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Urban Lines - AIS | Stage 4 | English

Summary Duration

This unit focuses on the way poetry has been used to represent cities of the world. Students examine how poetic features are used to shape a range of meanings about urban experiences in different cities and time periods.

Sample term4 weeks Detail: Term 1

Unit Overview

This unit focuses on the way poetry has been used to represent cities of the world. In an increasingly urbanised, and globalised culture, an understanding of the universal commonalities between global cities as well as the idiosyncratic characteristics which set them apart from each other is important. Cities are social, intellectual and cultural hubs which are complex in nature. On the one hand cities offer employment, nightlife, an eclectic mix of cultures and cuisines. On the other hand, cities can be perceived as overcrowded places where disconnection, crime and poverty fester. Many students will, at some time in their lives, find themselves immersed in a city or interacting with others who have been conditioned by an urban lifestyle. Cities are dynamic and frenetic. It is not surprising then, that poets have responded to cities with, (to quote William Wordsworth's definition of poetry), "a spontaneous overflow of powerful feelings". In this unit students come to appreciate the way poets represent their subjective attitudes to cities by shaping meaning in increasingly complex ways. Students are encouraged to respond to poetry using visual, spoken, collaborative, imaginative and humourous processes. Poetry, in its brevity and depth of meaning, is a vehicle through which students engage meaningfully with their widening world. The ability to annotate heightens a student's engagement with texts, stimulating critical analysis of meaning. Central to this unit is explicit instruction and modelling of a variety of annotation processes. Students are encouraged to become increasingly independent in their annotations as they deepen their knowledge of a range of different poetry forms and features. An equally important focus is on students building confidence in their personal interpretations of poems and being able to justify their perspectives with evidence from texts.

This unit of work was written by Alison Aitken, TARA Anglican School for Girls. Copyright © of the unit of work is owned by AISNSW. NSW syllabus content prepared by the Board of Studies, Teaching and Educational Standards NSW for and on behalf of the State of New South Wales is protected by Crown copyright. 1

Outcomes Duration

English K-10

› EN4-1A responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure

› EN4-3B uses and describes language forms, features and structures of texts appropriate to a range of purposes, audiences and contexts

› EN4-5C thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and compose texts

› EN4-7D demonstrates understanding of how texts can express aspects of their broadening world and their relationships within it

Term 1Weeks 1 – 4

Text requirements Text overview Assessment overview

1. Close study of a wide range of types of poems2. Examples of: print texts visual texts media, multimedia and digital texts3. Experiences of: Quality literature Australian literature Texts from other countries and times Texts written about intercultural experiences Texts that provide insights about the peoples

and cultures of Asia Texts that include aspects of environmental

Poetry"A City Ditty", Eve Merriam"To Behold a City", Ross Clark"The City, the Tree", John Tranter"City Trees", Edna St. Vincent"William Street", Kenneth Slessor"Late Ferry", Robert Gray"Tokyo", John Tion Chunghoo"To the City of Bombay", Rudyard Kipling"In Honour of the City of London", William Dunbar"London", William Blake"Upon Westminster Bridge", William

Assessment for learning Pre-assess student knowledge of poetic

terms using a term/definition match-up task.

Students compose a short paragraph reflecting their understanding of effective similes.

Students complete a 100 word journal entry about "Late Ferry", using textual evidence to support their ideas.

Students compose journal entry articulating what they have learnt about the way Japan has changed over the last 100 years, using evidence from the poem "Tokyo" to support their ideas.

Students submit full annotation of "Paris I" by Alan Seeger to their teacher.

Students compose a rap/limerick/parody entitled "Recipe for Being Urbane and


and social sustainability Wordsworth"The Underground", Seamus Heaney"Chicago", Carl Sandberg"Broadway", Walt Whitman"February Evening in New York", Denise Levertov"Autumn Dusk in Central Park", Evelyn Scott"From Brooklyn", Evelyn Scott"Hollywood, Hollywood, Hollywood", Oresto Flavio Perdomo"Paris I", Alan Seeger"Beautiful City", Lord Alfred Tennyson"Athens", John Milton"Athens", Algernon Charles Swinbourne"Athens", Nicholas Michell"Beirut, Ornament of our World", Faiz Ahmed Faiz"Kabul", John Tranter"Ankara", Alan Gould"To go to Lvov", Adam Zagajewski"To go to S'apore", Alvin Pang“Brussels”, Arthur Rimbaud“Brussels”, John TranterWebsiteshttp://www.cityofsydney.nsw.gov.au/vision/sustainable-sydney-2030/sustainability/greening-the-city (greening Sydney)http://eprints.qut.edu.au/28173/1/c28173.pdf (useful article on urban greenery in Brisbane

Poetic", using examples from poetry studied during this unit.

Assessment AS learning Students assess their peers' ability to use

textual evidence from "Late Ferry" to support their ideas.

Students assess their peers' ability to articulate how Tokyo has changed over the last 100 years, using evidence from "Tokyo" to support their ideas.

Students compose a reflective journal entry which summarises their learning in this unit, with an emphasis on justifying their favourite poems and articulating their preferred method of annotating.

Assessment of learningOutcomes to be assessed: EN4-1A, EN4-3B Students submit TWO annotated poems, demonstrating their ability to organise their ideas around a poem, demonstrate understanding of how poetic form and features shape meaning.


http://eprints.qut.edu.au/28173/1/c28173.pdf

http://www.cityofsydney.nsw.gov.au/vision/sustainable-sydney-2030/sustainability/greening-the-city



with images)http://bcplanningblog.blogspot.com.au/2008/12/poems-about-cities.html blog with over 99 poems about cities and other urban mattershttp://www.poetrysoup.com/poems/short/city useful resource for amateur poetry about cities. http://www.poetryatlas.com/ a useful resource for poems about places. Provides a map of poetry based on cities and town around the world. VideosFilthy Cities: Medieval London, BBC, 2011Filthy Cities: Revolutionary Paris, BBC, 2011Filthy Cities: Industrial New York, BBC, 2011http://www.youtube.com/watch?v=2nFQOkzEjxQ (documentary - vertical farms, Singapore)

Content Teaching, learning and assessment

Stage 4 - Outcome 5 compose a range of visual and

multimodal texts using a variety of visual conventions, including composition, vectors, framing and reading pathway

Stage 4 - Outcome 3 recognise and use appropriate

metalanguage in discussing a range of language forms, features and structures

Pre-learningTeacher provides students with A4 paper and pencils. Explain that students will listen to a hypothetical scenario with their eyes closed and that when prompted they will open their eyes and draw the images that come to mind. Direct students to close their eyes and imagine. "You are sitting in the back of a car on a long journey on a seemingly endless road through the Australian bush. You look out of the window to see that you are passing through a wide street in a country town. Drowsily, you notice a post office, a Chinese restaurant, a newsagent and a chemist. We're still not there, you think to yourself as you drift back to sleep. Half an hour later, you open your eyes again to see a suburban scene; large houses with double garages, children playing in front gardens and people mowing lawns. You fall back to sleep as the radio plays quietly in the background. When you wake next, you find yourself in the middle of a city. Take a


http://www.youtube.com/watch?v=2nFQOkzEjxQ


http://www.poetryatlas.com/

http://www.poetrysoup.com/poems/short/city

http://bcplanningblog.blogspot.com.au/2008/12/poems-about-cities.html

http://bcplanningblog.blogspot.com.au/2008/12/poems-about-cities.html


Stage 4 - Outcome 1 respond to and compose imaginative,

informative and persuasive texts for different audiences, purposes and contexts for understanding, interpretation, critical analysis, imaginative expression and pleasure

