the challenge of heroism€¦ · unit1 the challenge of heroism goals c to define various traits...

1Unit

The Challenge of

HeroismEssential Questions

What defines a hero?

How do visual images enhance or create meaning?

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Unit OverviewThis unit introduces the Challenge theme by examining heroes: in our personal lives, in literary work, and in the world at large. You will be introduced to the archetype of the hero’s journey and will view various examples of heroes through that archetypal lens. After exploring heroism, you will then examine the challenges of society as you encounter texts in which individuals take great risks as they struggle to do what they think is right.

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1Unit

The Challenge of Heroism

GoalsCTo define various traits

and types of heroes through multiple genres and texts

CTo understand the archetype of the hero’s journey and apply it to various scenarios in both print and nonprint texts

CTo analyze various literary, nonfiction, and nonprint texts

ACAdemiC VoCABulAry

Diction

Archetype

Definition Essay

Nonprint Text

Compare/Contrast

Imagery

Contentslearning Focus: Taking Your Writing to the Next Level . . . . . . . . . . . 4

Activities:

1.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

1.2 Challenges Word Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

1.3 Tone: Word Sort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

1.4 Emotional and Physical Challenges . . . . . . . . . . . . . . . . . . . . . . . . . 10 Poetry: “A Man,” by Nina Cassian Poetry: “Moco Limping,” by David Nava Monreal

1.5 Facing Challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 *Film: From October Sky, directed by Joe Johnston

1.6 Defining Heroic Qualities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

1.7 Heroes in Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Article: “Love Triumphs: 6-year-old Becomes a Hero to a Band of Toddlers, Rescuers,” by Ellen Barry

1.8 Historical Heroes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Poetry: “O Captain! My Captain!” by Walt Whitman Poetry: “Frederick Douglass,” by Robert Hayden

1.9 The Challenge of the Hero’s Journey . . . . . . . . . . . . . . . . . . . . . . . . 26

1.10 The Refusal of the Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 *Film: From Batman Begins, directed by Christopher Nolan, or *Film: From Star Wars 1: Episode 1—The Phantom Menace, directed by George Lucas

1.11 The Road of Trials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 epic: From the Odyssey, by Homer

1.12 A Different Kind of Heroine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 *Film: From Mulan, directed by Tony Bancroft and Barry Cook

1.13 Creating a Different Kind of Heroine . . . . . . . . . . . . . . . . . . . . . . . .42 Article: “Woman Warrior,” by Corie Brown and Laura Shapiro

1.14 An Everyday Hero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Personal responses

embedded Assessment 1 Writing a Definition Essay . . . . . . . . . . . 53

� SpringBoard® English Textual Power™ level 3

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learning Focus: Applying the Archetype to Text . . . . . . . . . . . . . . . . 57

1.15 Reading Utopia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Novel: Excerpt from Utopia, by Thomas More

1.16 Precise Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 *Novel: The Giver, by Lois Lowry

1.17 Reading the Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 *Film: From E.T., The Extra-Terrestrial, directed by Steven Spielberg

1.18 Babies and Birthdays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

1.19 Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

1.20 The Circle of Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

1.21 Essential Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

1.22 Rules in Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

1.23 Coming to Your Senses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Postcard: “The Heartiest of Season’s Greetings,” by Carl Nelson, December 1969

1.24 Marking the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

1.25 Evolution of a Hero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

1.26 An Epilogue for The Giver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

1.27 Author’s Purpose: Lowry’s Newbery Acceptance Speech . . . . . . .80 Speech: Newbery Acceptance Speech, by Lois Lowry

1.28 Alien Escape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 *Film: From E.T., The Extra-Terrestrial, directed by Steven Spielberg

1.29 Graphic Novels: Visualizing an Incident . . . . . . . . . . . . . . . . . . . . . 91 Graphic Novel: Excerpt from Persepolis, by Marjane Satrapi

embedded Assessment 2 Visualizing an Event in Jonas’s Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

unit reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

*Texts not included in these materials.

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Learning Focus: Taking Your Writing to the Next LevelWriters communicate to inform, to persuade, or to entertain. One genre of writing that you are very familiar with is narrative writing, in which you write to entertain. You are also familiar with expository writing, or writing to explain or inform. Good writers draw upon and blend a variety of genres and resources in order to create the strongest text possible. For example, an expository essay may be about a personal topic, with the purpose to explain or inform the audience about that personal topic. Writers use research in expository writing to support and elaborate upon their explanation of a topic. Research may come from a secondary source, such as an article on the Internet or a news story, or from a primary source, such as an in-person interview or an observation. This information, when correctly incorporated into writing, strengthens the writer’s argument and solidifies his/her authority with the audience.

Good writers follow this process to create effective written texts:

CPrewriting includes clarifying the purpose for writing; identifying possible audiences; developing a thesis; identifying, organizing, and considering the relevance of known information; and determining the need for further research. After gathering information, the writer selects and develops major ideas, relevant reasons, supporting examples, and details. Then, the writer focuses the topic by considering whether the content is relevant, interesting, and meaningful to both the writer and audience.

CDrafting involves generating a text that presents a coherent and smooth progression of ideas, includes supporting details and explanations, incorporates source materials as appropriate, and reaches a satisfactory conclusion. At this time, the writer also makes stylistic choices with language (e.g., word choice, sentence and paragraph organization and structure) to achieve intended effects. You may write multiple drafts during this step, each time building upon your ideas.

CRevision requires evaluating the draft for clarity of focus, progression of ideas, development, organization, and appropriateness of conclusion in order to identify areas requiring further invention and research. The writer also evaluates stylistic choices with an awareness of purpose and audience.

CEditing for conventions of standard written English, including grammar and mechanics (for example, spelling, capitalization, punctuation), is the final step in preparing your text for publication.

Independent Reading: If you enjoy The Giver, you might enjoy other science fiction books. Many libraries provide “read alike” lists from which you can choose other novels similar to The Giver. You might also enjoy other books by the same author, Lois Lowry.

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� SpringBoard® English Textual Power™ Level 3

AcTIvITY

1.1

SUGGESTED LEARnInG STRATEGIES: close Reading, Graphic Organizer, KWL chart, Marking the Text, Summarizing/Paraphrasing, Think-Pair-Share, Skimming/Scanning

Essential Questions 1. What defines a hero?

2. How do visual images enhance or create meaning?

Unit Overview and Learning FocusPredict what you think this unit is about. Use the words or phrases that stood out to you when you read the Unit Overview and the Learning Focus.

Embedded Assessment 1What knowledge must you have (what do you need to know) to succeed on Embedded Assessment 1? What skills must you have (what must you be able to do)?

Previewing the Unit©

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Unit 1 • The Challenge of Heroism �

Activity

1.2 Challenges Word WallSUGGESTED LEarninG STraTEGiES: Quickwrite, think Aloud, think-Pair-Share, Word Map, Brainstorming

Diction refers to word choice. Choose words in your Vocabulary notebook and on the Word Wall when you speak and write about challenges. Use connotation and denotation as you write about challenges. connotation is the suggested or implied meaning of a word, while denotation is the literal meaning of a word.

AcAdeMic vocABulAry

Diction refers to the writer’s choice of words and use of language.

Word Map

vocabulary Word

definition: Synonyms:

Graphic representation (literal or symbolic)

My experience with this concept:

i haven’t really thought about this concept:

i have only thought about this concept in Language arts class:

i have applied this concept in other classes:

i have applied this concept outside of school:

My level of understanding:

i am still trying to understand this concept:

i am familiar with this concept, but i am not comfortable applying it:

i am very comfortable with this concept and i know how to apply it:

i could teach this concept to another classmate:

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Activity 1.2

continued

List three personal challenges you will (or will choose to) face this year.

1.

2.

3.

For each challenge, list at least three steps you must take in order to meet this challenge successfully.

challenge 1 challenge 2 challenge 3

1. 1. 1.

2. 2. 2.

3. 3. 3.

Quickwrite: What do you see as the most significant challenges facing the world, this country, and your community?

Portfolio: Use your “challenges” brainstorming to decorate your Working Folder and Portfolio. Write the word Challenge large in the center of the folder cover. Place your brainstormed images, words, and phrases on the front of the folder. Follow your teacher’s guidelines to complete this assignment.

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unit 1 • The Challenge of Heroism �

Activity

1.3 Tone: Word SortSUGGESTED LEarninG STraTEGiES: Graphic Organizer, visualizing, Word Map

Using the list at the right, fill in each box below with at least seven other words that have the same or similar denotation or meaning as the words below. The connotations may differ.

anxious sentimental

sharp candid

upset jittery

mirthful morose

boring mournful

hesitant apprehensive

joyful incensed

agitated despondent

sincere aromatic

afraid elated

poignant still

outspoken pungent

reeking scented

composed lugubrious

frank jovial

irritated fretful

placid odorous

joking ecstatic

unbiased enraged

exultant tranquil

peaceful jubilant

blunt forthright

vexed woeful

serene livid

soothing perfumed

redolent desolate

giddy fragrant

infuriated fetid

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� SpringBoard® English Textual Power™ Level 3

analyze the passage below and choose one of the tone words from the previous page that you think best describes the tone. Highlight the phrases or words that suggest the tone.

Yikes. Why me? I never asked to be editor. I’ve only been on the

newspaper staff for a year. I can’t be editor. The rest of the staff won’t

listen to me. I won’t be able to deal with all those deadlines, and what

about the advertiser? I’m not sure I can handle the pressure. I feel

overwhelmed just thinking about it. I like to write and read, but lead

and edit seems like a different world. What am I going to do?

Activity 1.3

continued

Understanding tone in prose and poetry can be challenging because the reader doesn’t have the speaker’s actual voice to help interpret meaning and attitude. instead, readers must depend on the nuances and connotations of words. To misinterpret tone is to misinterpret meaning.

Find the eight words from the list on the previous page that do not fit in the tone word boxes and write them below. Create a category that fits the words.

Literary termstone is a writer’s or speaker’s attitude toward the subject.

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Unit 1 • The Challenge of Heroism �

MyNotes

Activity

1.4

by Nina Cassian

While fighting for his country, he lost an arm And was suddenly afraid: “From now on, I shall only be able to do things by halves. I shall reap half a harvest. I shall be able to play either the tune or the accompaniment on the piano, but never both parts together. I shall be able to bang with only one fist on doors, and worst of all I shall only be able to half hold my love close to me. There will be things I cannot do at all, applaud for example, at shows where everyone applauds.”

From that moment on, he set himself to do everything with twice as much enthusiasm. And where the arm had been torn away a wing grew.

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Nina Cassian was born in Romania in 1924 and now lives in New York City. She has written more than 50 volumes of work, including poetry, fiction, and books for children. Cassian is also a journalist, film critic, and composer of classical music.

P o e t r y

Emotional and Physical ChallengesSUGGESTED LEaRNiNG STRaTEGiES: Marking the text, Notetaking, think-Pair-Share, tP-cAStt

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Activity 1.4

continued

Now use TP-CaSTT to examine Nina Cassian’s “a Man.”

t – title: Think about the title before you read the poem. What do you think the poem might be about?

P – Paraphrase: Read the poem and paraphrase parts of it you find difficult (put it into your own words). Examine the punctuation for clues about who is speaking and the idea expressed.

c – connotation: Highlight words or phrases you see as significant. Think about their connotations. What ideas and feelings do you associate with the words?

A – Attitude: What is the speaker’s attitude toward the situation?

S – Shifts: are there shifts in speakers? in other words, does the person speaking change within the poem? Or does the attitude of the speaker change anywhere in the poem? if so, draw a line where the shift occurs and explain the shift in the My Notes section.

t – title: Look at the title again. How have your ideas about the meaning of the title changed?

t – theme: What is the poet saying? What is the overall message or theme of the poem?

Literary termsa theme is a central idea, message, or purpose of a literary work.

Literary termsa stanza is a group of lines, usually similar in length and pattern, that form a unit within a poem.

Unit 1 • The Challenge of Heroism 11

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Activity 1.4

continued Emotional and Physical Challenges

Working in pairs, read the poem, “Moco Limping.” Use the TP-CaSTT strategy and the questions below to examine it carefully.

t – title: Think about the title before you read the poem. What do you think the poem might be about?

P – Paraphrase: Put into your own words parts of the poem you find difficult. Examine punctuation for clues about who is speaking and the ideas expressed.

c – connotation: Highlight words you see as significant, even if you don’t know them. What ideas or feelings are associated with the words or phrases you have chosen?

A – Attitude: What is the speaker’s attitude toward the situation?

S – Shifts: are there shifts in speaker? Shifts in attitude? Draw a line where you see a shift.

t – title: Look at the title again. How have your ideas about the meaning of the title changed?

t – theme: What is the author saying? What is his comment on his subject? What is the overall message or theme of the poem?

Writing Prompt: Think back to the discussion regarding challenges, then write a personal response to “Moco Limping.” Can you relate personally to the challenges faced by Moco and his owner? Why or why not? Explain using words and phrases from the poem. Notice how words and phrases from the poem are incorporated in the following example:

I’ve never had a dog that was a “brutal hunter” or even a “rickety little canine” like Moco. My dogs have all been lovable mutts who liked to chase balls and run away from me when I called them. But I can relate to the feel of his “warm fur” and his eyes that “cry out with life.” My dog, Rex, looks at me with the saddest brown eyes when I leave him. But he is always eager to see me when I come home in the evening, and I love rubbing my face on his soft furry ears. So I understand the speaker’s affection for his dog even though he is crippled.

