you seen this statue? SHEEAN. No, but its in a warehouse. And as soon as we get the money to build the pedestal theyll take it and put it up on that island in the river, and all the boats comin in from the old country will see it there and itll Grandpa and the Statue / 436 raise the hearts of the poor immigrants to see such a fine sight on their first look at this country. MONAGHAN. And how do I know its in this here warehouse at all? SHEEAN. You read your paper, dont you? Its been in all the papers for the past year. MONAGHAN. Ha, the papers? Last year I read in the paper that they were about to pave Butler Street and take out all the holes. Turn around and look at Butler Street, Mr. Sheean. SHEEAN. All right. Ill do this: Ill take you to the warehouse and show you the statue. Will you give me a dime then? MONAGHAN. Well.Im not sayin I would, and Im not sayin I wouldnt. But Id be more likely if I saw the thing large as life, I would. SHEEAN. [Peeved] All right, then. Come along. [Music up and down and out] [Footsteps, in a warehouse. echo. They come to halt]

Now then. Do you see the Statue of Liberty or dont you see it? MONAGHAN. I see it all right, but its all broke! SHEEAN. Broke! They brought it from France on a boat. They had to take it apart, didnt they? MONAGHAN. You got a secondhand statue, thats what you got, and Im not payin for new when theyve shipped us something thats all smashed to pieces. SHEEAN. Now just a minute, just a minute. Visualize what Im about to tell you, Monaghan, get the picture of it. When this statue is put together its going to stand ten stories high. Could they get a thing ten stories high into a four-story building such as this is? Use your good sense, now, Monaghan. MONAGHAN. Whats that over there? SHEEAN. Where? MONAGHAN. That tablet there in her hand. Whats it say? July Eye Vee [IV] MDCCLXXVI..what. whats all that? SHEEAN. That means July 4, 1776. Its in Roman numbers. Very high class. MONAGHAN. Whats the good of it? If theyre going to put a sign on her they ought to put it: Welcome All. Thats it. Welcome All. SHEEAN. They decided July 4, 1776, and July 4, 1776, its going to be! MONAGHAN. All right, then let them get their dime from somebody else! SHEEAN. Monaghan! MONAGHAN. No, sir! Ill tell you something. I didnt think there was a statue but there is. Shes all broke, its true, but shes here and maybe they can get her together. But even if they do, will you tell me what sort of a welcome to immigrants itll be, to have a gigantic thing like that in the middle of the river and in her hand is July Eye Vee MCDVC..whatever it is? SHEEAN. Thats the date the country was made! MONAGHAN. Forget about the date! A man comin in from the sea wants a place to stay, not a date. When I come from the old country I git off at the dock and theres a feller says to me, Would you care for a room for the night? I would that, I sez, and he sez, All right then, follow me. He takes me to a rooming house. I no sooner sign me name on the registerwhich I was able to do even at that timewhen I look around and the feller is gone clear away and took my valise in the bargain. A statue anyway cant move off so fast, but if shes going to welcome let her say welcome, not this MCDC. SHEEAN. All right, then, Monaghan. But all I can say is, youve laid a disgrace on the name of Butler Street. Ill put the dime in for ya. MONAGHAN. Dont connect me with it! Its a swindle, is all it is. In the first place, its broke; in the second place, if they do put it up itll come down with the first high wind that strikes it. SHEEAN. The engineers say itll last forever. MONAGHAN. And I say itll topple into the river in a high wind! Look at the inside of her. Shes all hollow! SHEEAN. Ive heard everything now, Monaghan. Just about everything. Good-bye. MONAGHAN. What do you mean, good-bye? How am I to get back to Butler Street from here? SHEEAN. Youve got legs to walk.

MONAGHAN. Ill remind you that I came on the trolley. SHEEAN. And Ill remind you that I paid your fare and Im not repeating the kindness. MONAGHAN. Sheean? Youve stranded me! [Music ups and down] YOUNG MONAGHAN. That was grandpa. Thats why I have to laugh every time I look at the statue now. AUGUST. Did he ever put the dime in? YOUNG MONAGHAN. Wellin a way. What happened was this: his daughters got married and finally my mom.put me out on Butler Street. I got to be pretty attached to grandpa. Hed even give me an umbrella handle and make a sword out of it for me. Naturally, I wasnt very old before he began working on me about the statue. [High wind] CHILDMONAGHAN. [Softly, as though grandpa is in bed] Grampa? MONAGHAN. [Awakened] Heh? What are you doin up? CHILD MONAGHAN. Ssssh! Listen! [Wind rising up and fading. Rising higher and fading] MONAGHAN. [Gleefully] Aaaaaah! Yes, yes.