good look around the city. Remain with your imagination." Students draw images in response to prompts. What kind of buildings do you see in the city? What kind of people do you see in the city? What sounds can you hear in the city? What smells do you smell in the city? What does the city taste like? What textures can you feel in the city?Students display visual representations around the room. Students view their peers' representations and answer the questions below: What are some of the common features of cities? (Examples might include: sky-scrapers, big

business, highly populated, eclectic population, theatres, cinemas, buses, taxis, cars etc.) What are some of the things that have not been included in these representations of cities? Can you see any representations which convey a positive attitude to cities? Which representations appear to convey a negative attitude to cities?Teacher directs students to begin their learning journals with a "Glossary of Terms". On the board, teacher defines and provides examples of: nouns (common things - trees), adjectives (describing words - tall), verbs (doing words - swaying) and adverbs (words used to describe how the doing is being done - gently), prepositions (positioning words - behind us).Students select a peer's visual representation from the display. Provide students with A4 paper and direct them to fold the paper (landscape) into five columns, four rows. Students write "nouns/adjectives/verbs/adverbs/prepositions" as table headings in the first row. Using their peer's visual representation as stimulus, students write one word in each corresponding box (15 words in total). Direct students to cut along the fold lines, so that they have 15 individual words. Students shuffle their words and pass the word bundle on to their neighbour. Using their peer's word pile, students arrange words in any order to create their own word representation freely adding or deleting words as they see fit. Direct students to paste their word arrangement into their journals. Teacher explains to students that this is their first poem, and that, as part of this unit, they will learn how to use increasingly sophisticated poetic tools to learn how to write their own poems.



Teacher provides students with an A3 map of the world. Direct students to paste this into their journal and explain that they will be "visiting" cities of the world through poetry. Teacher defines "evaluate" (make judgment) and instructs students to add to glossary. Teacher explains that students will locate the various cities they "visit" on this map labelling titles/poets and using a 1 - 5 star rating of their personal evaluation of each poem. Assessment for learning:Pre-assess students' knowledge of poetic terms including: lines, persona, stanzas, rhyme, rhythm, pace, metaphor, simile, personification and visual imagery using a term/definition match-up activity.

Stage 4 - Outcome 1 recognise, reflect on, interpret and

explain the connections between their own experiences and the world in texts

respond to and compose imaginative, informative and persuasive texts for different audiences, purposes and contexts for understanding, interpretation, critical analysis, imaginative expression and pleasure

Stage 4 - Outcome 5 compose a range of visual and

multimodal texts using a variety of visual conventions, including composition, vectors, framing and reading pathway

Introduction to CitiesStudents are instructed to write personal responses in their journal to the questions that follow:Where is your nearest city? Have you ever been to a city? If so, describe your experience in 50 words. If you could live in any city in the world, which would it be and why? Why do you think people choose to live in cities? Why do some people avoid living in cities? Teacher models a "pros and cons" (benefits and disadvantages) diagram on the board. Instruct students to form pairs and complete, in five minutes, a table of the pros and cons of living in cities. Instruct students to convey the positive/negative characteristics visually (eg pink font, smiley faces or ticks for positive characteristics and grey font, crosses or sad faces for negative characteristics).Teacher demonstrates the writing of ONE chain poem using their favourite city demonstrating the rough, scrawling, imperfect nature of this flow of consciousness writing style, where each word added springs from an association they have made with the previous word. For example, the following words would be placed in a list down the centre of the board: "Bridge/water/bottle/coke/bubbles/blowing/wind/rain/fall/ouch"In pairs, students select ONE city (Venice, Dubai, Hanoi, Jakarta, Johannesburg, Lima, Rio or any others that are NOT covered in this unit) to use as the subject of a chain poem. Paired students do a quick image search of their city (or teacher may provide images of cities). Instruct students to (individually) write 6 free word associations in a list down the centre of their paper. Allow about 30 seconds - 1 minute only. Note: Each word should "sprout" from a free association with the first word and so on. Teacher instructs students to now add words/lines around the words in the centre. Students may change tenses, plurals, add or delete words as they like.



Provide students with selection of scraps (manila folders, tissue boxes, coloured paper, straws, wrappers). Students use ONE lesson to integrate their chain poem into a three-dimensional artwork. Students are encouraged to use size, framing, vectors, salience and reading pathways in their artwork. Students may change the written elements of their poem in any way they see fit. Students may like to barter with peers for scraps which are most appropriate to their chosen city. Art-poems are displayed around the room. Inform students that they may remain anonymous artists, or, if they are happy to be acknowledged for their work, to "autograph" their piece.

Stage 4 - Outcome 3 engage with the language and structures

of texts in meaningful, contextualised and authentic ways

recognise and use appropriate metalanguage in discussing a range of language forms, features and structures

Stage 4 – Outcome 5 describe and explain qualities of

language in their own and others' texts that contribute to the enjoyment that can be experienced in responding to and composing texts

Poetic FormTeacher provides students with hypothetical scenario.You have been asked to judge a local poetry competition. The Head Judge has explained that every year, hundreds of non-poetic texts are submitted and need to be discarded from the competition. In groups students research “What is poetry?” and design a criteria/checklist/computer program which enables them to make a quick decision about whether submitted works are poems or not. Optional: provide students with prompts on the board: Length? Structure? What does a poem look like? What does a poem sound like? What kind of language is used? Content? Style? What do you expect to find in a poem? (Responses might include: stanzas, lines, brevity, powerful imagery, compactness, compression, emotive, poignant, dense, meaningful, lofty, descriptive, appeals to senses, colours). Using student-created criteria/checklists/computer programs, label categories on the board with the following headings: "must have", "might have" and "will not have". Select individual students to add features to these categories to check understanding. Instruct students to write a 100 word journal entry which begins "Today I have learnt that poetry, as a form, is..."Optional: Teacher provides students with different examples of types of text from magazines and newspapers (such as reviews, editorials, letters, cartoons). Ask students to test the effectiveness of their criteria/checklist/computer program. Is the criteria/checklist/computer program sufficiently preclusive to allow for accurate identification of poetry? If student criteria/checklist/computer program is erroneous (for example they come to the inaccurate conclusion that a review is a poem), then students must rework their criteria/checklist/computer program until retesting of texts comes to an accurate conclusion. Students to compose brief personal responses in their journal to the following questions: Can you remember the titles/lines/phrases of any poetry you have read before now? Do you like poetry? Why/Why not?



Why do people write poetry? Who reads poetry? Why do people read poetry? Do your parents/teachers remember studying poetry at school? Do they have a favourite

poem/s? Extension Investigation: Are song lyrics poetry? Students explore a range of song lyrics about cities (such as Alicia Key's "New York") to form an argument in response to this question.

Stage 4 - Outcome 1 respond to and compose imaginative,

informative and persuasive texts for different audiences, purposes and contexts for understanding, interpretation, critical analysis, imaginative expression and pleasure

The Annotation ProcessTeacher questions students to come to an agreed definition of "annotation" - to write notes around a text to come to a heightened understanding of the text's meaning and how features within the text help to shape its meaning/s. Teacher projects "A City Ditty" by Eve Merriam (http://heatheranne.freeservers.com/childrens/ACityDitty.htm last accessed on 11/04/14) on the board. Teacher groups students and instructs them to come up with as many different methods for making notes around the poem (annotating) as possible. Methods might include using colours, codes, keys, shapes, short hand, arrows, font styles, highlighters, squiggles, abbreviations, text boxes, visual images and so forth. Teacher selects students to demonstrate various methods of annotation using the poem on the board. Teacher selects a student to keep a running list of systems on the board under the heading "Methods for Annotating Poetry". Students take notes from the board. Optional ICT: Students use "comment" features in Microsoft Word to annotate the poem.