Place quotation marks around exact words and phrases you quote directly from the poem to show that you are quoting verbatim.

&Grammar UsaGe


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MyNotes

My dog hobbles with a stickof a leg that he drags behindhim as he moves.And I was a man that wanted abeautiful, noble animal as a pet.I wanted him to be strong andcapture all the attention bythe savage grace of his gait.I wanted him to be the first dog howling in the pack,the leader, the brutal hunterthat broke throughthe woods with thunder.But, instead he’sthis rickety little caninethat leaves trails in the dirtwith his club foot.He’s the stumbler that trips whilechasing lethargic bees and butterflies.It hurts me to see him soabnormal, so clumsy and stupid.My vain heart weeps knowing he is mine.But then he turns my way andlooks at me witheyes that cry out with life.He jumps at me withhis feeble paws.I feel his warm furand his imperfection is forgotten.

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by David Nava Monreal


David Nava Monreal’s short stories have been published in Seguaro and The Bilingual Review. He has also published the books The New Neighbor and Other Stories, Choosing Sides, and The Epic Novel. Monreal grew up in California’s central valley.

P o e t r y Activity 1.4

continued

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Facing ChallengesSUGGESTED LEarninG STraTEGiES: Graphic Organizer, Notetaking

1.5Activity

October Sky is based on a true story. it was 1957 in a coal mining town in West Virginia. Most boys went into the coal mines as soon as they graduated from high school. it was expected. it was tradition. it was a dangerous job that often meant an early death.

One boy, Homer Hickam, Jr., dared to go beyond the expected, thanks in part to his teacher, Miss riley. Over the objection of his father, he persevered to win a national science fair, a college scholarship, and most importantly, a life out of the coal mine as a rocket scientist for naSa.

Watch each clip and consider how each scene reflects a particular challenge for Homer.

Scene What challenges does Homer face?

What action does Homer take in

response to the challenge(s)?

What’s the end result?

How would a different choice

have affected the outcome?

Trying out for the football team

Building a rocket


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Activity 1.5

continued

Scene What challenges does Homer face?

What action does Homer take in

response to the challenge(s)?

What’s the end result?

How would a different choice

have affected the outcome?

First flight

Change of career plans

He didn’t start the fire

Trouble at the science fair

thesis Statement: Write a thesis statement about Homer’s challenges and his reactions to those challenges.


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Activity

1.6

1. Generate a list of adjectives to describe qualities of a heroic person.

When you write a definition essay, you can use these strategiesofdefinition:

• Paragraphs using the function strategy demonstrate how the concept functions or operates in the real world.

• Paragraphs using the example strategy use examples to help the reader understand your definition. These examples often come from texts.

• Paragraphs using the negation strategy explain what something is by showing what it is not. Using negation helps to contrast your definition with others’ definitions.

2. WritingPrompt: Respond to the EssentialQuestion: What defines a hero? Use all three definition strategies in your response, and use examples from texts you have encountered in this unit.

AcAdEmicvocABulAry

A definition essay is writing that explains, or defines, what a topic means.

SUGGESTED LEARninG STRATEGiES: drafting,markingthedraft,think-Pair-Share,Wordmap,Brainstorming,Graphicorganizer

Defining Heroic Qualities

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Activity

1.7Heroes in ActionSUGGESTED LEarninG STraTEGiES: Group Discussion, Notetaking, Quickwrite, Summarizing/Paraphrasing, Brainstorming

Anticipation Guide read the following statements. Mark each blank with either an A if you agree with the statement or a D if you disagree with the statement. Go with your first instinct or gut reaction and try not to linger on your decisions. When you complete the questionnaire, you will share your decisions with a classmate.

1. all heroes are brave.

2. Heroes are created by the events around them.

3. Most people have a hero.

4. You cannot be defeated and still be considered a hero.

5. in order to be a true hero, a person would have to risk his or her life.

6. if all you want is fame and glory, then regardless of what you do, you should not be called a hero.

7. all heroes are human.

8. real-life heroes are not like the heroes we read about in books or watch in movies.

9. Heroes are always handsome or beautiful.

10. if you perform one heroic deed, then you are a hero.

11. Heroes are always famous.

12. i know a person whom i consider a hero.

13. Heroic deeds happen every day, all around us.

14. Heroes must face tragedy.

15. Heroes never return to normal life.

16. Heroes are always adults.


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Activity 1.7

continued Heroes in Action

Before ReadingBrainstorm a list of events or challenges or situations in which an ordinary person might act heroically.

Quickwrite: Write about an event that involved someone acting heroically. This may be an event from your brainstormed list, an event that you saw personally, or one that you have heard or read about. Perhaps it is an event that you saw on the news or depicted in a movie. Write about the most important aspects of the event. (What was the event? Whom did it involve? When did it happen? Where did it occur? Why is it an important event? How did it involve heroism?)

During Readingas you read the following article, take notes in the My notes section on the 5 Ws and an H questions: Who, What, Where, When, Why, and How. Paraphrase the facts of the article, rather than quoting passages verbatim. Your How? note should answer the question “How can the boy be considered a hero?”

remember, paraphrasing a text requires care. When you paraphrase, you must use different language and sentence structure. if a paraphrase is a word-for-word match to the original text or so close that it is difficult to tell the difference, it could be called plagiarism.


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My Notes

Activity 1.7

continued

Hurricane Katrina - Tense days lead to reunion of kids and their moms

by Ellen Barry

LoS anGELES TiMES

Baton Rouge, LA – In the chaos that was Causeway Boulevard, this group of evacuees stood out: a 6-year-old boy walking down the road, holding a 5-month-old, surrounded by five toddlers who followed him around as if he were their leader. They were holding hands. Three of the children were about 2 years old, and one was wearing only diapers. A 3-year-old girl had her 14-month-old brother in tow. The 6-year-old spoke for all of them, and he said his name was Deamonte Love. After their rescue Thursday, paramedics in the Baton Rouge rescue operations headquarters tried to coax their names out of them.

Transporting the children alone was “the hardest thing I’ve ever done in my life, knowing that their parents are either dead” or that they had been abandoned, said Pat Coveney, a Houston emergency medical technician who put them into the back of his ambulance and drove them out of New Orleans. “It goes back to the same thing,” he said. “How did a 6-year-old end up being in charge of six babies?

At the rescue headquarters, the children ate cafeteria food and fell into a deep sleep. Deamonte gave his address, his phone number, and the name of his elementary school. He said the 5-month-old was his brother, Darynael, that two others were his cousins, Tyreek and Zoria. The other three lived in his apartment building. The children were clean and healthy, said Joyce Miller, a nurse who examined them. It was clear, she said, that “time had been taken with those kids.” The baby was “fat and happy.”

The children were transferred to a shelter operated by the Department of Social Services, rooms full of toys and cribs where mentors from the Big Buddy Program were on hand. For the next two days, the staff did detective work. One of the 2-year-olds steadfastly refused to say her name until a worker took her picture with a digital camera and showed it to her. The little girl pointed at it and cried out,

W

W

W

W

W

H

A r t i c l e

Love triumphs: 6-year-Old Becomes a Hero to Band of toddlers, Rescuers


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Activity 1.7

continued Heroes in Action

“Gabby!” One of the boys—with a halo of curly hair—had a G printed on his T-shirt when he arrived; when volunteers started calling him G, they noticed that he responded. Deamonte began to give more details to Derrick Robertson, a 27-year-old Big Buddy mentor: How he saw his mother cry when he was loaded onto the helicopter. How he promised he’d take care of his brother.

Later Saturday night, they found Deamonte’s mother, who was in a shelter in San Antonio along with the four mothers of the other five children. Catrina Williams, 26, saw her children’s pictures on a Web site set up over the weekend by the National Center for Missing and Exploited Children. By Sunday, a private plane from Angel Flight was waiting to take the children to Texas.

In a phone interview, Williams said she is the kind of mother who doesn’t let her children out of her sight. What happened on Thursday, she said, was that her family, trapped in an apartment building, began to feel desperate. The water wasn’t going down and they had been living without light, food or air conditioning for four days. The baby needed milk and the milk was gone. So she decided they would evacuate by helicopter. When a helicopter arrived to pick them up, they were told to send the children first and that the helicopter would be back in 25 minutes. She and her neighbors had to make a quick decision. It was a wrenching moment, Williams’ father, Adrian Love, told her to send the children ahead.

“I told them to go ahead and give them up because me, I would give my life for my kids. They should feel the same way,” said Love, 48.

His daughter and her friends followed his advice. “We did what we had to do for our kids because we love them,” Williams said.

The helicopter didn’t come back. While the children were transported to Baton Rouge, their parents wound up in San Antonio, and although Williams was reassured that they would be reunited, days passed without any contact. On Sunday, she was elated. “All I know is, I just want to see my kids,” she said. “Everything else will just fall into place.”

After Readingon separate paper summarize, in three or four sentences, the main points of the article (use your 5Ws and H notes).

Prepositional phrases add detail in sentences by showing relationships of time, direction, or location. Prepositional phrases function as adjectives or adverbs. note the examples in this sentence:

in a phone interview (adverbial phrase, modifying said), Williams said that she is the kind of mother (adjectival phase, modifying kind) who doesn’t let her children out of her sight (adverbial phrase, modifying doesn’t let).

You may use prepositional phrases in your writing to add details to your sentences.

&Grammar UsaGe

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Historical Heroes 1.8

Before ReadingFill out the KWHL chart on what you know about the following:

• American Civil War

• Abraham Lincoln

• Frederick Douglass

SUGGESTED LEARNING STRATEGIES: Diffusing, KWHL chart, Marking the text, Skimming/Scanning, tP-cAStt

K (What I Know)

W (What I Want to know)

H (How I will learn it)

L (What I Learned)

Civil War:

Abraham Lincoln:

Frederick Douglass:


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Activity 1.8 Historical Heroes

During Reading“O captain! My captain!”

The poem “O Captain! My Captain!” is an example of an allegory. Allegory is a form of extended metaphor, in which objects, persons, and actions in a narrative have meanings outside the narrative itself. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas such as charity, greed, or envy. Thus an allegory is a story with two meanings, a literal meaning and a symbolic meaning.

Whitman wrote this poem as a memorial for Abraham Lincoln after his death.

1. As your teacher reads the poem, mark the text by circling all words having to do with a ship or voyage. Also circle the word Captain and its synonyms in the poem.

2. Who is Whitman referring to as the “Captain” of the ship?

3. What do you think the ship is representative of?

4. What is the effect of the rhyme scheme?

“Frederick Douglass”

As your teacher reads this poem, mark the text by circling the words it and thing every time they are used in the poem.

5. What do the words it and thing refer to in the poem?

6. What is the effect of the free verse?

Allegory has the Greek roots -allo- or -all-, meaning “other” and -gor- from the words for marketplace and speaking publicly.

The essential meaning of allegory is speaking “otherwise” or “figuratively.”

Word ConneCtions

Literary termsA rhyme scheme is a consistent pattern of rhyming words at line endings throughout a poem.

Free verse is poetry without a fixed pattern of meter and rhyme.


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My Notes

O Captain! my Captain! our fearful trip is done; The ship has weather’d every rack, the prize we sought is won;The port is near, the bells I hear, the people all exulting,While follow eyes the steady keel, the vessel grim and daring: But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;Rise up—for you the flag is flung— or you the bugle trills;For you bouquets and ribbon’d wreaths—for you the shores a-crowding,For you they call, the swaying mass, their eager faces turning; Here Captain! dear father! This arm beneath your head; It is some dream that on the deck, You’ve fallen cold and dead.

My Captain does not answer, his lips are pale and still;My father does not feel my arm, he has no pulse nor will;The ship is anchored safe and sound, its voyage closed and done;From fearful trip the victor ship comes in with object won: Exult O shores, and ring O bells! But I with mournful tread, Walk the deck my Captain lies, Fallen cold and dead.

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by Walt Whitman

P o e t r y

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P o e t r y

by Robert Hayden

When it is finally ours, this freedom, this liberty, this beautifuland terrible thing, needful to man as air,usable as earth; when it belongs at last to all,when it is truly instinct, brain matter, diastole, systole,1 reflex action; when it is finally won; when it is morethan the gaudy mumbo jumbo of politicians:this man, this Douglass, this former slave, this Negrobeaten to his knees, exiled, visioning a worldwhere none is lonely, none hunted, alien,this man, superb in love and logic, this manshall be remembered. Oh, not with statues’ rhetoric,not with legends and poems and wreaths of bronze alone,but with the lives grown out of his life, the livesfleshing his dream of the beautiful, needful thing.

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A B o u t t h e A u t h o R s

Walt Whitman (1819–1892) is now considered one of America’s greatest poets, but his untraditional poetry was not well received during his lifetime. As a young man, he worked as a printer and a journalist while writing free-verse poetry. His collection of poems, Leaves of Grass, first came out in 1855, and he revised and added to it several times over the years.

Robert Hayden (1913 –1980) grew up in a poor neighborhood of Detroit, won a scholarship to college, and became a politically active writer. One of his interests was African American history, which he explores in some of his poetry.

1 diastole, systole: the normal, rhythmic opening and closing of the heart.


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Activity 1.8

After ReadingIn small groups, use the TP-CASTT strategy to analyze and discuss both poems. Write your analysis in the My Notes space or on separate paper.