I.) A SEMI-DETAILED LESSON PLAN Copies of the selection are distributed to the class. There are three options which may be presented to the class: a. To read the selection altogether b. To assign parts to selected members of the class c. To read the selection silently Whichever option is preferred, the following series of review questions shall be asked to facilitate the students comprehension and appreciation of the selection, while also enhancing their creative thinking skills, as well as directing them to look externally and relate the issues tackled in the story to present-day reality.

STUDYING THE SELECTION A. RECALLING 1. What is Young Monaghan looking at when the play begins? 2. What does it remind him of? 3. What was Grandfather Monaghans nickname?

4. What did Sheean want Grandfather Monaghan to do? 5. Why didnt Grandfather Monaghan want to contribute? 6. Where did Sheean decide to take him? 7. What didnt Grandfather Monaghan like about the sign on the Statue? 8. What did Grandfather Monaghan think would happen to the statue? 9. Where did Child Monaghan want his grandfather to take him? Did his grandfather want to go too? Explain. 10. What happened when they actually went inside? What did the veteran tell them? 11. What did Grandfather Monaghan discover on the tablet? 12. What did Young Monaghan mean when he said that his grandfather got all twisted up with the Statue of Liberty? 13. Why do you think it was so important for the Irish immigrants.of Butler Street to join forces with mainstream America on this project? 14. How do you think Child Monaghan felt after being told by all the boys that they were going to see the statue? B. INTERPRETING 15. Grandfather Monaghan said, Youve got to have faith, when his grandson asked him when the statue was going to collapse. What does this answer to his grandsons question tell you about Grandfather Monaghans character? 16. What did the veteran mean when he said, This statue kinda looks like what we believe? 17. When do you begin to see the effect that the statue finally had on Grandfather Monaghan? 18. Do you think that the memories that Young Monaghan has of his grandfathers connection with the statue have affected his attitude towards the Statue of Liberty? Explain. C. RELATING 19. Name some monuments, statues, or landmarks that have special significance for Filipinos. Have you ever seen any of them personally? Why do they affect so many Filipinos? D. EXAMINING In Grandpa and the Statue, the character most fully developed and who changes, is Grandfather Monaghan. Through Grandfathers change in attitude and behavior, the theme of putting a higher goal before immediate self interest is played out. 1. In the beginning of the story, Young Monaghan tells the audience his grandfather was the stingiest man in Brooklyn. Find the dialogue further into the play that reveals this side of Grandfathers personality. 2. Grandfather Monaghan does not change on his own. He is motivated by minor characters. One such minor character is the veteran, whom Grandfather meets at the

Statue of Liberty. What does the veteran say to Grandfather that makes him rethink his views of the Statue of Liberty? 3. What is the connection between Young Monaghans being a patient in an army hospital and theme of the play? E. THINKING Arthur Miller wrote Grandpa and the Statue so that people could think about the themes of national pride, immigration, and the capacity of people for change. These themes are evident throughout the play, and the audience sees them mainly through the dialogue of Millers characters. 1. Write down a line from the play that emphasizes the theme of national pride. 2. Write down a line from the play that emphasizes the important role of immigrants in countries they chose to migrate to. 3. Write down a quote from the play that shows a persons changing his way of thinking and behaving. F. WRITING Imagine yourself in the position as Grandfather Monaghan. You were asked to contribute to a cause and you refuse because you think it is worthless. After arguing, you realize its value. Write a dialogue between yourself and the person who asks for the contribution. For example, a person is soliciting your contribution to a cause which attempts to raise money for typhoon victims. Then, write a paragraph describing your feelings both after the argument and then later when you conclude the fund is worthwhile after all. Include answers to the following questions: 1. How did you come to terms with your having been wrong? 2. What did it take for you to put away your pride and admit that you were wrong? EXAMINING DRAMA

II.) A FULLY DETAILED LESSON PLAN

Before the lesson: The text is assigned to the students for the fact that one hour may not be enough for the whole duration of the activity. It should be kept in mind that the students are used to reading these types of literary texts at home as a homework being conscious about the fact that this literature lesson can only be accomplished in that way; otherwise time wouldnt be enough.