Stage 4 - Outcome 1 apply increasing knowledge of

vocabulary, text structures and language features to understand the content of texts (ACELY1733)

respond to and compose imaginative, informative and persuasive texts for different audiences, purposes and

Prose poetryStudents read "To Behold a City" by Ross Clark (Form and Feeling: Poetry for Secondary Students, Ed. Hamilton et al, Longman Australia, 2003) and copy/paste into their journals with the heading “Prose Poetry”. Teacher defines "verse", "prose", and "personification". Students add definitions to glossary. Teacher reads "To Behold a City" again aloud, using punctuation to emphasise changes in pace. Using student responses, teacher models annotation of unfamiliar words ("tardy", "habitual", "bunting"), prose (extended lines which run across the page),


http://heatheranne.freeservers.com/childrens/ACityDitty.htm


contexts for understanding, interpretation, critical analysis, imaginative expression and pleasure

Stage 4 - Outcome 3 understand the use of punctuation

conventions, including colons, semicolons, dashes and brackets in formal and informal texts (ACELA1532, ACELA1544)


personification ("trucks...coughing their loads"), visual imagery ("first light glints on windows") and adjectives ("neon", "tardy"). Students independently identify all the verbs using a colour key.Students respond to the following question in their journal: How do the verbs add to the sense of activity in the city?Teacher defines the term "pace". Teacher circles and explains the effect of the punctuation in the poem (commas, full stops, indented lines, semi colons). Teacher explains that annotations that only identify poetic techniques are not useful unless such identification helps the reader understand the meaning of the poem. Direct students to make a connecting note, using abbreviated form, to explain how the punctuation here shapes meaning. (eg slow pace = city half asleep, fast pace = city alive and active.) Journal response: How does punctuation in this poem help to mimic the increasing activity of this city as it "wakes"?Teacher explains that Clark's poem is about an unnamed city and makes generalisations about urban images. Teacher challenges students to identify ONE city in the world where Ross Clark's images would NOT apply. Using this city, in eight minutes, students write a quick prose poem, applying their new knowledge of personification, visual imagery, punctuation and verbs. Teacher may provide students with Clark's poem with key words/phrases redacted so students can add their own words, rather than writing a whole poem alone.Optional: Students may, at this stage, be encouraged to write a poem which uses a negative framework of what would not happen in the selected city. For example "In Kandahar, you will not see tardy neon lights flashing brightly on bunting".

Stage 4 - Outcome 5 compose texts using alternative, creative

and imaginative ways of expressing ideas, recognising, valuing and celebrating originality and inventiveness

discuss aspects of texts, for example their aesthetic and social value, using relevant and appropriate metalanguage (ACELT1803)

Cities and Greens Teacher allocates students to pairs. Partner "A" reads "The city, the Tree" by John Tranter (http://www.poetrylibrary.edu.au/poets/tranter-john/the-city-the-tree-0241004 last accessed 21/09/14). Partner "B" reads "City Trees" by Edna St Vincent (http://www.poetryatlas.com/poetry/poem/2596/city-trees.html last accessed 21/09/14). Students highlight strong visual images in their allocated poem. Question to stimulate paired discussion: "How does your poem inform you about the place of trees in cities? Teacher instructs students to create a pamphlet/poster/radio jingle which encourages city-dwellers to care for the trees in their city. Students MUST use imagery and phrases from both poems to achieve this purpose. Students share compositions with class. Students make verbal assessments of the way their peers have used the poetic imagery to persuade an audience.


http://www.poetryatlas.com/poetry/poem/2596/city-trees.html

http://www.poetrylibrary.edu.au/poets/tranter-john/the-city-the-tree-0241004


Stage 4 - Outcome 1 recognise when information is presented

objectively and subjectively by examining the language of opinion, including modality, bias, personal pronouns and other semantic cues


Students use the internet to Investigate how various cities around the world have made new attempts to integrate natural elements into their urban design processes (eg the "green belt" in London, vertical vegetation, urban forests, vertical farming). Students may use http://www.cityofsydney.nsw.gov.au/vision/towards-2030/sustainability/greening-the-city or http://www.cityofsydney.nsw.gov.au/vision/sustainable-sydney-2030/strategic-directions/a-leading-environmental-performer/greening-the-city/green-roofs-and-walls (last accessed 21/04/14), http://eprints.qut.edu.au/28173/1/c28173.pdf. (last accessed 21/09/14) and http://www.youtube.com/watch?v=2nFQOkzEjxQ (last accessed 21/09/14). Students paste images and make notes on their findings in their journal under the heading "Cities: Going Green".Students, taking on the role of urban planners, invent imaginative ways to incorporate as much greenery into an urban space as possible. Individually, students draw and label a three dimensional cityscape (real or imagined) which shows how they would integrate natural elements into a city. Students place images in their journal.Cross-curriculum possibility: Geography

Stage 4 - Outcome 1 recognise, reflect on, interpret and

explain the connections between their own experiences and the world in texts

apply increasing knowledge of vocabulary, text structures and language features to understand the content of texts (ACELY1733)


compare the ways that language and images are used to create character, and to influence emotions and opinions in

Sydney, Australia A student reads "William St" by Kenneth Slessor (http://www.tooraktimes.com.au/showthread.php/8057-William-Street-Kenneth-Slessor last accessed 21/09/14) aloud. Teacher and students annotate the poem's structure using questions such as "How many stanzas make up this poem? How many lines in each stanza? How might you describe the form of this poem? Is there a pattern or rhyme? Teacher defines "free verse" form and instructs students to annotate the use of a refrain (repeated line) "you find this ugly, I find this lovely". Students annotate use of first person "I" and second person "you" and discuss the way Slessor juxtaposes his persona's view of William St with the way he assumes the reader ("you") views William St. Define alliteration, using examples from the poem ("rich" and "rasping", "fat" and "fish", "puffs" and "parrafin", "hunger" and "heels"). Students discuss how these repeated, harsh sounds add to the vivid, but dissonant, feel of William St. They annotate all the alliteration in this poem, using their preferred method of annotation. Students also annotate Slessor's use of colours, visual images and olfactory images (smells). Teacher reiterates the importance of annotating features in a way that explains HOW these features shape specific meaning.


http://www.tooraktimes.com.au/showthread.php/8057-William-Street-Kenneth-Slessor


http://eprints.qut.edu.au/28173/1/c28173.pdf

http://www.cityofsydney.nsw.gov.au/vision/sustainable-sydney-2030/strategic-directions/a-leading-environmental-performer/greening-the-city/green-roofs-and-walls

http://www.cityofsydney.nsw.gov.au/vision/sustainable-sydney-2030/strategic-directions/a-leading-environmental-performer/greening-the-city/green-roofs-and-walls

http://www.cityofsydney.nsw.gov.au/vision/towards-2030/sustainability/greening-the-city

http://www.cityofsydney.nsw.gov.au/vision/towards-2030/sustainability/greening-the-city


different types of texts (ACELT1621) Students add refrain, first person pronoun, second person pronoun, alliteration, and olfactory imagery to glossaries.Journal entry: Do you find Slessor's representation of William St to be "ugly" or "lovely"? Students write a two minute persuasive speech, using evidence from the poem to support their point of view. Alternatively, students may change/adapt/subvert the poem's representation so that "ugly" is replaced with "lovely", or vice versa.Students add "William St" to world map and make a personal evaluation of this poem (5 stars = brilliant, 1 star = awful), providing THREE reasons for their judgment with evidence from the text.