Writing Prompt: Using your TP-CASTT notes, write a literary analysis paragraph in the space below in which you address the following questions. Use textual evidence to support your analysis.

• What traits do Abraham Lincoln and Frederick Douglass exhibit to be considered heroes?

• How does the tone of either poem support the perception of Lincoln or Douglass as a hero?

Literary termsA metaphor is a comparison between two unlike things in which one thing is spoken of as if it were another. A simile is a comparison between two unlike things using the words like or as.


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1. Define stereotype:

2. Is there a stereotypical hero?

Archetypes occur frequently in literature, and especially in myth and folklore. Examples of common archetypes include the underdog, the hero, and helping animals. Examples of story settings using archetypes include gardens, forests, and rivers.

3. How are the ideas of stereotype and archetype different? How are they similar?

The Challenge of the Hero’s JourneySUGGESTED LEARNING STRATEGIES:GraphicOrganizer,RevisitingPriorWork,thinkAloud,Paraphrasing,WordMap

1.9

Word ConneCtions

The Greek prefix arch- in archetype means “chief” or “principal” or “first.” This prefix is also found in archaic, archeology, and archive.

The Greek root -type-, meaning “impression” or “type,” also occurs in typical and stereotype.

AcAdeMicvOcABulARy

An archetype is a character, symbol, story pattern, or other element that is common to human experience across cultures.


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4. According to Joseph Campbell, the hero’s journey can be called archetypal because all heroes’ journeys follow a similar pattern. Following are what Campbell considers the key elements of such a journey. Think about different heroes’ stories you have encountered, and look for connections between their stories and this outline. Your teacher will give you some notes and examples as you discuss each category. Restate in your own words each stage of the hero’s journey.

Activity1.9

Stage 1: Departure In Your Own Words Notes/Examples

thecalltoAdventure: The future hero is first given notice that his or her life is going to change.

Refusalofthecall: The future hero often refuses to accept the Call to Adventure. The refusal may stem from a sense of duty, an obligation, a fear, or insecurity.

theBeginningoftheAdventure: This is the point where the hero actually begins the adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are unknown.

StePS

unit1 • The Challenge of Heroism 27

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Stage 2: Initiation In Your Own Words Notes/Examples

theRoadoftrials:The road of trials is a series of tests, tasks, or challenges that the hero must undergo as part of the hero’s transformation. Often the hero fails one or more of these tests, which often occur in threes.

theexperiencewithunconditionallove:During the Road of Trials, the hero experiences unconditional love and support from a friend, mentor, or family member. This love often drives the hero to continue on the journey, even when the hero doubts him/herself.

theultimateBoon:The goal of the quest is achieved. All the previous steps serve to prepare and purify the person for this step.

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Activity1.9

Stage 3: Return In Your Own Words Notes/Examples

RefusaloftheReturn:When the goal of the adventure has been accomplished, the hero may refuse to return with the boon or gift, either because the hero doubts the return will bring change, or because the hero prefers to stay in a better place rather than return to a normal life of pain and trouble.

theMagicFlight:The hero experiences adventure and perhaps danger as he or she returns to life as it was before the adventure.

RescuefromWithout:Just as the hero may need guides and assistants on the quest, oftentimes he or she must have powerful guides and rescuers to bring him or her back to everyday life, especially if the hero has been wounded or weakened by the experience. Or, perhaps the hero doesn’t realize that it is time to return, that he or she can return, or that others need his or her gift.

thecrossing,orReturnthreshold:At this final point in the adventure, the hero must retain the wisdom gained on the quest, integrate that wisdom into his or her previous life, and perhaps decide how to share the wisdom with the rest of the world.

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Activity

1.10 The Refusal of the Call

Your teacher will show film clips illustrating a hero’s journey. Use the graphic organizer below or separate paper to take notes.

SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Summarizing, Brainstorming

title of Film: Summary of Scene:

connection to the “Refusal of the call” Outcome if the call is never accepted:

Other Examples:


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1.11The Road of Trials

Read the story of Odysseus and the Cyclops. Complete the organizer with adjectives that describe Odysseus. Note details from the story that support your descriptions.

SUGGESTED LEARNING STRATEGIES: Diffusing, Drafting, Graphic Organizer, Notetaking, Sketching

Physical Characteristics: Mental Characteristics:

Social Characteristics: Moral Characteristics:

Trials/Challenges Faced:

Literary termsAn epic is a long narrative about the deeds of heroes or gods. It can be in prose or poetry.


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From the

by Homer

Translation by Tony Kline

A b o u T T h e A u T h o r

Homer is the traditionally accepted author of two famous epic poems, the Iliad and the Odyssey. No biography of Homer exists, and scholars disagree about whether he was the sole author or whether Homer was a name chosen by several writers who contributed to the works. Some scholars believe that the poems evolved through oral tradition over a period of centuries and are the collective work of many poets.

1 Cyclopes: one-eyed giants

e p i c

The Road of TrialsActivity 1.11

BOOk IX: 152–192 Odysseus Tells His Tale: THe CyClOps’ Cave

Looking across to the land of the neighboring Cyclopes,1 we could see smoke and hear their voices, and the sound of their sheep and goats. Sun set and darkness fell, and we settled to our rest on the shore.

As soon as rosy-fingered Dawn appeared, I gathered my men together, saying: “The rest of you loyal friends stay here, while I and my crew take ship and try and find out who these men are, whether they are cruel, savage and lawless, or good to strangers, and in their hearts fear the gods.”

With this I went aboard and ordered my crew to follow and loose the cables. They boarded swiftly and took their place on the benches then sitting in their rows struck the grey water with their oars. When we had reached the nearby shore, we saw a deep cave overhung with laurels at the cliff ’s edge close to the sea. Large herds of sheep and goats were penned there at night and round it was a raised yard walled by deep-set stones, tall pines and high-crowned oaks. There a giant spent the night,

MyNotes

32 springBoard® english Textual power™ Level 3

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Activity 1.11

one that grazed his herds far off, alone, and keeping clear of others, lived in lawless solitude. He was born a monster and a wonder, not like any ordinary human, but like some wooded peak of the high mountains, that stands there isolated to our gaze.

Bk IX: 193–255 Odysseus Tells His Tale: pOlypHemus reTurns

Then I ordered the rest of my loyal friends to stay there and guard the ship, while I selected the twelve best men and went forward. I took with me a goatskin filled with dark sweet wine that Maron, son of Euanthes, priest of Apollo guardian god of Ismarus, had given me, because out of respect we protected him, his wife and child. He offered me splendid gifts, seven talents of well-wrought gold, and a silver mixing-bowl: and wine, twelve jars in all, sweet unmixed wine, a divine draught. None of his serving-men and maids knew of this store, only he and his loyal wife, and one housekeeper. When they drank that honeyed red wine, he would pour a full cup into twenty of water, and the bouquet that rose from the mixing bowl was wonderfully sweet: in truth no one could hold back. I filled a large goatskin with the wine, and took it along, with some food in a bag, since my instincts told me the giant would come at us quickly, a savage being with huge strength, knowing nothing of right or law.

Soon we came to the cave, and found him absent; he was grazing his well-fed flocks in the fields. So we went inside and marveled at its contents. There were baskets full of cheeses, and pens crowded with lambs and kids, each flock with its firstlings, later ones, and newborn separated. The pails and bowls for milking, all solidly made, were swimming with whey. At first my men begged me to take some cheeses and go, then to drive the lambs and kids from the pens down to the swift ship and set sail. But I would not listen, though it would have been best, wishing to see the giant himself, and test his hospitality. When he did appear he proved no joy to my men.

So we lit a fire and made an offering, and helped ourselves to the cheese, and sat in the cave eating, waiting for him to return, shepherding his flocks. He arrived bearing a huge weight of dry wood to burn at suppertime, and he flung it down inside the cave with a crash. Gripped by terror we shrank back into a deep corner. He drove his well-fed flocks into the wide cave, the ones he milked, leaving the rams and he-goats outside in the broad courtyard. Then he lifted his door, a huge stone, and set it in place. Twenty-two four-wheeled wagons could not have carried it, yet such was the great rocky mass he used for a door. Then he sat and milked the ewes, and bleating goats in order, putting her young

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to each. Next he curdled half of the white milk, and stored the whey in wicker baskets, leaving the rest in pails for him to drink for his supper. When he had busied himself at his tasks, and kindled a fire, he suddenly saw us, and said: “Strangers, who are you? Where do you sail from over the sea-roads? Are you on business, or do you roam at random, like pirates who chance their lives to bring evil to others?” ’

Bk IX:256–306 Odysseus Tells His Tale: Trapped

Our spirits fell at his words, in terror at his loud voice and monstrous size. Nevertheless I answered him, saying; “We are Achaeans, returning from Troy, driven over the ocean depths by every wind that blows. Heading for home we were forced to take another route, a different course, as Zeus,2 I suppose, intended. We are followers of Agamemnon, Atreus’ son, whose fame spreads widest on earth, so great was that city he sacked and host he slew. But we, for our part, come as suppliant to your knees, hoping for hospitality, and the kindness that is due to strangers. Good sir, do not refuse us: respect the gods. We are suppliants and Zeus protects visitors and suppliants, Zeus the god of guests, who follows the steps of sacred travelers.”

His answer was devoid of pity. “Stranger, you are a foreigner or a fool, telling me to fear and revere the gods, since the Cyclopes care nothing for aegis-bearing Zeus: we are greater than they. I would spare neither you nor your friends, to evade Zeus’ anger, but only as my own heart prompted. But tell me, now, where you moored your fine ship, when you landed. Was it somewhere nearby, or further off? I’d like to know.”

His words were designed to fool me, but failed. I was too wise for that, and answered him with cunning words: “Poseidon,3 Earth-Shaker, smashed my ship to pieces, wrecking her on the rocks that edge your island, driving her close to the headland so the wind threw her onshore. But I and my men here escaped destruction.”

Devoid of pity, he was silent in response, but leaping up laid hands on my crew. Two he seized and dashed to the ground like whelps, and their brains ran out and stained the earth. He tore them limb from limb for his supper, eating the flesh and entrails, bone and marrow, like a mountain lion, leaving nothing. Helplessly we watched these cruel acts, raising our hands to heaven and weeping. When the Cyclops had filled his huge stomach with human flesh, and had drunk pure milk, he lay down in the cave, stretched out among his flocks. Then I formed a

MyNotes


2 Zeus: the king of the gods 3 Poseidon: god of the sea and of earthquakes


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courageous plan to steal up to him, draw my sharp sword, and feeling for the place where the midriff supports the liver, stab him there. But the next thought checked me. Trapped in the cave we would certainly die, since we’d have no way to move the great stone from the wide entrance. So, sighing, we waited for bright day.’

Bk IX:307–359 Odysseus Tells His Tale: Offering THe CyClOps wine

As soon as rosy-fingered Dawn appeared, Cyclops relit the fire. Then he milked the ewes, and bleating goats in order, putting her young to each. When he had busied himself at his tasks, he again seized two of my men and began to eat them. When he had finished he drove his well-fed flocks from the cave, effortlessly lifting the huge door stone, and replacing it again like the cap on a quiver. Then whistling loudly he turned his flocks out on to the mountain slopes, leaving me with murder in my heart searching for a way to take vengeance on him, if Athene4 would grant me inspiration. The best plan seemed to be this:

The Cyclops’ huge club, a trunk of green olive wood he had cut to take with him as soon as it was seasoned, lay next to a sheep pen. It was so large and thick that it looked to us like the mast of a twenty-oared black ship, a broad-beamed merchant vessel that sails the deep ocean. Approaching it, I cut off a six-foot length, gave it to my men and told them to smooth the wood. Then standing by it I sharpened the end to a point, and hardened the point in the blazing fire, after which I hid it carefully in one of the heaps of dung that lay around the cave. I ordered the men to cast lots as to which of them should dare to help me raise the stake and twist it into the Cyclops’ eye when sweet sleep took him. The lot fell on the very ones I would have chosen, four of them, with myself making a fifth.

He returned at evening, shepherding his well-fed flocks. He herded them swiftly, every one, into the deep cave, leaving none in the broad yard, commanded to do so by a god, or because of some premonition. Then he lifted the huge door stone and set it in place, and sat down to milk the ewes and bleating goats in order, putting her young to each. But when he had busied himself at his tasks, he again seized two of my men and began to eat them. That was when I went up to him, holding an ivy-wood bowl full of dark wine, and said: “Here, Cyclops, have some wine to follow your meal of human flesh, so you can taste the sort of drink we carried in our ship. I was bringing the drink to you as a gift, hoping you might pity me and help me on my homeward path:

MyNotes

Activity 1.11

4 Athene: goddess of wisdom, the arts, and war


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but your savagery is past bearing. Cruel man, why would anyone on earth ever visit you again, when you behave so badly?”

At this, he took the cup and drained it, and found the sweet drink so delightful he asked for another draught: “Give me more, freely, then quickly tell me your name so I may give you a guest gift, one that will please you. Among us Cyclopes the fertile earth produces rich grape clusters, and Zeus’ rain swells them: but this is a taste from a stream of ambrosia and nectar.”