Class: Introduction to Literature Level of the class: Advanced (2nd year college students) Size of the class: 60 The Text used: Short story in a play format - Grandpa and the Statue by Arthur Miller Time: 45 min. Previous Learning: Elements of short stories. Objectives: At the end of the lesson, students must be able: General: To give information about the role of a dialogue in a play (in general, in communication) and the characteristics of drama. Specific: 1. To understand the setting, the time, the features of characters of the event from the dialogues. 2. To understand the functions of the explanations in brackets given in a play and infer clues for sounds to pretend to be listening to it on the radio. 3. To read and analyze drama as a text type. They will learn about the dramatic strategies used in a play. Materials used: The text in their handout as a supplementary material, a cd player. Situation: Before the lesson, reading of the text is assigned to students. Procedure: Warm up activity( approximately 5 minutes): Before the lesson, the teacher assigns one of the students to read the announcer part; during this time the teacher turns on the cd player playing a soft music suitable for setting the scene by supplying the students with the background. After the student finishes reading his/her part, the teacher stops the cd player. Then the other student who is assigned by the teacher with Augusts part starts reading his part and the teacher reads the Monaghans. As Augusts turn comes again, the teacher concentrates on Augusts turn and makes the students focus on it; because the text has explanation as (slight pause). The sample conversation finishes here and the teacher thanks the students and asks the whole class what they have understood from that explanation; what it means to them.

Activity 1( about 5 min.): The teacher asks the students to read and find out the explanations made in italics in a play and asks them to read some examples and make inferences about what they can signify. The teacher asks: Why do you think the playwright uses such explanations? What does he want to emphasize? min.): The teacher distributes the handout questionnaire and they try to give answers for the questions on the handouts by making discussion and do activities told. The handout includes: Questions providing the students to get an overview of the text- especially as a text type since drama is new for them. Questions which need recalling the text: They are both related with the setting of the play and comprehension qq. Critical thinking and reading: They provide the opportunity to evaluate the situation and comment on it by using their stored knowledge. The teacher tells students to look at the conversation taking place between the children on a street; the teacher reads the conversation and asks for the comments on it; they discuss the situation in the conversation. The teacher gives the characteristics and layout of drama as a literary text type. She explains the importance of the dialogue, setting, explanations in brackets, interruptions, characters way of talking, etc. ( The teachers outline of dramatic strategies is given in the evaluation part.) The teacher tells the students to convert a short story into a play by using the dramatic strategies learnt in this lesson the basic outline is also given in Activity 3. The Ss are free to choose the text (short story); it can be from one of the texts they studied before in the lesson or another one that they like. HANDOUT QUESTIONNAIRE for GRANDPA AND THE STATUE A. Overview upon the text: 1. Do we understand for what purpose was the play written? Do we have any clues for this within the text or the explanations made before the text is the only clue for us? 2. Does the playwright accomplish the purpose? If so, how? 3. Why does the playwright use the explanations in brackets? What do they signify? 4. What can you understand from these explanations? B. Recalling the text: 1. Where does the event take place?

2. Do we know the time of the event? Does the time change? If so, how can we understand? 3. Tell us about the characters in the play. Why are there three Monaghan? Do they talk to each other? 4. How does Grandfather refuse Sheens request? 5. What does Grandpa predict will happen to the Statue after its put up? How do we understand? 6. What does the Veteran tell Grandpa that changes his mind about the Statue of Liberty? How do we understand this? What clues do the playwright present us in the play to come to that point? C. Critical Thinking and Reading: 1. Why do you think Monaghan responds to Sheean with the following lines? Monaghan: Im not intrested, Sheean Sheean: Now hold up on that a minute. Let me tell you the facts... Monaghan: Im not...! Sheean: Before you answer me... Monaghan: Im not throwin me good money away for somethin I dont even know exists. Sheean: Now what do you mean by that? ... In terms of the above conversation, comment on the characters being efficient and powerful in communication. Who is more dominant? Is Sheean successful enough to convince Monaghan or Monaghan stands against whatever he says? What would you say, how would you react to convince one and not to be convinced? EVALUATION OF THE LESSON PLAN IN TERMS OF TEXTUALITY Here, the process of preparing the lesson plan given above will be evaluated in terms of the seven standards of textuality following the sequence of items in the lesson plan. 1. The Reason for Choosing This Text: The general aim of this course is to teach literary text types (Intertextuality requires to know the text type to give meaning by means of the stored knowledge or the text-presented knowledge or the combination of both) and terms while providing them with appropriate reading materials as it is pointed out in the objectives part of the lesson plan. Since the students are familiar with literary text types for example the previously learnt subject was setting in short stories-, which provides students to utilize from their experience, the stored knowledge and to sharpen the new one more easily (Intertextuality). Here, the type of drama is intended to be taught by the teacher and the sub-item is dialogue, which means that the text is suitable for exemplifying textuality. The teachers intention (Intentionality)here is to help the students to know the drama as a new (Informativity) text type by providing them with the suitable setting( Situationality). She studies setting which composes of four primary concepts(goal negation- Coherence) to help the students to imagine as they are listening to it since the play is such a text type that it requires to be visualized or heard