Stage 4 - Outcome 3 develop a sense of personal style and

taste in composition and response recognise and use appropriate


Spotlight: SimilesTeacher explains similes as "comparing one thing to another thing using "as" or "like"" noting the way the word ‘simile’ sounds like ‘similar’. Teacher explains the nature of effective similes - that the first noun must have similar qualities to the second noun it is being compared to. Teacher also explains that a simile is NOT a literal comparison such as "he is as bald as my father" but a non-literal comparison such as "he is as bald as a bowling ball". Teacher uses an example of an ineffective simile to illustrate this point with an image of a man with white hair to aid visualisation. Source: http://www.shutterstock.com/pic-138058271/stock-photo-portrait-of-an-attractive-mature-man.html?src=cKcXaIFthyp5Z9lFrAfSzA-1-31 (last accessed 21/09/14, royalty free image)His hair (first noun) was white like bathroom tiles (second noun). Students write down the characteristics of the man's hair (soft, wispy, curly, fluffy, light).Students write down the characteristics of "bathroom tiles" (glossy, shiny, hard, slick, ceramic).Students evaluate why the simile is ineffective and rewrite this line using a more effective simile (eg his hair was white like cotton wool).Students complete CLOZE exercise by filling in the blanks with their own phrases: "The city sky-scrapers looked like __________________ (eg. "stakes driven into the earth: -

adapted from Robert Gray's "Flames and Dangling Wires) "The man's back was as ___________ as a __________ (eg. "as straight as a brick wall")Students read their lines to the class in a round. Assessment for Learning:


http://www.shutterstock.com/pic-138058271/stock-photo-portrait-of-an-attractive-mature-man.html?src=cKcXaIFthyp5Z9lFrAfSzA-1-31

http://www.shutterstock.com/pic-138058271/stock-photo-portrait-of-an-attractive-mature-man.html?src=cKcXaIFthyp5Z9lFrAfSzA-1-31


Students write a short paragraph reflecting on their learning about effective similes. Teacher encourages students to use labels, diagrams and own examples to assist explanation. AND/OR Teacher provides students with an "exit card" on which they have to explain the difference between an effective and an ineffective simile before the leave the classroom at the end of the lesson. (See example provided below.) Teacher uses exit cards to determine whether any further teaching is required for some/all students.

Stage 4 - Outcome 1 explore and appreciate the aesthetic

qualities in their own and other texts and the power of language to communicate information, ideas, feelings and viewpoints

interpret the stated and implied meanings in spoken texts, and use evidence to support or challenge different perspectives (ACELY1730)

Sydney: Another PerspectiveStudents read "Late Ferry" by Robert Gray (http://tojourneyornottojourney.webnode.com/late-ferry/ last accessed 21/09/14) and make verbal observations about the form/structure of the poem using terms like free verse and quantifying the number of lines and stanzas. They circle and define unfamiliar words (snare drum, fluorescence, ceaseless, chromosomes, tuberous). Teacher annotates the word "now" in the opening line, “The late ferry is leaving now” and writes a connected explanation of how present tense adds to the poem's sense of immediacy. Instruct students, in pairs, to use square brackets to annotate Gray's use of colour, (orange, redness, white), underline all words which have negative connotations (dark,


Name: Date:1. In your own words explain the difference between an effective

simile and an ineffective simile.

2. Give an example of each.

http://tojourneyornottojourney.webnode.com/late-ferry/

http://tojourneyornottojourney.webnode.com/late-ferry/



use increasingly sophisticated verbal, aural, visual and/or written techniques, eg imagery, figures of speech, selective choice of vocabulary, rhythm, sound effects, colour and design, to compose imaginative texts for pleasure

nervously, blackness, ice, empty). Students add own explanations of "immediacy", and "connotations" to glossary. Teacher annotates all FOUR similes in poem. Teacher elaborates in annotations, using student responses about how these similes help the students make specific meaning about the city of Sydney in this poem. In groups of three students fold a piece of A3 paper into 6 "frames" and create visual representations of each of the six stanzas of Gray's poem, paying particular attention to the connection between visual imagery in the poem and their own representations of these images (Two stanzas/frames per student). Teacher displays representations around the classroom. Optional extensions: Students view clips of Busby Berkeley productions on YouTube. Students write descriptive images and similes to describe the geometric shapes and other choreographic features that make these such spectacular productions. In their journals they write a reflection on the effect of this intertextual reference on the meaning in Gray’s poem. Students assess whether Gray's similes are effective or ineffective, using the evaluation processes modelled earlier. The following question may prove useful: Are the characteristics of the first noun, truly like the characteristics of the second noun it is

being compared to?1. "street lights' fluorescence/over the dark water/a ceaseless activity/like chromosomes/uniting

and dividing"2. "the palm tree tops/make a sound like touches/of the brush on a snare drum" 3. "neon/redness trembles down in the water/as if into ice"4. "the longer white lights/feel nervously about in the blackness,/towards here, like hands/after

the light switch"Students add "Late Ferry" to world map and make a personal evaluation of this poem (5 stars = brilliant, 1 star = awful), providing THREE reasons for their judgment, using textual evidence from the poem. Assessment for LearningStudents complete 100 word journal entry, using reflective stems such as "Today I have learnt that the city of Sydney can be... I have come to this interpretation because the poet... "



Assessment AS LearningStudents swap journals and make a written assessment of whether their peer has used relevant textual evidence from the poem to support their ideas. Students may make suggestions about how their peer might resolve any gaps in these processes.

Stage 4 - Outcome 3 identify, discuss and reflect on the ideas

and information in a range of texts describe and analyse the purpose,

audience and context of texts explore texts that include both Standard

Australian English and elements of other languages, including Aboriginal English


understand how coherence is created in complex texts through devices like lexical cohesion, ellipsis, grammatical theme and text connectives (ACELA1809)

Stage 4 - Outcome 7 draw on experience to consider the ways

the 'real world' is represented in the imaginary worlds of texts, including imaginative literature, film, media and multimedia texts

respond to and compose sustained texts in an increasingly wide range of forms that reflect their broadening world and their relationships within it

Tokyo, JapanStudents read "Tokyo" by John Tiong Chunghoo (http://www.poetryatlas.com/poetry/poem/2553/tokyo.html last accessed 21/09/14 ) and use the internet to decode and define all Japanese words used in the poem.Students write a response to the following questions: How does Chunghoo's use of Japanese words add authenticity to his perceptions of Tokyo? Do you think the poet is a native inhabitant of Tokyo or a tourist? Justify your ideas using two quotes from the poem. Teacher draws upon students’ knowledge of "free verse" form to annotate it and explain its effect in this poem. Students explore how the poet juxtaposes Tokyo's "past" with its "present" using a table headed "past" and "present". Students select quotes which refer to Tokyo's past and present in relevant columns. Teacher directs students to define "juxtaposition" in their glossaries, using their own words. Students write a 50 word response in their journals to the following question: How does the poet juxtapose the past and present to communicate that Tokyo has changed dramatically over the last century?Students add "Tokyo" to world map and make a personal evaluation of this poem (5 stars = brilliant, 1 star = awful), providing THREE reasons and textual evidence from the poem. Students choose a place they are intimately familiar with such as their school/home/town/city and research its past using the internet or local knowledge. Students create a "past" and "present" table for their selected place, adding phrases or words to the relevant columns. Using these ideas, students formulate a poem, using at least THREE poetic techniques they have learnt about during this unit, to compose a free verse poem using Tokyo as a model.Assessment AS LearningStudents swap poems and annotate their peer's use of juxtaposition and poetic techniques, making a written assessment of how their peer has used juxtaposition of the past and present to communicate that the place has changed over time.


http://www.poetryatlas.com/poetry/poem/2553/tokyo.html%C2%A0last%20accessed%2021/09/14


Assessment for LearningJournal entry: What have you learnt about the city of Tokyo from reading Chunghoo's poem? Use quotes from the poem to support your ideas. Would you like to go there? Why or why not?


and information in a range of texts use interaction skills for identified

purposes, using voice and language conventions to suit different situations, selecting vocabulary, modulating voice and using elements such as music, images and sound for specific effects (ACELY1804, ACELY1808)

explore texts that include both Standard Australian English and elements of other languages, including Aboriginal English


understand how rhetorical devices are used to persuade and how different layers of meaning are developed through the use of metaphor, irony and parody (ACELA1542)