Bk IX:360–412 Odysseus Tells His Tale: Blinding THe CyClOps

As he finished speaking I handed him the bright wine. Three times I poured and gave it to him, and three times, foolishly, he drained it. When the wine had fuddled his wits I tried him with subtle words: “Cyclops, you asked my name, and I will tell it: give me afterwards a guest gift as you promised. My name is Nobody. Nobody, my father, mother, and friends call me.”

Those were my words, and this his cruel answer: “Then, my gift is this. I will eat Nobody last of all his company, and all the others before him.”

As he spoke, he reeled and toppled over on his back, his thick neck twisted to one side, and all-conquering sleep overpowered him. In his drunken slumber he vomited wine and pieces of human flesh. Then I thrust the stake into the depth of the ashes to heat it, and inspired my men with encouraging words, so none would hang back from fear. When the olivewood stake was glowing hot, and ready to catch fire despite its greenness, I drew it from the coals, then my men stood round me, and a god breathed courage into us. They held the sharpened olivewood stake, and thrust it into his eye, while I threw my weight on the end, and twisted it round and round, as a man bores the timbers of a ship with a drill that others twirl lower down with a strap held at both ends, and so keep the drill continuously moving. We took the red-hot stake and twisted it round and round like that in his eye, and the blood poured out despite the heat. His lids and brows were scorched by flame from the burning eyeball, and its roots crackled with fire. As a great axe or adze causes a vast hissing when the smith dips it in cool water to temper it, strengthening the iron, so his eye hissed against the olivewood stake. Then he screamed, terribly, and the rock echoed. Seized by terror we shrank back, as he wrenched the stake, wet with blood, from his eye. He flung it away in frenzy, and called to the Cyclopes, his neighbors who lived in caves on the windy heights. They heard his cry, and crowding in from every side they stood by the cave mouth and asked what was

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wrong: “Polyphemus, what terrible pain is this that makes you call through deathless night, and wake us? Is a mortal stealing your flocks, or trying to kill you by violence or treachery?”

Out of the cave came mighty Polyphemus’ voice: “Nobody, my friends, is trying to kill me by violence or treachery.”

To this they replied with winged words: “If you are alone, and nobody does you violence, it’s an inescapable sickness that comes from Zeus: pray to the Lord Poseidon, our father.”

Bk IX:413–479 Odysseus Tells His Tale: esCape

Off they went, while I laughed to myself at how the name and the clever scheme had deceived him. Meanwhile the Cyclops, groaning and in pain, groped around and labored to lift the stone from the door. Then he sat in the entrance, arms outstretched, to catch anyone stealing past among his sheep. That was how foolish he must have thought I was. I considered the best way of escaping, and saving myself, and my men from death. I dreamed up all sorts of tricks and schemes, as a man will in a life or death matter: it was an evil situation. This was the plan that seemed best. The rams were fat with thick fleeces, fine large beasts with deep black wool. These I silently tied together in threes, with twists of willow on which that lawless monster, Polyphemus, slept. The middle one was to carry one of my men, with the other two on either side to protect him. So there was a man to every three sheep. As for me I took the pick of the flock, and curled below his shaggy belly, gripped his back and lay there face upwards, patiently gripping his fine fleece tight in my hands. Then, sighing, we waited for the light.

As soon as rosy-fingered Dawn appeared, the males rushed out to graze, while the un-milked females udders bursting bleated in the pens. Their master, tormented by agonies of pain, felt the backs of the sheep as they passed him, but foolishly failed to see my men tied under the rams’ bellies. My ram went last, burdened by the weight of his fleece, and me and my teeming thoughts. And as he felt its back, mighty Polyphemus spoke to him:

“My fine ram, why leave the cave like this last of the flock? You have never lagged behind before, always the first to step out proudly and graze on the tender grass shoots, always first to reach the flowing river, and first to show your wish to return at evening to the fold. Today you are last of all. You must surely be grieving over your master’s eye, blinded by an evil man and his wicked friends, when my wits were fuddled with wine: Nobody, I say, has not yet escaped death. If you only

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had senses like me, and the power of speech to tell me where he hides himself from my anger, then I’d strike him down, his brains would be sprinkled all over the floor of the cave, and my heart would be eased of the pain that nothing, Nobody, has brought me.”

With this he drove the ram away from him out of doors, and I loosed myself when the ram was a little way from the cave, then untied my men. Swiftly, keeping an eye behind us, we shepherded those long-limbed sheep, rich and fat, down to the ship. And a welcome sight, indeed, to our dear friends were we, escapees from death, though they wept and sighed for the others we lost. I would not let them weep though, but stopped them all with a nod and a frown. I told them to haul the host of fine-fleeced sheep on board and put to sea. They boarded swiftly and took their place on the benches then sitting in their rows struck the grey water with their oars. When we were almost out of earshot, I shouted to the Cyclops, mocking him: “It seems he was not such a weakling, then, Cyclops, that man whose friends you meant to tear apart and eat in your echoing cave. Stubborn brute not shrinking from murdering your guests in your own house, your evil deeds were bound for sure to fall on your own head. Zeus and the other gods have had their revenge on you.”’


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Activity 1.11

After readingIn Embedded Assessment 2, you will be asked to create visual representations of a text. List six events from the story of the Cyclops that would be excellent visual representations of the story as a whole.

Writing Prompt: Describe how Odysseus is a heroic figure. In your response, use words from the Word Wall that describe heroic traits or qualities. Include specific evidence from the text to support your assertions.

Word ConneCtions

An analogy shows a relationship between words and is often written using colons; for example, giant : Cyclops :: clever : Odysseus. This analogy means that giant describes Cyclops just as clever describes Odysseus.To write an analogy, first determine the relationship between the words. Try this analogy.

Sweet is to syrup as soft is to ?

Sweet : syrup :: soft :


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Activity

A Different Kind of Heroine1.12

SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Notetaking, Drafting

It is not typical for an adolescent female to be portrayed as a hero in literature. As your teacher shows you selected clips from Mulan, note how Mulan’s imperfections lead ultimately to her glory and the honor of her family. Take notes on the graphic orgnizer below and on the next page.

Scene Describe Mulan’s actions.

How does Mulan feel about herself?

How do others feel about Mulan?

Explain which stage in the hero’s journey this scene

reflects.

1 Mulan attempts to be perfect but fails when the cricket jumps on the matchmaker.

Mulan feels she has failed and dishonored her family.

Others feel Mulan is a disgrace.

This scene may represent a call to adventure because it drives Mulan to honor her family.

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Activity 1.12

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Writing Prompt: Write a thesis statement explaining whether Mulan’s faults help her to become a hero or hinder her. Then, write two to four sentences that support your thesis statement with evidence from the film.


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Activity

1.13

Your teacher will assign you specific paragraphs of the article “Woman Warrior” to read. Highlight important information, and take notes in the My Notes section to become the expert on those paragraphs. Then, on this page, summarize the information you decide is most important. Remember to put the information in your own words. You will then join a group who has not read your paragraphs, and it will be your responsibility to teach them your information. They will, in turn, teach you the parts that you did not read.

Paragraphs assigned:

Summary:

Creating a Different Kind of HeroineSUGGESTED LEaRNiNG STRaTEGiES: Notetaking, Summarizing, visualizing,Predicting, Discussion Groups


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continued

Take notes below on the information you learn from your classmates (you may leave the paragraphs you read blank).

Paragraphs:

2 3

4 5

6 7

8 9

Now read the article on your own. On a separate paper, combine the most important information from each paragraph into a summary of the entire article.


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Activity 1.13

continued Creating a Different Kind of Heroine

by Corie Brown and Laura Shapiro

Way off in the distance, barely visible behind a snowy mountain range, a million or so raging Huns are bearing down on a brave little battalion trying to defend China. The frightened Chinese soldiers draw their swords and prepare to die, nobly if possible. But a misfit soldier named Ping suddenly gets an idea and rushes to fire a cannon at a distant peak. Sure enough, the blast sets off an avalanche and the Huns are buried, at least temporarily. “You’re the man!” says Ping’s sidekick admiringly. But, glory hallelujah, she isn’t.

Ping is really a girl named Mulan, and “Mulan” is the first Disney animated feature to revamp the hardiest conventions of the genre, leaving such chirpy predecessors as “The Little Mermaid” and “Beauty and the Beast” in the dust. Based on a Chinese legend, “Mulan” tells of a girl who’s a failure at all the maidenly arts, especially husband hunting. When the emperor drafts her father into the Army despite his poor health, she determines to go in his place. She cuts her hair, runs off with his armor and sword and ends up saving China. But the plot isn’t what sets “Mulan” apart — it’s the character. She doesn’t look like a Barbie doll, she doesn’t dream about a prince and she certainly doesn’t hang around waiting to be rescued. The conflict that drives her is about honor, not romance: how can she be a dutiful Chinese daughter and still be true to herself? In the most radical twist of all, Mulan doesn’t rely on magic to solve her problems. She sweats her way through basic training until she gets good and strong, and when she faces an enemy too big to fight she outsmarts him. Love? Just at the very end. And it’s he, not she, who has some waking up to do.

“Mulan” wasn’t supposed to turn out this way. The movie originated nearly a decade ago as a dimwitted short called “China Doll,” meant to go directly to video without stopping in theaters. It was about a miserable Chinese girl who struggles against oppression until a British Prince Charming whisks her away to happiness in the West. None of Disney’s first-string animators would have anything to do with it. But before it could be produced,

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MyNotes A r t i c l e

�Woman�Warrior


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“Beauty and the Beast” came out and made box-office history as the first animated feature since “Snow White” to draw audiences of all ages. Disney promptly scoured the studio for more such projects, even “China Doll.” Meanwhile, children’s book author Robert San Souci, a frequent Disney consultant, had suggested that a Chinese poem called “The Song of Fa Mu Lan” might make a good movie. So the “China Doll” team, now the “Mulan” team, began trying to patch together the two Chinese tales. “Mulan started out in the groove of Belle and Mermaid, with a ton of attitude,” says Chris Sanders, story editor on “Mulan.” “The whole point of the first draft was for Mulan to get the guy.”

What saved “Mulan” was its lack of studio status. Everyone on the team came from the lower rungs of Disney’s hierarchy. Barry Cook, who co-directed the movie with Tony Bancroft, had directed only two animated shorts; Bancroft had been the supervising animator for the wart hog Pumbaa in “The Lion King.” Pam Coats, one of the few women in Disney’s animation leadership, had just begun to make shorts when she was tapped for “Mulan.” And they were all housed at the Disney-MGM Studios Theme Park in Orlando, Fla., some of them sitting in glass cubicles, where they doubled as a tourist attraction. The Florida studio had never even produced a full-length picture. The big movies came from Disney’s Burbank, Calif. Studio, where the A-team animators were busy on “Hercules” and “The Hunchback of Notre Dame.” “They didn’t pay much attention to us, because ‘Hercules’ was going to be the blockbuster,” says Bancroft. “So we did whatever we wanted.”

At first they tried to respect Disney’s favorite formula for girl movies: beautiful rebel seeks love. But it was all wrong for Mulan. The character they were assembling was too angry, too flirtatious, and much too Western; the whole team hated her. After two years, they got permission to throw her out and start over. This time they made it clear that though Mulan has a crush, love wouldn’t blossom until after the closing credits. “In the end we had to guard against even the hint of a romance, or the whole thing didn’t work,” says Sanders. Coats took the job of Mulan’s bodyguard: she made sure there was no cleavage. Coats also had to ride herd on the episode in which the Army captain discovers Mulan is a girl. In an early version, Mulan’s feminine etiquette gives her away, and he rips off her disguise. Coats fought hard for a less humiliating scenario. “All these men couldn’t see that this was a violation for women,” she says. “We couldn’t watch that.”

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an appositive is a noun or noun phrase that gives further detail or explanation of the noun next to it. When an appositive appears in the middle of a sentence, it is usually surrounded by commas.

Example: “Meanwhile, children’s book author Robert San Souci, a frequent Disney consultant, had suggested that a Chinese poem called ‘The Song of Fa Mu Lan’ might make a good movie.”

&Grammar UsaGe

MyNotes

Word ConneCtions

The word herculean comes from the Greek god Hercules, whose great strength helped him gain immortality. Writers use herculean as an adjective describing difficult tasks or people with great power or strength.


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“Mulan” was five years in production — longer than any other Disney animated film — pushing its cost to more than $100 million, on the high end for such movies. Once the underdog, it’s now a blockbuster-in-waiting. “To me, the film changed when I heard the music for the first time,” says Cook. “Man, this didn’t feel like the movie we made in the garage anymore.” According to Disney, audiences at test screenings rank the film up there with “The Lion King.” But Disney chairman Michael Eisner won’t celebrate until the movie opens, the lines form, and the dollar signs fall into place. “We know we have the little girls,” he says. “I want to know about the 12-year-olds.” And the boys, the teens, and the adults. Little girls aren’t enough to make a blockbuster, and Disney animation hasn’t had a smash hit in several seasons. “Pocahontas” made about $140 million in the United States, but “Hunchback” and “Hercules” each hovered at about $100 million, and the merchandise grew dusty on store shelves. At the animation studio’s annual retreat last year in Vermont, they dubbed the problem the “sincerity” issue. Disney has so often overhyped its animated features that the public is getting cynical.