somehow. While doing this, the teacher emphasizes the explanations given in brackets which give idea about the intonation, pitch of voice of the characters ( Cohesion). Finally, if the intention of the teacher is successfully accomplished via these activities it means that the students receive the right message and learn the aimed subject by following the intended directed messages (Acceptability) sent by the teacher. 2. The Role of the Materials Used The music as a background: To make the students include in the setting and help them to visualize the situation; it is essential to use such an authentic and unusual way. It is strengthened by the participation of two students to the warm-up scene.( Note that the other Ss dont know that these two students are assigned to such a task.) The text used: The most important characteristics which enable us to use seven standards of textuality effectively is that the text is composed of dialogues, which are the basis of communication. What is more, not only does it include the oral communication through conversations but also it includes implications about the body language with the information in the parentheses. The handout distributed: To evaluate the students. Overview upon the text: 1. Do we understand for what purpose was the play written? Do we have any clues for this within the text or the explanations made before the text is the only clue for us?: Here the aim is to see if the students can grasp the playwrights intention ( the teachers intention is to see it). Grandpa and the Statue was originally written to be presented on the radio. Since it is a radio play, as you read, pretend that you are only listening to it, not seeing it performed on the stage. Imagine the sound of the characters voices. How would you read the lines? Notice the bracketed directions for music: They signal that the action is shifting from one place to another or from one time to another.. As it seen here the intention of the text is clearly defined from the beginning and it shows way to the students while reading the text. The explanations are also mainly for introducing the new (Informativity) text (Intertextuality) to the Ss by providing the setting (Situationality). 2. Does the playwright accomplish the purpose? If so, how?: The answer of how even is given above, which enables the readers to get the right meaning.(Acceptability) Furthermore, while the palywright is utilizing the strategies for drama, he refers to Intertextuality, which includes the storage of that knowledge.( The teacher might note down the strategies of drama on the left side of the board to be used in the forth step of the lesson while drawing the outline of drama as a new text type.) 3. Why does the playwright use the explanations in brackets? What do they signify?: The teacher expects the answers such as to imply the change of setting, characters manner, voice, etc.. 4. What can you understand from these explanations?: students reception is mainly related with Acceptability again; this question is to see if the explanations are

read by the students as it is intended by the playwright and accepted in the right manner. Recalling the text: 1. Where does the event take place? 2. Do we know the time of the event? Does the time change? If so, how can we understand?: the explanations also provide the clear access to another time. 3. Tell us about the characters in the play. Why are there three Monaghan? Do they talk to each other? Events, time, characters are all for setting the scene clearly in order for the students to visualize the situation successfully while at the same time are the components of coherence. 4. How does Grandfather refuse Sheens request? 5. What does Grandpa predict will happen to the Statue after its put up? How do we understand? refuse, predict are functions used in communication which serve for goal negotiations that are the items of situationality. 6. What does the Veteran tell Grandpa that changes his mind about the Statue of Liberty? How do we understand this? What clues does the playwright present us in the play to come to that point? The Veteran refers to The Philippine War, which means that the playwright refers to another text (Text allusion- Intertextuality). However the reader cannot understand what the Veteran is talking about before things are explained to him, either by a footnote or a spoken explanation. Critical Thinking and Reading: 1. Why do you think Monaghan responds to Sheean with the following lines? Monaghan: Im not interested, Sheean Sheean: Now hold up on that a minute. Let me tell you the facts... Monaghan: Im not...! Sheean: Before you answer me... Monaghan: Im not throwin me good money away for somethin I dont even know exists. Sheean: Now what do you mean by that? ... Here recurrence is used as a cohesive device which makes the Monaghan speech impressive and determined; thats why Sheean always feels to find a way to make explanation and convince him. It should be kept in mind that he couldnt succeed to do this. Here the Ss most probably realize the effect of repeating the same phrases, which signifies that Monaghan is determined. Yet again, since this is critical thinking and open to comments, there shouldnt be one single expected answer.