Stage 4 - Outcome 5 critically consider the ways in which

meaning is shaped by context, purpose, form, structure, style, content, language choices and their own personal perspective

Stage 4 - Outcome 1

London, United KingdomTeacher asks a willing student to do a performance reading of William Dunbar’s "In Honour of the City of London” (http://www.bartleby.com/101/19.html last accessed 21/09/14) using a "poetic" persona. Class discusses use of archaic language and lofty tones. Ask students to guess when the poem was written and justify using textual evidence (1465 - 1530).Teacher explains "metaphor" as "when one thing is described as being something else". Students add metaphor to glossary in journal. Students discuss: What does the poet mean when he says London is "the flour (sic) of cities all"? Elaborate on the difference between literal and metaphorical meanings with questions such as "is London REALLY a flower?" Students may write and swap literal and non-literal phrases and test their knowledge by identifying the phrase as "L" (literal) or "M" (metaphorical) Teacher defines tone as "attitude to subject" and asks students to use adjectives to describe Dunbar's tone (examples might include romantic, loving, reverent).Optional extension: Allocate one stanza to each group of 4. Students rewrite the stanza using modern urban "gang slang" and perform to class for comedic effect. Students compare their knowledge of contemporary cities to Dunbar's representation of the city of London. Students describe how cities have changed over the last 400 years and write a 50 word response in their journals using the stem "Today I have learnt that cities like London used to... as conveyed when Dunbar refers to..."Teacher provides students with a visual montage of contemporary London. Using the montage students write a 21 word poem using one stanza made up of 1, 2, 3, 4, 5, and 6 word line structure. (Teacher may prescribe any line length pattern, or allow students to come to their own patterns of word length. Examples might include 2, 4, 2, 4, 6 or 1, 2, 3, 2, 1).Example: 1. wet2. the eye3. climbs in a


http://www.bartleby.com/101/19.html


compare the ways that language and images are used to create character, and to influence emotions and opinions in different types of texts (ACELT1621)

experiment with language forms and features to compose texts for pleasure and enjoyment

4. grey sky powdered with5. smog, city lights twinkle in6. twilight, the Thames - still like mud. Comparative Poetry ActivityNumber alternating students 1 or 2. Students form two queues ("1s" and "2s"). Provide 1s with “London” by William Blake (http://www.poemhunter.com/poem/london/ last accessed 21/09/14) and 2s with “Upon Westminster Bridge” by William Wordsworth (http://www.online-literature.com/donne/543/ last accessed 21/09/14).Facing each other in lines, students find their partner and pair up.Students read their allocated poem and annotate how specific meaning is made, with reference to particular poetic features. Students converse with their partners to create a shared Venn diagram (similarities and differences) about these two very oppositional representations of London. Students undertake individual task comparing the negative tone in Blake’s version of London to the positive tone of Wordsworth’s poem. Students use quotes to support their ideas. [Teacher may provide a scaffold of two paragraphs with comparative/transitional phrases such as "on the other hand..."]Students add "London" and "Upon Westminster Bridge" to world map, and make a personal evaluation of these poems (5 stars = brilliant, 1 star = awful)Students listen to Seamus Heaney read “The Underground” (http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=1394 last accessed 21/09/14) and list all the words with negative connotations. How does Heaney use the city underground in London to evoke feelings of loss and despair? How does he signal the end of a relationship using the city setting? How does his use of the intertextual reference to Hansel and Gretel fairytale add to the meaning of this poem? Students add "intertextuality" definition to glossary.Students add "The Underground" to world map, and make a personal evaluation of the poem (5 stars = brilliant, 1 star = awful) providing TWO reasons for their judgment and using textual evidence from the poem.


American Cities – a differentiated Jigsaw ActivityTeacher creates list students in order of ability (highest to lowest ability) to help form groups


http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=1394

http://www.online-literature.com/donne/543/

http://www.online-literature.com/donne/543/

http://www.poemhunter.com/poem/london/




identify and evaluate devices that create tone, for example humour, wordplay, innuendo and parody in poetry, humorous prose, drama or visual texts (ACELT1630)


and information in a range of texts develop a sense of personal style and

taste in composition and response describe and analyse the purpose,

audience and context of texts recognise and use appropriate


understand the use of punctuation conventions, including colons, semicolons, dashes and brackets in formal and informal texts (ACELA1532, ACELA1544)

Stage 4 - Outcome 5 share, reflect on, clarify and evaluate

opinions and arguments about aspects of literary texts (ACELT1627)

critically consider the ways in which

for the Jigsaw Activity. Using this list, allocate the first four students to "1s", second group of four students to "2s", 3rd group of four to "3s" and so forth, depending on number of poems selected and class size. Then, select ONE student from each group, to make up HOME GROUPS, so that each home group is comprised of students of varying abilities with each member having a different number assigned to them. (ie in each group there is a student 1, 2, 3, 4, 5, 6) Teacher directs students from HOME GROUPS to create “expert groups” with others who have same number as them. Allow at least ONE lesson for the Expert Group phase.Provide numbered students with corresponding poems below:1. Chicago, Carl Sandberg (longer, high ability)

(http://www.poetryatlas.com/poetry/poem/931/chicago.html last accessed 21/09/14)2. Broadway, Walt Whitman (short, moderate difficulty, archaic English)

(http://www.poetryatlas.com/poetry/poem/801/broadway.html last accessed 21/09/14)3. February Evening in New York, Denise Levertov

(average) http://www.poetryatlas.com/poetry/poem/2293/february-evening-in-new-york.html (last accessed 21/09/14)

4. Autumn Dusk in Central Park, Evelyn Scott (short, easy) http://www.poetryatlas.com/poetry/poem/2298/autumn-dusk-in-central-park.html last accessed 21/09/14)

5. From Brooklyn, Evelyn Scott (very easy, but meaningful) (http://www.poetryatlas.com/poetry/poem/2310/from-brooklyn.html last accessed 21/09/14)

6. Hollywood, Holllywood, Hollywood, Oresto Flavio Perdomo (literal, relatable, amateur) (http://www.poetryatlas.com/poetry/poem/2546/hollywood%2C-hollywood%2C-hollywood.html last accessed 21/09/14)

Teacher provides generic "speak sheet" to all students. Students discuss and annotate their poems together. Each expert should have a fully annotated copy of their poem to share upon return to their home group. Students may like to pass a “conch” around to facilitate orderly questions and responses. The city in this poem is located in... (use world map in journals) The form of this poem can be described as... The overall meaning of this poem is... The persona's attitude to the city is best described as.... as evidenced by....


http://www.poetryatlas.com/poetry/poem/2546/hollywood%2C-hollywood%2C-hollywood.html

http://www.poetryatlas.com/poetry/poem/2546/hollywood%2C-hollywood%2C-hollywood.html

http://www.poetryatlas.com/poetry/poem/2310/from-brooklyn.html

http://www.poetryatlas.com/poetry/poem/2298/autumn-dusk-in-central-park.html

http://www.poetryatlas.com/poetry/poem/2293/february-evening-in-new-york.html

http://www.poetryatlas.com/poetry/poem/801/broadway.html

http://www.poetryatlas.com/poetry/poem/931/chicago.html



discuss aspects of texts, for example their aesthetic and social value, using relevant and appropriate metalanguage (ACELT1803)

I believe this poem is written in approximately... because... Punctuation is used in the poem to... Colours are used...when...to... Verbs are used...when...to... Particularly effective poetic techniques include... The sense are appealed to when... which adds to my experience of the poem because... I rate this poem ?/5 because...Allow at least ONE full lesson for the “Return to Home Group” phase. Students read their poem aloud to group and use their "speak sheet" to present their findings to the group. Group members take notes and annotate the poems as they listen. By the end of the Jigsaw Activity, every student should have annotated their own copies of every poem. Students add all of the titles/authors of these poems to their world map and make rate each poem using the 1-5 star rating system. In their journals, students must provide THREE reasons for their judgment of the poem, using textual evidence to support their ideas.