So promotion has been relatively restrained this time. According to Dick Cook, head of marketing and distribution at Disney Studios, they are taking down the noise level by at least 25 percent with “Mulan.” No Central Park premiere, no shutting down Times Square, fewer ads, less merchandise. The toys and McDonald’s tie-ins, which in recent years were pushed out way ahead of the opening to crank up anticipation, are only now starting to appear. And the first ads were aimed at adults, not children. “If we had gone young early, we’d never get the older audience,” says Dick Cook. The splashiest promo will be an ice show on ABC-TV the week before the premiere, with Olympic medalist Michelle Kwan skating to the music of “Mulan.” “You can’t believe the ratings for ice skating,” says Cook.

But when it comes to selling kids on “Mulan,” Disney isn’t taking any chances. The TV ads aimed at children are divvied up by gender, and stereotypes rule. Shows with a big audience of boys get ads featuring action/war/thundering Huns; it’s not even completely clear in these excerpts that Mulan is a girl. Shows that attract girls get more of the emotional, father-daughter scenes. The toys, too, revert to formula. Coats says she tried to convince Mattel that Mulan deserved a body of her own, not Barbie’s. But the toy company refused to create a whole new body model. Finally Coats unearthed a slightly less curvaceous Mattel doll — Midge — and

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MyNotes

Creating a Different Kind of Heroine


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continued

persuaded the company to use her. But it hurt to compromise. “We lost that one,” says Coats.

They won hands down with the movie, though. “Mulan” is terrific. A fine cast of voices is headed by Ming-Na Wen (“The Joy Luck Club”) as Mulan and Lea Salonga as her singing voice. B. D. Wong is Shang, the Army captain, with Donny Osmond singing the part; and Eddie Murphy slashes through any hint of piety in the film by playing Mulan’s sidekick — a crafty pint-size dragon named Mushu — with audacious jibe and wit.

The effective background music is by Jerry Goldsmith, and the exhilarating songs are by Matthew Wilden and David Zippel. But it’s the characterization of Mulan, both in voice and visuals, that makes the film a keeper. Unique among Disney’s animated heroines she has a genuinely complex personality; in fact, she’s got more substance than most of the female characters in live-action movies. (As a revolutionary, she’s far more believable than Halle Berry’s character in “Bulworth,” and she has a lot more to say for herself.) It’s great to see a girl saving China, but it’s even more satisfying to see a girl picking and choosing among emblems of masculinity. Physical strength, yes; refusal to show emotions, no. After Mulan has vanquished the Huns, the emperor bows in gratitude to the young girl who has outwitted China’s enemies. Huge crowds in the Imperial City start to cheer. And plenty of women in the audience will want to jump up and cheer along with them.

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MyNotes

Modifying phrases should be placed close to the words they modify, to avoid misreading or confusion. However, some modifiers can be placed in different locations for effect.

in the final paragraph of this article, the phrase both in voice and visuals modifies characterization. Consider how the clarity of the sentence might be affected if you move that modifier elsewhere in the sentence.

identify the modifying phrase in the next sentence. What does it modify? is it placed correctly and effectively?

&Grammar UsaGe


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Activity

1.14

MyNotes Piece One — by AnA’s sOn, AdAm

There are many things that scare us; often it is only a temporary fear, the kind of fear that fades a few moments later. Such is the case with horror films, or skydiving, and other such things. However, there are many things that truly scare us; the events and conditions in our lives that not only make our hearts race with fear, but days later still keep us awake at night and shorten our breath whenever we think of them for years to come.

My mother lives with one such condition. Through no fault of her own, she has cancer. It is simply something that happened, and it is killing her. What surprises me, however, is that although I know she is afraid, she fights this lethal disease every moment of every day, and she does it with a smile. Not only that, but she hasn’t let it slow her down either; she engages in many of the activities that she did before the infection, even if it drains her of her strength. My mother fights for her life every day. She fights against nature itself not only for herself, but to be there for all those she loves, and who love her. She is an inspiration to us all, for she is a real hero.

Piece TwO — by AnA’s dAughTer, mOnicA

When I was twelve, I was told my mother was diagnosed with cancer. I knew that she had gone through it before, but I couldn’t understand why it was in our lives again. Many say that everything in your life, good or bad, happens for a reason, but sometimes you can’t see why.

I was young and selfish. I thought that this wasn’t fair, that it couldn’t happen. I still do at times, but now, years later, I’ve learned that even the bad things that happen in your life should be embraced. It is the bad things that help us grow and become our own person. I do not consider myself a strong person, standing next to my mother.

My mother is my creator, my life. Even through her pain she is at times in a better mood than I am in after a bad day. A bad day to me consists of a bad morning and a bad hair day. But next to my mother, I know she would give up anything to have that be her worst day. Day after day, my mother gets up with a smile and still has the strength to be a mother to me. She is my counselor, my teacher, and my best friend, even through her pain. I know I’m young, but I know I will never catch up to my mother’s faith. She is my idol; I see her through new eyes every day. She is the person I look to for the strength to never give up.

An Everyday HerosuggesTed LeArning sTrATegies: Drafting, Marking the text, Notetaking, think-Pair-Share, Word Map


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MyNotesPiece Three — by AnA’s dAughTer, rebekAhA DEmon UnlikE Any oThEr

A hero can be a savior, a fighter, or a mother changing her child’s diaper.

In my case it is a mother, who goes through thick and thin,

And never tells her children to give up for a win.

“Keep going, keep going,” she preached aloud, like a giant guardian angel above the roaring crowd.

I was only three when it attacked her, a demon unlike any other.

We were so scared it would never fall or bend.

Even though chances were slim, she would keep on fighting till the very end.

Thirty then and forty now, and still we wonder how, she would deal with it for so long and still be going strong.

Unit 1 • The Challenge of heroism 49

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MyNotes Piece FOur — by AnA’s husbAnd, geOrge

Dear Ana,

I never really thought much about what a hero is. Men brought up in our culture are taught to believe that a hero rides horseback, has a very large sombrero, two pistols, a shotgun, doesn’t listen to anybody, and has a very thick accent. But when I met you that changed and I didn’t even notice. Now I know that you are a hero.

A hero gives hope. You make everyone feel that things are going to be okay. I admire how you react when people ask the question, “How are you doing?” You don’t talk about the sleepless nights, the unending pain, the constant fatigue, difficulty breathing, or the chemotherapy that makes you feel worse that the cancer does. Invariably you muster a smile and say, “I’m doing ok.”

A hero understands. When people want to know how things are, you understand that many of them don’t want to know how your therapy is affecting our family life, they want assurances that events will turn out for the best, that life will stay predictable. You always give them comfort; people feel better after talking to you. You know that the only ones that can understand your situation are people that also deal with cancer. However, when the innocent ask about your condition, you make them feel that they comprehend what all of us deal with every day.

A hero is admired for his/her strength, courage, and determination. Everyone who knows you admires the strength it takes to keep 16 ounces of the white Barium solution down. The courage to see several doctors a week to wait for sometimes disappointing news about the cancer. You are determined to make sure that Monica and Rebekah get their schoolwork done, get to the dance academy, and are ready to teach their Sunday school class. Adam gets to work and makes it to his classes with your help, and somehow I always have a clean shirt for work the next day.

You are a hero. You are an extraordinary person involved in extraordinary events who makes our life as normal as possible.

Love you,

George

An Everyday Hero


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Activity 1.14

continued

Take notes from the four selections about Ana, citing quotations that reveal heroic traits. Three pieces are written by Ana’s children and the other is written by her husband. The relationships influence the voices; note specific words and phrases that show voice and individual feelings about Ana. Also take notes on the specific heroic traits each family member values in her. These may be implied, not directly stated. use a copy of the following guide for notetaking on each of the selections.

Notetaking Guide

Name of author and relationship to Ana: Words/phrases that indicate voice or tone and the author’s feelings about Ana:

Quotations that portray Ana as a hero: Heroic traits reflected in quotations:

create two or three sentences below incorporating a quotation, heroic trait, and commentary explaining why or how Ana is a hero. you will use this in your essay.

Unit 1 • The Challenge of heroism 51

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continued

After considering the many aspects of this hero, use your notes to draft a paragraph using the example definition strategy. Plan and revise your paragraph with a writing group.

1. First, in your writing group, draft a topic sentence to guide your paragraph. your topic sentence should be a statement about why Ana can be considered heroic.

2. draft your own paragraph using the topic sentences your group created. Provide specific evidence from a variety of texts about Ana to support it. incorporate direct quotations smoothly and properly into your paragraph, and provide commentary to explain the significance of the information in the quotation.

3. Take turns sharing your paragraphs with your writing group. Provide feedback and revision suggestions for effectively incorporating quotations into text.

An Everyday Hero


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Embedded Assessment 1 continued

Writing a Definition EssaySUGGESTED LEarninG STraTEGiES: Drafting, Graphic Organizer, Revising, Brainstorming

Assignment

Your assignment is to write a multi-paragraph essay that defines your concept of heroism. You will use various strategies of definition (definition by function, example, and negation) to explain your unique opinion on the concept.

Steps

Prewriting/Planning

1. revisit your responses to the Essential Question: What defines a hero? You may ask yourself, “To what extent or to what degree can a person or an action be heroic?”

2. next, categorize your ideas on the graphic organizer by the strategies of definition, and brainstorm details that will support your ideas. Details may come from texts (fiction, nonfiction, film), your own experiences, and historical or current events.

Heroism

How does it function? What are some examples?

What is it not?


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Embedded Assessment 1

Drafting

3. introduce your ideas by providing a hook, context, and a thesis (your ideas should move from general to specific). One way to draw your reader into the essay is to use a quotation related to the concept. To contextualize your thesis, you might discuss commonly held beliefs about heroism that do not match your definition. This allows you to point out the weaknesses in those definitions in comparison to yours.

4. Use a variety of definition strategies to define heroism as you draft the body paragraphs of your essay. Consider organizing each paragraph around a different strategy. remember:

C Paragraphs using the function strategy demonstrate how heroism functions or operates in the real world.

C Paragraphs using the example strategy use examples to help the reader understand your definition. These examples often come from texts.

C Paragraphs using the negation strategy explain what something is by showing what it is not. Using negation helps to contrast your definition with others’ definitions.

5. Draft a conclusion that leaves the reader with a final impression about your definition. The conclusion of a definition essay often ends by focusing on the question: “So what?” it encourages the reader to accept the definition you presented.

Revising

6. after you have written an initial draft of your essay, go back to your thesis. Does your definition reflect your unique opinion? is your thesis clearly stated in the introduction of your essay?

7. Continue to revise your essay to make sure you have effectively used various strategies of definition. Using more than one strategy of definition allows you to use a wide range of examples. Can your reader relate to your examples? Do you use enough examples to help the reader understand your unique point of view?

8. Consider the sequence of your body paragraphs. You may want to rearrange them for greater impact.

9. Consult the Scoring Guide to ensure that you have met specific criteria.

Editing for Publication

10. Carefully edit your final draft for punctuation and language conventions.

TECHNOLOGY TIP if you are using a word processing program, take advantage of its spell-check feature. Keep in mind that a spell-check program may not recognize proper nouns and may incorrectly mark them as spelling errors.

Writing a Definition Essay


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ScORinG GUiDE

Scoring criteria Exemplary Proficient Emerging

ideas The concept of heroism is uniquely and clearly defined.

Three strategies of definition are skillfully employed (definition by function, example, and negation).

a variety of relevant details from text, personal experience, and/or historical or current events richly enhance the writer’s definition. all commentary convincingly develops the thesis.

The concept of heroism is adequately defined.

Two strategies of definition are employed (definition by function, example, or negation).

relevant details from text, personal experience, and/or historical or current events are used to support the writer’s definition. Most commentary develops the thesis.

The concept of heroism is minimally defined.

One strategy of definition is employed (definition by function, example, or negation).

relevant details from text, personal experience, and/or historical or current society may be present, but they may not be concrete enough to give a full understanding of the concept. Commentary does not develop the thesis or may be missing.

Organization The writer skillfully structures the essay with an engaging introduction containing an insightful thesis, well-developed body paragraphs, and a powerful conclusion.

The writer structures the essay with an introduction containing a clear thesis, developed body paragraphs, and a thoughtful conclusion.

The organization of the essay is confusing and the essay may be missing one or more of the following: an introduction with a thesis, developed body paragraphs, or an adequate conclusion.

Use of Language

Writing is smooth, skillful, and coherent throughout the essay.

Diction is sophisticated and appropriate for an academic essay.

Writing is smooth and coherent throughout most of the essay.

Diction is appropriate for an academic essay.

Writing is incoherent throughout the essay.

Diction is repetitive, vague, or inappropriate for an academic essay.

conventions Writing is virtually error-free. The writer uses proper punctuation and capitalization to smoothly embed quotations into text.

Writing is generally error-free. The writer uses proper punctuation and capitalization to embed quotations into text.

Writing contains errors that distract from meaning. at times, the writer attempts proper punctuation and capitalization to incorporate quotations into text.


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Embedded Assessment 1

Writing a Definition Essay

ScORinG GUiDE

Scoring criteria Exemplary Proficient Emerging

Evidence of Writing Process

There is extensive evidence that the essay reflects the various stages of the writing process.

There is evidence that the essay reflects stages of the writing process.

There is little or no evidence that the essay has undergone stages of the writing process.