3. Activities

Warm up activity: Here the intention of the teacher is to involve the students in the setting of the play to make them understand better the role of music, the role of the explanations in a radio play( Intentionality; with the students participation and having an understanding of the implied message supplies Acceptability); for this reason the teacher especially focuses on Augusts reading of his second turn; th e student reading that part should give slight pause to give the effect in the original play(Situationality) . Activity 1: The task of finding more examples related with the previous activity is to give variety and to make the students comprehend better the importance of the explanations which serve the aims explained also in the Look For section. Apart from this, The students inference from these instructions in the play gives rise to the emergence of their stored knowledge on Conventional Implications that are used in communication. The role of the question asked by the teacher serves the reinforcement of that awareness. Activity 2:The role of handout has been studied in The Role of the Materials section. Activity 3:The conversation is given below with its most remarkable points:( It takes place between the children on a street) Young Monaghan: Makes explanation...Then, the scene changes. (Banging of rocks against milk can) George.(Kid) Whatre you doin? Child Monaghan: What do we look like were doing? George: Im going someplace tomorrow. Charley.(Kid) I know, church. Watch out, Im throwin. (Can being hit) George: I mean after church. Jack. Where? George. My old mans going to take me out on the Statues of Lberty boat. (Banging against can abruptly stops) Child Monaghan. Youre not going out on the statue, are you? George. Sure, thats where were going. Child Monaghan. But youre liable to get killed. Supposing theres high wind tomorrow? George. My old man says that statue couldnt fall down if all the wind in the world and John L. Sullivan hit it at the same time. Child Monaghan. Is that so? George. Yeah, that so... Child Monaghan. Is that so? George. Yeah, That so. While studying the above conversation in the class, the students will have to use the discursive devices and the items of textuality since it is the sample of real, everyday conversation and explains the characteristics of the drama. To analyze them, in the

first part the dialogue includes the change of the setting as time and place especially. After Young Monaghan explains the situation with the help of the explanation in parenthesis we understand that the scene changes. Following this, the Ss are able to see another explanation in bracket: (Kid) which implies that the children will be talking. The language that the children uses is also crucial to be pointed out here; George says, ...doin? which is the sample of everyday speech. (There are also unfinished, interrupted sentences in the text ). The parallel examples are doin?, throwin?. (The language use according to the situation). Following this, Charley says, ...Watch out , Im throwin. Which has no relevance (From one of Grices maximsIntentionality); but the situation is made relevant with the help of the explanation in parenthesis: (Can being hit). The other child goes on his speech without any discontinuity ( Informativity, Intertextuality); because the third grade information in the text is downgraded to the second via the explanation in parentheses. The understanding of the other children is provided through the cooperation principle; because in everyday speech such kind of problems are solved with the help of the commonly shared communication knowledge. Here the children are talking about where George is going for the next day and their play doesnt prevent the steam of the conversation; it means that the speakers , Georges, intention is accepted by the others. The teachers role in the class is that showing the students that such type of conversations are used in every day life as we use in our L1 and they can be understood without any problems.(The term cooperation principle wont be used there of course). In the ongoing conversation Child Monaghan asks, Youre not going out on the statue, are you?; he uses question tags as a strategy to emphasize his side for the situation and check his understanding. (Intertextuality) After Georges confirmation , he tries to convince George starting his conversation with But... . Accordingly George uses a strategy by referring a convincing agent- John L. Sullivan, who is so powerful for the children; thats why Child Monaghan begins to question the situation, Is that so?. Also in case John L. Sullivan might not be known by the readers , the playwright gives explanation in the footnote ( Text allusion- Intertextuality) since the time of the text is not the same with the time of the receivers reading. The repetition of Is that so? and Yeh, thats so also exemplifies the effect of recurrence( Cohesion) The students will be able to see the effect of recurrence in a literary text but surely without naming it so. Activity 4: The teacher gives the characteristics and layout of drama as a literary text type. She explains the importance of the dialogue, setting, explanations in brackets, interruptions, characters way of talking, etc. The teachers outline of dramatic strategies is given below: The teacher explains the students that they can meaningfully understand the play although the setting changes many times on account of the fact that Young Monaghan sometimes tells or remembers his past in which he is talking to his grandfather, his friends from childhood, his fathers speech with the others at that time. The teacher makes them see that they can accomplish this via the organization of drama and dramatic strategies by writing on the board( By the way, the teacher uses her notes on the board written during the handout study):