Paris, FranceTeacher instructs students to use their preferred method of annotating to annotate "Paris I" by Alan Seeger (http://www.poetryatlas.com/poetry/poem/733/paris-i.html last accessed 21/09/14)Students annotate, among other poetic devices selected by the teacher, words with positive connotations, rhyme, metaphors, colours and visual imagery. Students write a 150 word response explaining how Seeger perpetuates ideas about Paris being the "city of love". Students add "Paris I" to world map, and make a personal evaluation of this poem, providing THREE reasons for their judgement and using textual evidence to support their views. (5 stars = brilliant, 1 star = awful).Assessment for LearningStudents submit annotated poem to teacher who evaluates students' ability to annotate a poem. Teacher uses this information to revisit any inconsistencies or gaps in student knowledge and understanding. Students who are annotating effectively may be instructed to


http://www.poetryatlas.com/poetry/poem/733/paris-i.html


identify and discuss main ideas, concepts and points of view in spoken texts to evaluate qualities, for example the strength of an argument or the lyrical power of a poetic rendition (ACELY1719)


and information in a range of texts develop a sense of personal style and

taste in composition and response describe and analyse the purpose,



annotate poems independently from this point forward. Teacher may provide extra support to students who require it, using the "camp leader" (teacher help required), "campfire" (peer assistance) or "cave" (I can do it by myself) system to meet the various needs of students.

Optional extension: Students conduct brief research into the French Revolution and read "Beautiful City" by Lord Alfred Tennyson (http://classiclit.about.com/library/bl-etexts/atennyson/bl-aten-beautiful.htm (last accessed 21/09/14) and answer the questions which follow: How does the poet use alliteration to mimic its theme of chaos? How do the words "centre" and "crater" oppose each other? Make a list of the various

connotations and meanings associated with these two opposing words. (eg centre = important, hub, middle whilst crater = deficit, void, hole). How do these word choices shape your understanding of the way Paris was in the time of the French Revolution?

How does the poet characterise Paris as a city whose attempts at revolution have failed? How does the poet establish an accusatory tone in this poem? Students add "Beautiful City" to world map, and make a personal evaluation of this poem. In their journals, students must provide THREE reasons, using textual evidence to support their ideas (5 stars = brilliant, 1 star = awful).

Stage 4 - Outcome 1 experiment with language forms and

features to compose texts for pleasure and enjoyment

Stage 4 - Outcome 3 engage with the language and structures

of texts in meaningful, contextualised and authentic ways

use interaction skills for identified purposes, using voice and language conventions to suit different situations, selecting vocabulary, modulating voice and using elements such as music, images and sound for specific effects

Spotlight: Rhyme SchemeTeacher models rhyme scheme using the following line numbers/letters:1) In summer she looked pretty (A) 2) When the sunlight was so bright (B)Ask students to complete lines 3 and 4 (ie line 3 rhymes with "cat" (A) and line 4 rhymes with "day" (B) )3) But winter in this city (A)4) Makes me want to fight (B)Students complete their own version of this poem in their journals by changing the rhyme scheme to AABB over the four lines. (In summer she looked pretty/ But now the wind is gritty/ And the ground is wet and white/ And it makes me wanna fight). Students use clapping process to identify the number of syllables in each line.


http://classiclit.about.com/library/bl-etexts/atennyson/bl-aten-beautiful.htm


(ACELY1804, ACELY1808) recognise and use appropriate


Teacher allocates students to circular groups of four. Provide each student with paper. Teacher allocates students as 1 (flats), 2, (shops), 3 (cars) or 4 (tower). Instruct students to write the first line of poetry about their item, using six syllables only. Ring a bell and instruct students to pass their paper on in the circle. Students add a second line to their peer's poem adhering to the ABBA rhyme scheme (or others) as illustrated on the board. Students continue passing papers until the quatrain is complete.Teacher and students discuss how rhyme and the number of syllables add to the overall rhythm and feel of the quatrain. Students add "rhyme scheme", "syllables" and "quatrain" to their glossaries.




recognise that vocabulary choices contribute to the specificity, abstraction and style of texts (ACELA1547)


Stage 4 - Outcome 5 critically consider the ways in which


Bombay, IndiaStudents read "To the City of Bombay" by Rudyard Kipling (http://www.daypoems.net/poems/1825.html last accessed 11/04/14) together.Teacher selects individual students to annotate each line of the poem using the rhyme scheme processes as previously modelled by teacher. Teacher explains "gender/gendering". Using a visual/graphic organiser, class brainstorms the connotations of "masculine" (eg. strong, protective, decisive) and "feminine" (delicate, motherly, nurturing, organic) stereotypes. [Be sure to emphasise that these ideas are not "truths" but common assumptions constructed by society. ]Students annotate all feminine pronouns in "To the City of Bombay". Teacher provides students with redacted/blanked out copy of "To the City of Bombay" and instructs them to change the city's "gender" from feminine to masculine, using some of the stereotyped ideas from the board as starting points. Students change the poem in any way (ripping, cutting, redacting, editing) they like to make it feel more "masculine" or "fatherly". Students paste their adapted version into their journal with a heading "my first response poem". Journal entry: Explain how the changes you made to the gendering of the city of Bombay affected the overall feeling and atmosphere of the city conveyed in the poem. Students add "Bombay" to world map, and make a personal evaluation of this poem (5 stars = brilliant, 1 star = awful). In their journal, students must provide TWO reasons for their judgment, using textual evidence to support their perspective.


http://www.daypoems.net/poems/1825.html


use imaginative texts as models to replicate or subvert textual conventions to create new texts




Stage 4 - Outcome 3 use interaction skills for identified

purposes, using voice and language conventions to suit different situations, selecting vocabulary, modulating voice and using elements such as music, images and sound for specific effects (ACELY1804, ACELY1808)


Athens, GreeceIn groups of 6, students create and perform a mime of John Milton's "Athens"(http://www.poetryatlas.com/poetry/poem/3083/athens.html last accessed 21/09/14), using a visual PowerPoint backdrop (or, alternatively, drawn images and props). Roles include: Director, Narrator, Images, Props and Mime Performers. Students use the internet/library resources to look up (in brief) the following historical figures: Plato, Alexander, Phoebus, Macedon, Artaxerxes. How does the poet’s use of classical allusion here help to convey that Athens is a place with a proud history of oration, academics and arts? How do we know that Athens has a long history and links to ancient times?Optional extension: Read “Athens” by Algernon Charles Swinborne (http://www.poetryatlas.com/poetry/poem/3087/athens.html last accessed 21/09/14) and "Athens" by Nicholas Michell (http://www.poetryatlas.com/poetry/poem/3089/athens.html last accessed 21/09/14), noting the similarities in references, themes and attributes. Do these ideas become clichéd or do they continue to be effective? Which poem about Athens gives you the best understanding of Athens? Why? How is Athens characterised as unique to other cities? Students add "cliche" to glossaries. Students add "Athens" poem/s to world map, and make a personal evaluation of this/these poems (5 stars = brilliant, 1 star = awful). In their journals, students provide THREE reasons for their judgment and provide textual evidence to support their ideas.