Additional criteria

Comments:


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Learning Focus: Applying the Archetype to Text

Think back to the fairy tales that you read, watched, or heard as a child. These may include the rags-to-riches story, the misunderstood character whose value or power is revealed later, or the journey of a character to obtain something in which trials must be overcome. What you were witnessing in those stories was an archetype, deliberately used by authors or screenwriters for specific purposes. The word archetype derives from the Greek arkhetupos, with arkhe- meaning “original” and tupos meaning “a model.” Therefore, an archetype is an original model or pattern from which later copies are made.

Archetypes can be found in many literary elements. An archetypal setting has some common aspect that is associated by most people with a particular experience. For example, a desert setting is associated with a spiritual journey through which the character experiences some divine vision. Other examples of archetypal settings include the ocean, the underground, and the wilderness. Archetypal characters exemplify a common experience as well. For example, the temptress character intentionally attracts men to tragedy through her beauty. Other examples of archetypal characters include the damsel in distress, the witch, the visionary, and the mentor.

Archetypes can also be applied to gain a deeper understanding of plot. The journey of the hero—in all of its various forms—is the basis of many plots. Analysis of some of these archetypal elements can help you connect plot to the author’s message, or theme:

Cthe search for identity

Cthe journey in search of knowledge

Cthe pursuit of vengeance

Cthe quest for love

Cthe mission to save one’s people.

You have already been introduced to the archetype of the hero’s journey earlier in this unit. Now you will apply that archetype to analyze print and nonprint texts.


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AcTiviTy

1.15

Thomas More’s Utopia, originally published in 1516, tells the story of a fictional island called Utopia. Raphael, the character who describes the customs, politics, and beliefs, thinks the Utopians’ way of life is ideal. He addresses many of the challenges of society and explains how the Utopians handle these challenges.

On the next page you will find an excerpt from Utopia. This text may seem difficult, but your teacher will read aloud and model the process of a think aloud to show you how to make meaning from difficult texts. After reading, answer these questions:

1. Does this excerpt match the dictionary definition of utopia? Explain.

2. What challenges/problems do you think existed in More’s society that he is attempting to address in his Utopia? How does he resolve those challenges in his Utopia?

3. Quickwrite: Evaluate the strengths and weaknesses of More’s utopian society. Use separate paper.

4. What would a perfect society look like today?

SUGGESTED LEARNiNG STRATEGiES: Diffusing, Marking the Text, Metacognitive Markers, Quickwrite, Skimming/Scanning, Think Aloud

Reading Utopia

Utopia has the Greek prefix ou- (spelled u here), which means “not,” and the Greek root -top-, which means “place.”

The root -top- is also found in topography, topiary, and topic.

Word ConneCtions


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by Thomas More

OF THEiR TRADES, AND MANNER OF LiFE

Agriculture is that which is so universally understood among them that no person, either man or woman, is ignorant of it; they are instructed in it from their childhood, partly by what they learn at school, and partly by practice, they being led out often into the fields about the town, where they not only see others at work but are likewise exercised in it themselves. Besides agriculture, which is so common to them all, every man has some peculiar trade to which he applies himself; such as the manufacture of wool or flax, masonry, smith’s work, or carpenter’s work; for there is no sort of trade that is not in great esteem among them. Throughout the island they wear the same sort of clothes, without any other distinction except what is necessary to distinguish the two sexes and the married and unmarried. The fashion never alters, and as it is neither disagreeable nor uneasy, so it is suited to the climate, and calculated both for their summers and winters. Every family makes their own clothes; but all among them, women as well as men, learn one or other of the trades formerly mentioned. Women, for the most part, deal in wool and flax, which suit best with their weakness, leaving the ruder trades to the men. The same trade generally passes down from father to son, inclinations often following descent; but if any man’s genius lies another way he is, by adoption, translated into a family that deals in the trade to which he is inclined; and when that is to be done, care is taken, not only by his father, but by the magistrate, that he may be put to a discreet and good man: and if, after a person has learned one trade, he desires to acquire another, that is also allowed, and is managed in the same manner as the former. When he has learned both, he follows that which he likes best, unless the public has more occasion for the other.

AcTiviTy 1.15

continued

My Notes

From


Thomas More (1478–1535) was a politician and writer in the court of Henry Viii of England. When he refused to accept the king as the head of the new English Church, he was tried and executed. The title of his book Utopia, written in 1516, has come to refer to any supposedly perfect society.

A double negative is the nonstandard use of two negatives in the same sentence so that they cancel each other and create a positive. in Thomas More’s day, double negatives were used for emphasis, but today they are considered a grammar mistake.

Example: “…for there is no sort of trade that is not in great esteem among them.”

&Grammar UsaGe

N o v e l


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Activity

1.16 Precise WordsSUGGESTED LEarninG STraTEGiES: Quickwrite, visualizing, Word Map, Sketching

1. in Chapter 1 of The Giver, much importance is given to using the precise word. Jonas is careful about which word he would use to describe his feelings about the ceremony in which he will participate during December. List the words Jonas considers but finally rejects.

Word Jonas Considers Meaning of the Word

2. What word does Jonas finally select?

3. What does it mean?

4. Jonas’s friend asher is not as careful in his diction. in Chapter 1,

asher uses the word , which means

, when he really

means , which means

.

Word ConneCtions

The word precise contains the Latin prefix prae- (spelled pre-), meaning “before” or “in front of,” and the Latin root -cis-, with the meaning of “cut.” The Latin form praecis- means “cut short.”

The root -cis- is found in other words with the meaning of “cut,” such as scissors, incisor, concise, decisive.


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5. Your teacher will read two situations to you. You are provided with some words that might describe your feelings about each situation. in the charts below, arrange the words in order from least precise to most precise:

Situation A Situation B

mad, annoyed, livid, angry, upset, furious happy, pleased, exultant, glad, content, delighted

1. 1.

2. 2.

3. 3.

4. 4.

5. 5.

6. 6.

6. Why is precise diction — or the lack of it — important to the story?

7. Why is it important to use precise diction?

Activity 1.16

continued


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Activity

1.17 Reading the OpeningSUGGESTED LEarninG STraTEGiES: Graphic Organizer, visualizing, Word Map, Brainstorming

Film TerminologyFraming

Shot: a single piece of film, uninterrupted by cuts.

Long shot (LS): a shot from some distance (also called a full shot). a long shot of a person shows the full body. it may suggest the isolation or vulnerability of the character.

Medium shot (MS): The most common shot. The camera seems to be a medium distance from the object being filmed. a medium shot shows a person from the waist up.

close-up shot (cU): The image being shot takes up at least 80 percent of the frame.

Extreme close-up shot (EcU): The image being shot is a part of a whole, such as an eye or a hand.

camera Angles

Eye level: a shot taken from a normal height, that is, the character’s eye level; 90 to 95 percent of the shots seen are eye level because it is the most natural angle.

High angle: The camera is above the subject. This angle usually has the effect of making the subject look smaller than normal, giving him or her the appearance of being weak, powerless, or trapped.

Low angle: The camera shoots the subject from below. This angle usually has the effect of making the subject look larger than normal, and therefore, strong, powerful, or threatening.

Lighting

High key: The scene is flooded with light, creating a bright and open-looking scene.

Low key: The scene is flooded with shadows and darkness, creating suspense or suspicion.

Neutral: neither high key nor low key — even lighting in the shot.


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continued

Film Terminology TemplateDirectors use different kinds of framing to achieve different effects. Using the information on your Film Terminology sheet, make drawings with different kinds of framing. Think about the effect each might achieve.

Long Shot Medium Shot

Why might a director use a long shot? Why might a director use a medium shot?

Close-Up Extreme Close-Up

Why might a director use a close-up? Why might a director use an extreme close-up?

Activity 1.17


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continued Reading the OpeningActivity 1.17

as your teacher shows you the opening sequence of a film, take notes on the chart.

FramingWhat framing is used to film the alien?

(LS, MS, cU, EcU)Why do you think the director chose

this framing?

What framing is used to film the humans? (LS, MS, cU, EcU)

Why do you think the director chose this framing?

AnglesWhat angles are used to film the aliens?

(eye level, high angle, low angle)Why do you think the director chose

these angles?

What angles are used to film the humans? (eye level, high angle, low angle)

Why do you think the director chose these angles?


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continued

LightingWhat kind of lighting is used?

(high key, low key, neutral)Why do you think the director used

this kind of lighting?

Activity 1.17


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continued Reading the OpeningActivity 1.17

AcAdEMic vOcABULAry

Nonprint text includes fiction and nonfiction films, videos, audio, and other visual media.

Tone, the speaker’s, author’s, or director’s attitude toward the subject, is communicated in nonprint as well as in print text. Brainstorm words that describe attitude that might help you answer the questions that follow. See activity 1.3 for examples of tone words.

Tone for ET Tone for The Giver

1. What is the tone of the opening sequence of E.T.?

2. Choose one of the film techniques (it does not have to be the one about which you were an expert) and explain how it helps to set the tone of the opening sequence.

3. Does the opening sequence of E.T. make you want to watch the rest of the film? Explain.

4. now visualize the opening paragraphs of The Giver. What is the tone of these paragraphs?

Spielberg’s use of helps to set a

tone for the opening sequence of E.T. by…


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continued

5. What words, phrases, and images set this tone?

6. imagine that you are the director of a film version of The Giver. How would you use film techniques to set this same tone?

Framing

character(s) or Object(s) Being Filmed

What kind of framing would you use? Why?

Camera Angles

character(s) or Object(s) Being Filmed

What camera angles would you use? Why?

Lighting

What kind of lighting would you use? Why?

7. What about the opening paragraphs of The Giver makes you want to read the rest of the novel? Explain.

Activity 1.17


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Activity

Babies and Birthdays1.18

SUGGESTED LEARNING STRATEGIES: Graphic Organizer, Prewriting, Notetaking, Word Map

In Chapters 2 and 3 of The Giver, you discover information about the way families are made and the way birthdays are celebrated in Jonas’s society. Look through the chapters for information about the customs regarding babies and birthdays and list them in the left column. Directly across from each piece of information, list the customs with which you are familiar. Be sure that the information you document in the right column directly corresponds with the idea or concept in the left column. These are called parallel differences. One has been done for you.

How Families Are Created

Jonas’s Society Our Society

How Birthdays Are Celebrated


Everyone celebrates their birthday on the same day, in December.

People celebrate their birthdays on the anniversary of the day they were born.


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continued

Activity 1.18

You can see that the two societies have similarities and differences. Write a paragraph comparing or contrasting either the way Jonas’s society and our society create families or the way Jonas’s society and our society celebrate birthdays.

Think about how to organize a compare/contrast paragraph. Two ways to organize the points of comparison are by subject and by feature.

Subject-by-subject: Discuss the customs of one society first and then discuss the customs of the other society.

Jonas’s society

birthday customs

birthday customs

birthday customs

Our society

birthday custom

birthday custom

birthday custom

Feature-by-feature: Go back and forth in your discussion of the two societies, comparing and contrasting each custom.

Birthday custom

Jonas’s society

Our society

Birthday custom

Jonas’s society

Our society

Birthday custom

Jonas’s society

Our society

Remember to use transition words to help your reader follow your ideas. Some transition words for comparison are:

also in the same way likewise similarly furthermore

Some transition words for contrast are:

yet however in contrast but instead

When using quoted material as textual evidence, you must cite the page number of the quoted material in parentheses following the quote. This is called a parenthetical citation. When this citation comes at the end of the sentence, place the page number in parentheses after the end quotation marks, and directly before the period or end mark.

&Grammar UsaGe


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Activity

Define characterization:

Review Chapters 1–5 of The Giver. Then complete the characterization graphic organizer for Jonas. Use textual evidence to support each element of characterization.

Characterization 1.19

SUGGESTED LEARNING STRATEGIES: Graphic Organizer, think-Pair-Share

characterization of JonasAnalysis Textual Evidence

His actions

His appearance

His thoughts

His words

What others say about him/how others treat him

What challenges does Jonas face?

Look back at Jonas’s actions. Would you describe any of his actions as heroic? Explain.


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Activity

The Circle of Life 1.20

SUGGESTED LEARNING STRATEGIES: Drafting, Graphic Organizer, Prewriting, Skimming/Scanning, Notetaking, Looping

Finding a mate, welcoming babies, and mourning deaths are all part of the circle of life. Every culture has its own ways of handling these passages. Compare the way Jonas’s society handles the circle of life to the way our society does. Remember to identify parallel differences.


Finding a Mate

creating a Family

Mourning Deaths


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continued The Circle of Life Activity 1.20

Comparing CirclesNow that you have examined the way Jonas’s society and our society handle the circle of life, brainstorm the pros and cons of each.

Writing Prompt: Write two well-developed paragraphs arguing that one society, ours or Jonas’s, handles the circle of life better. Support your argument with textual evidence. Use correct compare/contrast structure and transitions in your writing.

When you have completed your draft, exchange with a partner and determine whether your partner’s organization is consistent. Then, highlight one sentence from each paragraph that could benefit from more detail or commentary (explanation). Return papers and revise the highlighted areas.


Pros cons Pros cons

Finding a Mate

creating a Family

Mourning Deaths


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Activity

In Chapter 8 of The Giver, Jonas is selected to be the next Receiver of Memory. The Chief Elder lists five attributes that are essential for the Receiver of Memory. List those attributes and evidence from the novel that Jonas possesses them.

1.21Essential AttributesSUGGESTED LEARNING STRATEGIES: Graphic Organizer, Quickwrite, Skimming/Scanning, visualizing

Quickwrite: What does the Chief Elder say about the last Receiver of Memory? What do you think happened? How do you think the attributes you listed above will assist Jonas in his new position of Receiver of Memory? Respond on your own paper.