Homework: Converting a short story to another text type will give the practice of Intertextuality to the students. Furthermore they will be using the strategies they have learnt for the text type of drama (Informativity) by using dramatic strategies, effective dialogue patterns with the escort of the explanations-directions in parentheses (Situationality). Furthermore, the explanations will give the clue of the speakers intention told by the students.(Intentionality)They will build up a situation, use some grammatical strategies(Cohesion) by using the related concepts and giving importance to the primary concepts first(Coherence). If the students accomplish this assignment then it means that they have successfully sorted out the new subject as the teacher aimed to do (Intentionality, Acceptability).

I. A SEMI-DETAILED LESSON PLAN ON A SELECTED POEM Poem: The Road Not Taken by Robert Frost

Remember that teachers can make poetry easier and more interesting by teaching a poem and allowing students to make connections between the poem and their lives. Lesson Objectives to Analyze Frost's Poem 1. To understand the definition of a lyrical poem 2. To identify the meter and rhyme of a poem 3. To comprehend how to read a poem for the literal and metaphorical meaning Lesson Materials Needed 1. A copy of the poem for students. 2. PowerPoint with notes on poetry and assignment instructions. (see enclosed CD named ELL 205 - # 1) A Quickwrite Activity to Introduce the Theme of "The Road Not Taken" Ask the students to make a list of all the decisions they have to make on a daily basis, no matter how minor. Then list what sorts of things influence them when they make those decisions. Give students five minutes to write their list, and then have them share what they wrote with a partner. Pick three students to share one decision and its influences with the class. ACTIVITY Use a PowerPoint or an overhead as a visual. Have students copy the poetry notes. Have students concentrate on the following lines: I heard a fly buzz when I died; The stillness round my form Was like the stillness in the air Between the heaves of storm. Then read the two lines with exaggerated emphasis on the accented syllables. Have students mark the meter in their notes and write down the rhyme scheme. THE POEM The Road Not Taken by Robert Frost Two roads diverged in a yellow wood, And sorry I could not travel both

And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I-I took the one less traveled by, And that has made all the difference. Discuss and Analyze "The Road Not Taken" Using the copy of the poem, read the poem aloud to the students and have them write down what they think the poem is literally saying. Give the students two minutes to write before having them share with someone close to them. Read the poem a second time, and instruct students to identify the rhyme scheme and meter and mark it in their notes. Ask students to read the poem to themselves and underline three words which connote emotion and identify any symbolism in the poem Discuss with students the metaphorical meaning of the poem and urge them toward making a connection between the qualities of a lyrical poem and the theme of the poem

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Use Quickwrite to Make Connections Ask the students to make a list of difficult decisions they are likely to have to make in the next five years (examples: where to hunt jobs, what career to choose). Follow Through Assignment After Reading "The Road Not Taken" The students will write a well-organized paragraph explaining a time they chose to take the road not taken. Include details and specific reasons they chose to go the road not taken instead of taking the easy way. A poetry lesson with a connection that students can make in their own lives teaches them to understand the meaning of poetry as well as its importance. During the lesson the teacher reviews the meaning of key concepts, models analysis, and

facilitates discussion. The students take what they learned and use meta-cognition to connect the poem to their lives by writing about a time they needed to make a hard decision.