Beirut, LebanonStudents read “Beirut, Ornament of our World” by Faiz Ahmed Faiz (http://www.jadaliyya.com/pages/index/4717/beirut_ornament-of-our-world-faizs-1982-poem-on-be last accessed 21/09/14). Students use two different colours to highlight all negative words and all positive words. Instruct students to annotate poem in "camp leader/camp fire/cave" groups.Teacher facilitates a class discussion of this poem, using the following questions to check understanding:


http://www.jadaliyya.com/pages/index/4717/beirut_ornament-of-our-world-faizs-1982-poem-on-be

http://www.jadaliyya.com/pages/index/4717/beirut_ornament-of-our-world-faizs-1982-poem-on-be

http://www.poetryatlas.com/poetry/poem/3089/athens.html




How does Faiz allude to the conflict which has marred Lebanon’s history? How does the poet use such negative images (blood, ruin, shattered) to achieve, ultimately, a

positive and triumphant tone? Explain the effect of repeating the city's name, “Beirut” time and time again. How does Faiz suggest that Beirut is a city of strength which will last forever? What is a biblical allusion, and where can we find it in the poem? (Paradise's garden) Who is Alexander? Who is Laila? Who is Darius? What is a citadel? How do these references

add to the meaning?





Kabul, AfghanistanStudents read and annotate “Kabul” by John Tranter (http://www.poetrylibrary.edu.au/poets/tranter-john/kabul-0660010 last accessed 21/09/14) and create a graphic-novel style opening which depicts the narrative of this poem. Students further explore the notion of distancing/immediacy. Students compare how Faiz’s poem is written from an "insider's" perspective whilst "Kabul" is written from the perspective of an "outsider". Direct students to the pronouns (“our” and “they”) used in these poems. Optional extension: Locate Kabul and Tashkent on the map. Read http://en.wikipedia.org/wiki/Tashkent (last accessed 21/09/14) to come to an understanding of Tashkent’s history in relation to Russia.Imaginative Poetry ActivityStudents research ONE global city that, for their own reasons, beckons them to visit. Students compose an "outsider's" poem where they imagine themselves as observers of a city, using the following first person scaffold:1. Time of Day ("just before daybreak", "the afternoon glow", "the darkness of dusk descends"2. Reference to weather ("icy, thin air", "thick fog" or "wobbling heat hits")3. The persona's location ("on a train", "a hotel lobby", "a fibreglass yacht")4. Reference to the persona's "otherness" through their appearance, clothing or behaviour ("my

tie, tight" or "Nike Air Max, plastic and white")5. Describe the "locals" in terms of dress, appearance and behaviour ("heads bowed in unison")6. Include a line of dialogue between the "locals" using, dialect, phonetics or language of the


http://en.wikipedia.org/wiki/Tashkent

http://www.poetrylibrary.edu.au/poets/tranter-john/kabul-0660010


region. 7. Return to an image of difference.Students place their "visitor's poem" in their journals and reflect on which TWO elements they are most proud of.


and information in a range of texts describe and analyse the purpose,



Ankara, TurkeyStudents read "Ankara" by Alan Gould (http://www.poetrylibrary.edu.au/poets/gould-alan/ankara-0486015 last accessed 21/09/14) and annotate in groups or pairs. Students individually answer the following questions: How does Alan Gould establish that Ankara has a long history? How does he bring his poem to the present? What is a missionary? What is an Evangel? Why might “tact” be important for missionaries in Ankara? How does the poet suggest that people of differing faiths should be able to get along, with

reference to the final line of the poem (“where deer and lion once drank from the forest-lit stream”)

What is the poet’s experience of Ankara? How does Alan Gould suggest that Turkey’s capital city is a dangerous place? How does the poet suggest that the city is in a time of transition? In what ways is the poem a “lament” (ie "passionate expression of grief, loss, mourning or

regret")?Individually, students find ONE city which is experiencing or has experienced a transition or a change. Students may like to draw on cities where an ancient civilisation once existed or where urbanisation, gentrification, and/or abandonment have changed the city. Students compose a lament poem which uses a nostalgic tone to mourn the city's loss of an old culture and characteristics. Students place their poem in their journal with an appropriate title. Students may verbally explain why they used TWO particular features to a partner, small group or the whole class.

Stage 4 - Outcome 5 Response Poems


http://www.poetrylibrary.edu.au/poets/gould-alan/ankara-0486015%20last%20accessed%2021/09/14


use imaginative texts as models to replicate or subvert textual conventions to create new texts

Stage 4 - Outcome 7 respond to and compose sustained texts

in an increasingly wide range of forms that reflect their broadening world and their relationships within it

Stage 4 - Outcome 1 apply increasing knowledge of

vocabulary, text structures and language features to understand the content of texts (ACELY1733)


experiment with language forms and features to compose texts for pleasure and enjoyment



Teacher allocates students to pairs, providing one partner with "To go to Lvov" by Adam Zagajewski (http://www.poetryfoundation.org/poem/177929 last accessed 21/09/14) and the other partner with "To go to S'apore" by Alvin Pang (http://www.poetryatlas.com/poetry/poem/3233/to-go-to-s%26%23039%3Bpore.html last accessed 21/09/14) Students annotate individual poems and answer the questions that follow in full sentences, using textual evidence from the poem. “To go to Lvov”- Questions How does the structure and punctuation of this poem mirror its repeated line “there was too

much of Lvov”? Find three lines from this poem which help to convey that there “was too much of Lvov”. How is colour used here to conjure strong visual images? What is suggested by the poet’s use of harsh, destructive verbs such as “scratched”, “cut”

and “shortened”? How does the poet evoke a surreal, dream-like quality for the city of Lvov? How is a sense of loss created in this poem? How does the poet manage to end this poem with a sense of hope?“To go to S'apore” - Questions How does the structure and punctuation of this poem mirror its repeated line that there "was

too much of Singapore? How does the poet use smells to bring this city alive for the reader? How does the poet evoke a surreal, dream-like quality for the city of Singapore? How is colour used to create strong visual images? Write a list of all the visual images used in this poem. Why does the poet shift from present tense to past tense in this poem? How does the poet compare modern Singapore evenings to the evenings of the past? How is a sense of loss created in this poem? Students then compare the two poems side by side, using a self-designed key to annotate the


http://www.poetryatlas.com/poetry/poem/3233/to-go-to-s%26%23039%3Bpore.html

http://www.poetryfoundation.org/poem/177929


elements which remain the same and those that have been changed. Students create a Venn diagram of the similarities and differences between the city of Lvov and the city of Singapore.Students compose a 100 word written response in journals justifying whether they would prefer to go to Lvov or Singapore using evidence from both poems to support their perspective. Optional Extension: Brussels, BelgiumIn pairs, students read “Brussels” by Arthur Rimbaud (http://www.mag4.net/Rimbaud/poesies/Brussels.html last accessed 21/09/14) followed by “Brussels” by John Tranter (http://www.poetrylibrary.edu.au/poets/tranter-john/brussels-0658005 last accessed 21/09/14) Students discuss the similarities and differences between poems using a visual organizer to collate them. Students write a poem in response to any poem they have studied during this unit. Students cut the original poem up and insert their own phrases and lines to form a new, cohesive poem about a place they are familiar with. Teacher encourages students to use their glossary of terms to help them apply poetic devices in their own writing.






Assessment for learning Teacher provides students with Gustave Flaubert's statement that “Poetry is as exact a science as geometry”. Students use their knowledge of poetic devices to create a parody, limerick, ballad, or rap entitled “Recipe for Being Urbane and Poetic". Humour is mandatory as are specific examples from ONE or TWO poems studied in this unit.An example might be: “Aww yeah, to be Poetic/Is really not that hard/Put on your poshest accent/And act like a bard/Take a bit of time/To add a dash of rhyme/and make the poem sing/as does Kip-ling/he drops "pride" with "bride" and "each" with "beach"..."Students may like to film their responses as an end of unit show and tell. Assessment AS LearningStudents write a reflective journal response using the following stems (about 50 words for each response) My favourite TWO poems studied during this unit are... I like the first poem because... I like the second poem because...


http://www.mag4.net/Rimbaud/poesies/Brussels.html



I have learnt that cities... My favourite learning activity in the unit was . . . because . . . My method of annotating can be written as a procedure: Optional Creative TaskTeacher provides students with a variety of urban images of cities which have NOT been included in this unit. Students choose ONE image as a stimulus and apply their knowledge of poetic form and features to compose an imaginative poem about ONE city. Assessment of Learning Task - 15%Students annotate TWO poems using their preferred method of annotation, to demonstrate their understanding of how poetic forms and features shape their interpretations of meaning about cities.