Essential Attributes for the Receiver of Memory

Textual Evidence That Jonas Possesses These Attributes

Visual Representation of Attribute

1.

2.

3.

4.

5.


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Activity

Discussion Questions: 1. Are all rules and/or laws necessary? Why or why not?

2. Are all rules and/or laws fair to all people? Why or why not?

3. What happens to people who do not follow rules and/or laws? Explain.

4. Are all consequences fair? Why or why not?

5. Can rules and/or laws be changed? Why or why not?

Rules in SocietySUGGESTED LEARNING STRATEGIES:DiscussionGroups,Notetaking,Quickwrite

1.22

74 SpringBoard® English Textual Power™Level3

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Activity

My Notes

December, 1969

by Carl Nelson

In May, after close to half a century of teaching, I retired and moved from Boston to this island of unique design located just off the coast of Mt. Desert Island, Maine, where I have purchased a house and eight acres of woodland and meadow reaching to the shore, though the house itself is situated on the main road and easy of access at all seasons. The island’s name is Cranberry, one of a group of five, and well-earned, since even my own meadow provides me with delicious highland cranberries. With a garden, studio and wood stove, I shall lack neither pleasure nor occupation, and books and music will round out the day. A wood lot will provide firewood and muscle tone, and the garden flowers and vegetables for my table. To watch the day progress from morning till darkness takes over, and to follow the seasons as they change from the lush flowering of wild pear in May to the opulence of summer and then move on to yellow tamarack and wild rose hedges of burnt orange and finally take rest in a cover of pure white under dark evergreens will surely be a cycle of full measure. The deer pay almost daily visits and the voracious appetites of the chickadees know no bounds. They are both good neighbors. I shall be cutting my own Christmas tree for the first time. In excellent health I am looking forward to retirement as a very exciting adventure. Please note my new address—and please use it: Carl Nelson, Tosh Park, Cranberry Isles, Maine 04625.


carl Nelson (1898–1988) was a noted artist and teacher. His photo appears on most editions of The Giver. At 71, he bought a piece of land and settled in a house on Great cranberry Island in maine. That year he sent this christmas postcard to his friends.

P o s t c a r d

1.23Coming to Your SensesSUGGeSTeD LeArNING STrATeGIeS: Diffusing, visualizing, Word Map, Marking the text

Sight

Sound

Taste

Smell

Touch


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continued Coming to Your SensesActivity 1.23

1. Using sensory details from “The Heartiest of Season’s Greetings,” illustrate Nelson’s imagery in a visual representation of life on cranberry Island. Use color, and label your visual details with Nelson’s words from the text. Do this on a separate sheet of paper.

2. Use your favorite sensory images to create a found poem. Pay attention to your line breaks, and make a decision about using stanzas. be deliberate about the graphic elements (such as line indents, capitalization, and punctuation) you use to display your poem.

Writing Prompt: Write a reflective paragraph explaining your choices of color and detail within your visualization. Analyze how carl Nelson conveys a particular tone through his use of sensory details. How did you convey this same tone in your visualization?

AcADeMic vocABUlAry

Imagery refers to descriptive or figurative language used to create word pictures. Imagery is created by details that appeal to one or more of the five senses.

76 SpringBoard® English Textual Power™ level 3

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Activity

Marking the Text 1.24

SUGGESTED LEARNING STRATEGIES: close Reading, Marking the text, Rereading

1. As you read Chapter 18 in The Giver, create at least two or three annotations on each page you are assigned. You will write your annotations on sticky notes. In your annotations, reflect on things that you feel strongly about or that you are confused about at this point.

Below are suggestions for annotations:

• Question the text.

– Ask questions to clarify: “What does this mean?” or “Why does (character) do this?”

– Ask questions to analyze or interpret the text (Level 2 questions).

– Ask questions to explore universal, thematic ideas presented in the text (Level 3 questions).

• Form personal responses to the text.

– “I can tell that…”

– “This reminds me of…”

– “This makes me feel…”

• interpret the text.

– Explain a character’s motivation for saying or doing something.

– Explain the importance of the setting to the action in the story.

– Comment on the significance of a character’s action or words.

2. Note at least four words in the chapter that are italicized. Decide why these words are italicized, and include that information on sticky notes in the margin.

3. How did this process of marking/annotating affect the way you read the chapter? Did you have to read any part of the chapter more than once?

Word ConneCtions

The order of words in an analogy is important. If the descriptor comes first in one pair, the descriptor should come first in the second pair. The descriptors should be parallel. Which of these analogies is parallel?

a. gentle : Fiona :: Asher : playful

b. gentle : Fiona :: playful : Asher

Now you try it. Complete this analogy with appropriate describing words.

: Jonas :: : Giver


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Activity

Evolution of a Hero1.25

SUGGESTED LEARNING STRATEGIES: Drafting, Graphic Organizer, think-Pair-Share, Looping

Review your Characterization graphic organizer from Activity 1.19. Based on your reading of the novel thus far, complete the characterization graphic organizer below, using textual evidence to support your analysis. Use precise words. You may want to refer to a thesaurus.

Look back at Jonas’s actions. Would you describe any of his actions as heroic? Explain.

Writing Prompt: Write a well-developed paragraph comparing and contrasting Jonas from the beginning of the novel until now. Be sure to support your argument with textual evidence, and use comparison organization and appropriate transitions. Once you have drafted a paragraph, exchange your draft with a partner. Evaluate whether your partner’s organization is consistent. Highlight one sentence that could benefit from more detail or explanation. Return papers and revise the highlighted area.

characterization of JonasAnalysis Textual Evidence

His actions

His appearance

His thoughts

His words

What others say about him/how others treat him


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Activity

1.26An Epilogue for The GiverSUGGESTED LEARNING STRATEGIES: Drafting, Group Discussions

People have interpreted the ending of The Giver in a variety of ways. Use your imagination and invent an epilogue to the novel that reveals what happens to Jonas and Gabe when their sled reaches the bottom of that hill.

1. All narratives include a beginning, middle, and end. Plot the events of your chapter on separate paper.

2. You have spent some time analyzing Jonas’s character, but what about the people he meets when he reaches Elsewhere? Describe them by recreating the graphic organizers you completed about Jonas when you brainstormed methods of characterization.

3. Lowry uses sensory details to describe the snow and the hill. Follow her example, and create sensory details to allow your reader to experience the place where the boys find themselves in your epilogue.

4. Now use these notes and other prewriting that you choose to draft an epilogue for The Giver.


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by Lois Lowry

The Newbery Medal is awarded to the author of the most distinguished contribution to literature for children published in the United States during the preceding year. The Giver won the Newbery Medal in 1994. In her acceptance speech, author Lois Lowry explains how her own memories inspired ideas for her book.

“How do you know where to start?” a child asked me once, in a schoolroom, where I’d been speaking to her class about the writing of books. I shrugged and smiled and told her that I just start wherever it feels right.

This evening it feels right to start by quoting a passage from The Giver, a scene set during the days in which the boy, Jonas, is beginning to look more deeply into the life that has been very superficial, beginning to see that his own past goes back further than he had ever known and has greater implications than he had ever suspected.

… now he saw the familiar wide river beside the path differently. He saw all of the light and color and history it contained and carried in its slow-moving water; and he knew that there was an Elsewhere from which it came, and an Elsewhere to which it was going.

MyNotes

Author’s Purpose: Lowry’s Newbery Acceptance SpeechSUGGESTED LEarninG STraTEGiES: Notetaking, Think-Pair-Share, Word Map, Summarizing

S p e e c h


as the child of a military officer, Lois Lowry (b. 1937) grew up in a number of places. Her work—in a variety of styles and on a variety of subjects from humorous to very serious—always deals with human connections. She has written more than 30 books for young readers, including the popular anastasia Krupnik novels. Lowry has won the newbery Medal twice—for Number the Stars in 1990 and for The Giver in 1994.

AcTiviTy

1.27


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Every author is asked again and again the question we probably each have come to dread the most: HOW DID YOU GET THIS IDEA? We give glib, quick answers because there are other hands raised, other kids in the audience waiting.

I’d like, tonight, to dispense with my usual flippancy and glibness and try to tell you the origins of this book. It is a little like Jonas looking into the river and realizing that it carries with it everything that has come from an Elsewhere. A spring, perhaps, at the beginning, bubbling up from the earth; then a trickle from a glacier; a mountain stream entering farther along; and each tributary bringing with it the collected bits and pieces from the past, from the distant, from the countless Elsewheres: all of it moving, mingled, in the current.

For me, the tributaries are memories, and I’ve selected only a few. I’ll tell them to you chronologically. I have to go way back. I’m starting forty-six years ago.

In 1948, I am eleven years old. I have gone with my mother, sister, and brother to join my father, who has been in Tokyo for two years and will be there for several more.

We live there, in the center of that huge Japanese city, in a small American enclave with a very American name: Washington Heights. We live in an American style house, with American neighbors, and our little community has its own movie theater, which shows American movies; and a small church, a tiny library, and an elementary school; and in many ways it is an odd replica of a United States village.

(In later, adult years I was to ask my mother why we had lived there instead of taking advantage of the opportunity to live within the Japanese community and to learn and experience a different way of life. But she seemed surprised by my question. She said that we lived where we did because it was comfortable. It was familiar. It was safe.)

At eleven years old I am not a particularly adventurous child, nor am I a rebellious one. But I have always been curious.

I have a bicycle. Again and again — countless times — without my parents’ knowledge, I ride my bicycle out the back gate of the fence that surrounds our comfortable, familiar, safe American community. I ride down a hill because I am curious and I enter, riding down that hill, an unfamiliar, slightly uncomfortable, perhaps even unsafe — though I never feel it to be — area of Tokyo that throbs with life.

AcTiviTy 1.27

continued

MyNotes


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It is a district called Shibuya. It is crowded with shops and people and theaters and street vendors and the day-to-day bustle of Japanese life.

I remember, still, after all these years, the smells: fish and fertilizer and charcoal; the sounds: music and shouting and the clatter of wooden shoes and wooden sticks and wooden wheels; and the colors: I remember the babies and toddlers dressed in bright pink and orange and red, most of all; but I remember, too, the dark blue uniforms of the schoolchildren: the strangers who are my own age.

I wander through Shibuya day after day during those years when I am eleven, twelve, and thirteen. I love the feel of it, the vigor and the garish brightness and the noise: all of such a contrast to my own life.

But I never talk to anyone. I am not frightened of the people, who are so different from me, but I am shy. I watch the children shouting and playing around a school, and they are children my age, and they watch me in return; but we never speak to one another.

One afternoon I am standing on a street corner when a woman near me reaches out, touches my hair, and says something. I back away, startled, because my knowledge of the language is poor and I misunderstand her words. I think she has said, “Kirai-des” meaning that she dislikes me; and I am embarrassed, and confused, wondering what I have done wrong: how I have disgraced myself.

Then, after a moment, I realize my mistake. She has said, actually, “Kirei-des.” She has called me pretty. And I look for her, in the crowd, at least to smile, perhaps to say thank you if I can overcome my shyness enough to speak. But she is gone.

I remember this moment — this instant of communication gone awry — again and again over the years. Perhaps this is where the river starts.

In 1954 and 1955 I am a college freshman, living in a very small dormitory, actually a converted private home, with a group of perhaps fourteen other girls. We are very much alike. We wear the same sort of clothes: cashmere sweaters and plaid wool skirts, knee socks, and loafers. We all smoke Marlboro cigarettes and we knit — usually argyle socks for our boyfriends — and play bridge. Sometimes we study; and we get good grades because we are all the cream of the crop, the valedictorians and class presidents from our high schools all over the United States. One of the girls in our dorm is not like the rest of us. She doesn’t wear our uniform. She wears blue jeans instead of skirts, and

AcTiviTy 1.27

continued

Author’s Purpose: Lowry’s Newbery Acceptance Speech

MyNotes


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she doesn’t curl her hair or knit or play bridge. She doesn’t date or go to fraternity parties and dances.

She’s a smart girl, a good student, a pleasant enough person, but she is different, somehow alien, and that makes us uncomfortable. We react with a kind of mindless cruelty. We don’t tease or torment her, but we do something worse: we ignore her. We pretend that she doesn’t exist. In a small house of fourteen young women, we make one invisible.

Somehow, by shutting her out, we make ourselves feel comfortable. Familiar. Safe.

I think of her now and then as the years pass. Those thoughts — fleeting, but profoundly remorseful — enter the current of the river.

In the summer of 1979, I am sent by a magazine I am working for to an island off the coast of Maine to write an article about a painter who lives there alone. I spend a good deal of time with this man, and we talk a lot about color. It is clear to me that although I am a highly visual person — a person who sees and appreciates form and composition and color — this man’s capacity for seeing color goes far beyond mine.

I photograph him while I am there, and I keep a copy of his photograph for myself because there is something in his face — his eyes — which haunts me.

Later I hear that he has become blind.

I think about him — his name is Carl Nelson — from time to time. His photograph hangs over my desk. I wonder what it was like for him to lose the colors about which he was so impassioned.

I wish, in a whimsical way, that he could have somehow magically given me the capacity to see the way he did.