II. A FULLY DETAILED LESSON PLAN ON A SELECTED POEM Class: Introduction to Literature Goal: Identifying alliteration Selected poem: Time by the musician Pink Floyd Justification: Pink Floyd's "Time" illustrates various poetic devices and significant sound effects which enhance the meaning. Alliteration is competently illustrated in the piece. Time Frame: 1-2 class periods depending on whether connections are made to other works of literature. Objectives: At the end of the lesson, the students will be able to: 1. recognize and discuss the theme and meaning of the song. 2. make connections between the song and his/her own life 3. identify the poetic devices of rhyme, alliteration, and metaphor; 4. explain how the music compliments the meaning of the lyrics; Materials: CD/tape player; music and lyrics for "Time." (See CD named ELL 205 - # 2) "Time" by Pink Floyd Ticking away the moments that make up a dull day You fritter and waste the hours in an off-hand way Kicking around on a piece of ground in your home town Waiting for someone or something to show you the way Tired of lying in the sunshine staying home to watch the rain You are young and life is long and there is time to kill today And then one day you find ten years have got behind you No one told you when to run, you missed the starting gun And you run and you run to catch up with the sun, but it's sinking And racing around to come up behind you again The sun is the same in the relative way, but you're older And shorter of breath and one day closer to death Every year is getting shorter, never seem to find the time Plans that either come to naught or half a page of scribbled lines Hanging on in quiet desperation is the English way The time is gone the song is over, thought I'd something more to say Home, home again I like to be here when I can When I come home cold and tired

It's good to warm my bones beside the fire Far away, across the field, tolling on the iron bell Calls the faithful to their knees And hear the softly spoken magic spell Procedures: First, begin the class with a discussion of Alliteration as a poetic tool. The following are some twisters which illustrate alliteration: Angela Abigail Applewhite ate anchovies and artichokes. Bertha Bartholomew blew big, blue bubbles. Clever Clifford Cutter clumsily closed the closet clasps. Dwayne Dwiddle drew a drawing of dreaded Dracula. Elmer Elwood eluded eleven elderly elephants. Floyd Flingle flipped flat flapjacks. Greta Gruber grabbed a group of green grapes. Hattie Henderson hated happy healthy hippos. Ida Ivy identified the ivory iris. Julie Jackson juggled the juicy, jiggly jello. Karl Kessler kept the ketchup in the kitchen. Lila Ledbetter lugged a lot of little lemons. Milton Mallard mailed a mangled mango. Norris Newton never needed new noodles. Patsy planter plucked plump, purple, plastic plums. Quinella Quist quite quickly quelled the quarreling quartet. Randy Rathbone wrapped a rather rare red rabbit. Shelly Sherman shivered in a sheer, short, shirt. Trina Tweety tripped two twittering twins under a twiggy tree. Uri Udall usually used his unique, unusual unicycle. Vicky Vinc viewed a very valuable vase. Walter Whipple warily warned the weary warrior. Xerxes Xenon expected to xerox extra x-rays. Yolana Yvonne Yarger yodeled up yonder yesterday. Zigmund Zane zig-zagged through the zany zoo zone.

Preliminary discussion may be held on such questions as, "Are you ever bored?" or "Is there anything exciting happening around here?" Distribute the lyrics to each student. Advise students to listen carefully to the beginning of the song before playing it. Class discussion should focus on the following points: 1. The alarm clocks' ringing, the ticking of the clocks, and the ominous chords all contribute to a sense of urgency regarding the passage of time. The listener is immediately advised to "wake-up," and the ticking of the clock resembles a heartbeat (E.A. Poe's "The Tell-Tale Heart"). 2. The first two stanzas address those who hang around their hometown complaining that nothing is happening. The boredom and monotony of this lifestyle is emphasized by the repetition of sound through alliteration ("dull day")

and the internal rhyme ("around...ground...town"). Contrasting images exist ("sunshine...rain," "life...kill"). 3. The extended metaphor compares life to a race, where if "you missed the starting gun," no matter how fast "you run and you run," you will get lapped by the sun and be "shorter of breath and one day closer to death." (In Leo Tolstoy's "How Much Land Does a Man Need," the main character loses a similar race, dying as the sun sets.) 4. The impact of the carpe diem theme is strengthened in the final stanza where the songwriter acknowledges his own mortality. Ironically, the plans that came to "half a page of scribbled lines" describes the extent of the lyrics, and on cue the song ends with the final line, "The time is gone, the song is over, thought I'd something more to day." Evaluation: Students should be able to make connections in written or oral form between the themes of "Time" and other works of literature they have studied. In addition, students can be asked to select other works of literature, art, film, music, etc. with similar themes.