Year 8 English Assessment TaskURBAN LINES POETRY UNIT

Context for the task: Students have experimented with a range of methods of annotation. Students have been applying annotation skills to come to a deeper understanding of the various ways poets use forms and features of poetry to shape meaning and to represent cities of the world.

Outcomes to be assessed: EN4-1A: responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure. EN4-3B: uses and describes language forms, features and structures of texts appropriate to a range of purposes, audiences and contexts. Weighting: 15%

Date issued: 15th April, 2014 Due date: 1st May, 2014

Task: A local publisher has commissioned you to provide complete annotations of TWO poems for a poetry textbook entitled “City Dreaming”. The annotations must be clearly organised andprovide secondary school students with examples of effective annotation processes to help them come to a deeper understanding of the poems’ meaning/s and the ways these meanings have been shaped by poetic form and features.

The annotations for each poem cannot exceed one A4 sized piece of paper (i.e. 2 x A4 papers in total for the task.)

You are not permitted to use poems which have been analysed in class.

You must choose TWO poems from the list provided (see next page). Optional: With approval from your teacher, you may choose poems which do not appear on this list.


“Storm Over Sydney”, John Tranter http://www.poetrylibrary.edu.au/poets/tranter-john/storm-over-sydney-0658026 (last accessed 21/09/14)

“This is Delhi”, Pankaj Prasoon http://www.poetryatlas.com/poetry/poem/2558/this-is-delhi.html (last accessed 11/04/14)

“Clark Street Bridge”, Carl Sandberg

http://www.poetryatlas.com/poetry/poem/934/clark-street-bridge.html (last accessed 21/09/14)

“Nuremburg”, Kenneth Slessor http://www.poemhunter.com/best-poems/kenneth-slessor/nuremberg-2/ (last accessed 21/09/14)

“City Nightfall”, Kenneth Slessor http://www.poemhunter.com/best-poems/kenneth-slessor/city-nightfall/ (last accessed 21/09/14)

“To Moscow”, Edna Dean Proctor http://www.poetryatlas.com/poetry/poem/3189/to-moscow.html (last accessed 21/09/14)

“A London Thoroughfare”, Amy Lowell

http://www.poetryatlas.com/poetry/poem/745/a-london-thoroughfare.-2-a.m..html (last accessed 21/09/14)

Marking Criteria: You will be assessed on how well you:

Organise your ideas using a system of annotation Demonstrate an understanding of how forms and features operate in

poetry Make meaning from selected poems

Agreed Conditions:Students will be allowed ONE lesson to prepare their annotations and ONE lesson to provide each other with peer feedback. Students are advised to bring their annotated poems and the marking criteria to these lessons, so their work can be evaluated against it.

Glossary:

Poetic forms: refers to the structure and shape of a poem such as free verse, number of stanzas, rhyming couplets, rhyme scheme, prose poetry


http://www.poetryatlas.com/poetry/poem/745/a-london-thoroughfare.-2-a.m..html

http://www.poetryatlas.com/poetry/poem/745/a-london-thoroughfare.-2-a.m..html

http://www.poetryatlas.com/poetry/poem/3189/to-moscow.html

http://www.poetryatlas.com/poetry/poem/3189/to-moscow.html

http://www.poemhunter.com/best-poems/kenneth-slessor/city-nightfall/

http://www.poemhunter.com/best-poems/kenneth-slessor/city-nightfall/

http://www.poemhunter.com/best-poems/kenneth-slessor/nuremberg-2/

http://www.poemhunter.com/best-poems/kenneth-slessor/nuremberg-2/

http://www.poetryatlas.com/poetry/poem/934/clark-street-bridge.html

http://www.poetryatlas.com/poetry/poem/934/clark-street-bridge.html

http://www.poetryatlas.com/poetry/poem/2558/this-is-delhi.html

http://www.poetryatlas.com/poetry/poem/2558/this-is-delhi.html

http://www.poetrylibrary.edu.au/poets/tranter-john/storm-over-sydney-0658026

http://www.poetrylibrary.edu.au/poets/tranter-john/storm-over-sydney-0658026

Poetic features: refers to any poetic technique used to shape meaning such as simile, metaphor, imagery, alliteration and punctuation.

System of annotation: a system of annotation is any process used to help you organise your ideas in a clear and meaningful fashion around a text. There are many different systems you can choose from including using highlighters, colour keys, text boxes, comment features, speech bubbles, sub-headings, written explanations, arrows, lines, squiggles and so on.


Marking Guidelines – Year 8 English Poetry unit – Urban Lines

Criteria 5 marks 4 marks 3 marks 2 marks 1 mark

Organise your ideas using a

system of annotation

Demonstrates sophisticated ability to organise ideas

using an ordered and detailed system of

annotation. Uses a variety of visual signifiers to

connect elements of the poem to meanings in a

clear and logical fashion. Meanings are easily

accessible for audience.

Demonstrates a well developed ability to

organise ideas using an ordered system of annotation. Uses a number of visual

signifiers to connect elements of the poem to meanings. Meanings are

accessible for the audience.

Demonstrates a competent ability to

organise ideas using a system of annotation.

Some use of visual signifiers to connect

elements of the poem and meanings. Meanings are mostly accessible to

the audience.

Demonstrates a basic ability to make some notes around the poems. May be disorganised with little use of visual signifiers. Features of the poems and meanings may be disconnected Little

awareness of audience.

Demonstrates little or no ability to make notes around the poems.

Disorganised with no use of visual signifiers.

Elements and meanings are disconnected. No

awareness of audience.

Understanding of how poetic

form and features

operate in poetry

Demonstrates a sophisticated and insightful

understanding of the complexity of how poetic

forms and features operate in poetry.

Demonstrates a well developed understanding of how poetic forms and

features operate in poetry.

Demonstrates a competent ability to

identify and explain how some aspects of poetic

form/s and features operate in poetry.

Demonstrates a basic ability to identify simple

poetic forms and features. Some terminology may be

used incorrectly.

Labels poetic features in a tokenistic fashion.

Terminology is often used incorrectly.

Ability to make meaning from

poems

Demonstrates a sophisticated and insightful

ability to make complex meanings (metaphorical, inferential) about cities in

TWO poems

Demonstrates a well developed ability to

make valid and detailed meanings about cities in

TWO poems.

Demonstrates a competent ability to make

some meanings about cities in TWO poems.

Interpretations may be literal or obvious in

nature.

Demonstrates an elementary ability to

identify few meanings about cities in TWO poems. Explanations restate rather

than deepen meaning of poems. Some

misunderstanding may be evident.

Demonstrates little or no ability to make meaning

about cities in TWO poems. Brief.

Misunderstanding and inaccuracies are evident.


Evaluation

These materials have been developed by the AIS through funding provided by the NSW Government to support new syllabus implementation. Copyright is owned by AISNSW. Except as set out below or permitted under the Copyright Act, no part may be reproduced, stored or communicated without the approval of AISNSW.Not for profit organisations may reproduce, store in a retrieval system and communicate the whole or any part of the materials without payment of a fee or other remuneration provided:

a) The institution does not sell, hire or otherwise derive revenue from such reproduction, storage or communicationb) B) the copyright of AISNSW is noted on any part which is copied or noted

If any other licence is sought, inquiries should be directed to the Executive Director of AISNSW.


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