A little bubble begins, a little spurt, which will trickle into the river. In 1989 I go to a small village in Germany to attend a wedding of one of my sons. In an ancient church, he marries his Margret in a ceremony conducted in a language I do not speak and cannot understand.

But one section of the service is in English. A woman stands in the balcony of that old stone church and sings the words from the Bible: “Where you go, I will go. Your people will be my people.”

How small the world has become, I think, looking around the church at the many people who sit there wishing happiness to my son and his new wife — wishing it in their own language as I am wishing

AcTiviTy 1.27

continued

MyNotes

Lois Lowry uses dashes to emphasize a point or to set off an explanatory comment.

Example: “i think about him – his name is Carl nelson – from time to time.”

&Grammar UsaGe


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it in mine. We are all each other’s people now, I find myself thinking. Can you feel that this memory too, is a stream that is now entering the river?

Another fragment. My father, nearing 90, is in a nursing home. My brother and I have hung family pictures on the walls of his room. During a visit, he and I are talking about the people in the pictures. One is my sister, my parents’ first child, who died young of cancer. My father smiles, looking at her picture. “That’s your sister,” he says happily. “That’s Helen.”

Then he comments, a little puzzled, but not at all sad, “I can’t remember exactly what happened to her.”

We can forget pain, I think. And it is comfortable to do so.

But I also wonder briefly: is it safe to do that, to forget? That uncertainty pours itself into the river of thought which will become the book.

1991. I am in an auditorium somewhere. I have spoken at length about my book, Number the Stars, which has been honored with the 1990 Newbery Medal. A woman raises her hand. When the turn for her question comes, she sighs very loudly and says, “Why do we have to tell this Holocaust thing over and over? Is it really necessary?” I answer her as well as I can — quoting, in fact, my German daughter-in-law, who has said to me, “No one knows better than we Germans that we must tell this again and again.”

But I think about her question — and my answer — a great deal. Wouldn’t it, I think, playing Devil’s Advocate to myself, make for a more comfortable world to forget the Holocaust? And I remember once again how comfortable, familiar, and safe, my parents had sought to make my childhood by shielding me from Elsewhere. But I remember, too, that my response had been to open the gate again and again. My instinct had been a child’s attempt to see for myself what lay beyond the wall.

The thinking becomes another tributary into the river of thought that will create The Giver.

Here’s another memory. I am sitting in a booth with my daughter in a little Beacon Hill pub where she and I often have lunch together. The television is on in the background, behind the bar, as it always is. She and I are talking. Suddenly I gesture to her. I say, “Shhh” because I have heard a fragment of the news and I am startled, anxious, and want to hear the rest. Someone has walked into a fast-food place with

AcTiviTy 1.27

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Sentences that contain a dependent, or subordinate, clause are complex sentences.

Some subordinate clauses function as adjectives. Adjectival clauses begin with a relative pronoun (who, whose, which, that) and, like adjectives, modify a noun or pronoun. Lowry uses adjective clauses to add explanatory information:

One is my sister,…who died young of cancer. (modifies sister)

i have spoken about my book, Number the Stars, which has been honored with the 1990 Newbery Medal. (modifies book)

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an automatic weapon and randomly killed a number of people. My daughter stops talking and waits while I listen to the rest.

Then I relax. I say to her, in a relieved voice, “It’s all right. It was in Oklahoma.” (Or perhaps it was Alabama. Or Indiana.)

She stares at me in amazement that I have said such a hideous thing.

How comfortable I made myself feel for a moment, by reducing my own realm of caring to my own familiar neighborhood. How safe I deluded myself into feeling.

I think about that, and it becomes a torrent that enters the flow of a river turbulent by now, and clogged with memories and thoughts and ideas that begin to mesh and intertwine. The river begins to seek a place to spill over.

When Jonas meets The Giver for the first time, and tries to comprehend what lies before him, he says, in confusion, “I thought there was only us. I thought there was only now.”

In beginning to write The Giver, I created, as I always do, in every book, a world that existed only in my imagination — the world of “Only us, only now.” I tried to make Jonas’s world seem familiar, comfortable, and safe, and I tried to seduce the reader. I seduced myself along the way. It did feel good, that world. I got rid of all the things I fear and dislike: all the violence, prejudice, poverty, and injustice; and I even threw in good manners as a way of life because I liked the idea of it.

One child has pointed out, in a letter, that the people in Jonas’s world didn’t even have to do dishes.

It was very, very tempting to leave it at that.

But I’ve never been a writer of fairy tales. And if I’ve learned anything through that river of memories, it is that we can’t live in a walled world, in an “only us, only now” world where we are all the same and feel safe. We would have to sacrifice too much. The richness of color and diversity would disappear. Feelings for other humans would no longer be necessary. Choices would be obsolete.

And besides, I had ridden my bike Elsewhere as a child, and liked it there, but had never been brave enough to tell anyone about it. So it was time.

A letter that I’ve kept for a very long time is from a child who has read my book called Anastasia Krupnik. Her letter — she’s a little girl named Paula from Louisville, Kentucky — says:

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“I really like the book you wrote about Anastasia and her family because it made me laugh every time I read it. I especially liked when it said she didn’t want to have a baby brother in the house because she had to clean up after him every time and change his diaper when her mother and father aren’t home and she doesn’t like to give him a bath and watch him all the time and put him to sleep every night while her mother goes to work.”

Here’s the fascinating thing: nothing that the child describes actually happens in the book. The child — as we all do — has brought her own life to a book. She has found a place, a place in the pages of a book, that shares her own frustrations and feelings.

And the same thing is happening — as I hoped it would happen — with The Giver.

Those of you who hoped that I would stand here tonight and reveal the “true” ending, the “right” interpretation of the ending, will be disappointed. There isn’t one. There’s a right one for each of us, and it depends on our own beliefs, our own hopes.

Let me tell you a few endings which are the right endings for a few children out of the many who have written to me.

From a sixth grader: “I think that when they are traveling they were traveling in a circle. When they came to Elsewhere it was their old community, but they had accepted the memories and all the feelings that go along with it …”

From another: “Jonas was kind of like Jesus because he took the pain from everyone else in the community so they wouldn’t have to suffer. And, at the very end of the book, when Jonas and Gabe reached the place that they knew as Elsewhere, you described Elsewhere as if it were Heaven.”

And one more: “A lot of people I know would hate the ending, but not me. I loved it. Mainly because I got to make the book happy. I decided they made it. They made it to the past. I decided the past was our world, and the future was their world. It was parallel worlds.”

Finally, from one seventh-grade boy: “I was really surprised that they just died at the end. That was a bummer. You could have made them stay alive, I thought.”

Very few find it a bummer. Most of the young readers who have written to me have perceived the magic of the circular journey. The truth that we go out and come back, and that what we come back to

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is changed, and so are we. Perhaps I have been traveling in a circle, too. Things come together and become complete.

Here is what I’ve come back to:

The daughter who was with me and looked at me in horror the day I fell victim to thinking we were “only us, only now” (and that what happened in Oklahoma, or Alabama, or Indiana didn’t matter) was the first person to read the manuscript of The Giver. The college classmate who was “different” lives, last I heard, very happily in New Jersey with another woman who shares her life. I can only hope that she has forgiven those of us who were young in a more frightened and less enlightened time.

My son, and Margret, his German wife — the one who reminded me how important it is to tell our stories again and again, painful though they often are — now have a little girl who will be the receiver of all of their memories. Their daughter had crossed the Atlantic three times before she was six months old. Presumably my granddaughter will never be fearful of Elsewhere.

Carl Nelson, the man who lost colors but not the memory of them, is the face on the cover of the book. He died in 1989 but left a vibrant legacy of paintings. One hangs now in my home.

And I am especially happy to stand here tonight on this platform with Allen Say because it truly brings my journey full circle. Allen was twelve years old when I was. He lived in Shibuya, that alien Elsewhere that I went to as a child on a bicycle. He was one of the other, the Different, the dark-eyed children in blue school uniforms, and I was too timid then to do more than stand at the edge of their school yard, smile shyly, and wonder what their lives were like.

Now I can say to Allen what I wish I could have then: “Watashi-no tomodachi des.” Greetings, my friend.

I have been asked whether the Newbery Medal is, actually, an odd sort of burden in terms of the greater responsibility one feels. Whether one is paralyzed by it, fearful of being able to live up to the standards it represents.

For me the opposite has been true. I think the 1990 Newbery freed me to risk failure.

Other people took that risk with me, of course. One was my editor, Walter Lorraine, who has never to my knowledge been afraid to take a chance. Walter cares more about what a book has to say than he does

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One of the reasons that Lowry’s speech flows smoothly is that she uses a variety of sentence structures. notice these examples:

Simple: One hangs now in my home.

complex: allen was twelve years old when i was.

compound: He was one of the other, …and i was too timid then….

When you write paragraphs or essays, use a variety of types of sentences. The different structures and lengths give writing a pleasant and fluent rhythm.

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about whether he can turn it into a stuffed animal or a calendar or a movie.

The Newbery Committee was gutsy, too. There would have been safer books. More comfortable books. More familiar books. They took a trip beyond the realm of sameness with this one, and I think they should be very proud of that.

And all of you, as well. Let me say something to those of you here who do such dangerous work.

The man that I named The Giver passed along to the boy knowledge, history, memories, color, pain, laughter, love, and truth. Every time you place a book in the hands of a child, you do the same thing.

It is very risky.

But each time a child opens a book, he pushes open the gate that separates him from Elsewhere. It gives him choices. It gives him freedom.

Those are magnificent, wonderfully unsafe things.

I have been greatly honored by you now, two times. It is impossible to express my gratitude for that. Perhaps the only way, really, is to return to Boston, to my office, to my desk, and to go back to work in hopes that whatever I do next will justify the faith in me that this medal represents.

There are other rivers flowing.

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Activity

1.28Alien EscapeSUGGESTED LEarninG STraTEGiES: Graphic Organizer, Notetaking, visualizing

With your partner, fill in the two blocks of the Film Techniques chart that your teacher assigns. Then, you will work with another pair of students to complete the remaining block of the chart.

Film techniques

Framing (LS, MS, cU, EcU)

camera Angles

Lighting


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Activity 1.28

continued Alien Escape

Hero’s Journey

characteristics of the Hero’s Journey

Evidence of characteristics in this Film clip

Departure

call to Adventure

Refusal of the call

the Beginning of the Adventure

Initiation

the Road of trials

the Experience with Unconditional Love

the Ultimate Boon

Return

Refusal of the Return

the Magic Flight

Rescue from Without

the crossing or Return threshold

Prompt: Select one step from each stage and create a visual representation that establishes the connection between the film and the hero’s journey. include captions with your visual representations to explain to your audience what is happening. Use framing, angles, and color for effect in your visuals.


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Graphic Novels: Visualizing an IncidentSUGGESTED LEarninG STraTEGiES: Graphic Organizer, Skimming/Scanning, Previewing, Summarizing, Rereading

My Notes

Activity

1.29

Graphic Novelby Marjane Satrapi


Marjane Satrapi grew up in Tehran, iran. as a child, she observed the increasing loss of civil liberties in her country. at the age of 14, her parents sent her to austria to escape the turmoil in iran. after returning to iran for a brief period as an adult, Satrapi moved to France where she lives today and works as an illustrator and author of children’s books.


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Graphic Novels: Visualizing an IncidentActivity 1.29

continued

My Notes

Literary termsa plot is the sequence of related events that make up a story or novel.


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Activity 1.29

continued Graphic Novels: Visualizing an Incident

List the characteristics of graphic novels:

1. as you read a chapter from Persepolis, revisit your list of graphic novel characteristics. add to or revise what you have listed.

2. What do you know about the iranian revolution? Write two questions you have about the iranian revolution.

3. as directed by your teacher, conduct research to find information about the iranian revolution. after you have completed your research, revisit the chapter. What makes sense now that previously you misunderstood? List five important and relevant facts you found.

4. Look closely at the way dialogue is displayed in the graphic novel. notice the following aspects of dialogue balloons:

• There are no quotation marks around the dialogue.

• The dialogue balloons connect to or near the character’s body to indicate who is speaking.

• Dialogue balloons are read from left to right, and from top to bottom. This pattern makes clear the order of speakers.

• To distinguish narration from dialogue, narration is located along the top of a cell, not in a balloon.

5. Create a Venn diagram to compare and contrast the effects of telling this story as a graphic novel and in a prose format.


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Embedded Assessment 2 Visualizing an Event in Jonas’s

JourneySUGGESTED LEarninG STraTEGiES: Drafting, Visualizing

Assignment

Your assignment is to work with a partner to create a visual representation, in the form of a graphic novel, illustrating Jonas’s journey in relationship to the hero’s journey archetype. You will also write a reflective text analyzing how Jonas’s journey fits into the archetypal pattern of the hero’s journey and explaining the choices you made in creating the text. You will present your text to the class.

Steps

Planning

1. review samples of graphic novels/comic books you have read in class, that you have brought to class, or that have been provided by your teacher. review the structural and literary elements of this genre. You might wish to list them in a graphic organizer.

Creating

2. Connect Jonas’s journey to the hero’s journey archetype. You may or may not use all the steps in a stage of the hero’s journey, but you should use at least two steps from each stage.

3. Create a sequence of illustrations for Jonas’s journey that consists of approximately 6–8 scenes or panels (one panel per step). Make sure that your graphics accurately represent the steps in the archetypal pattern of the hero’s journey. Purposefully use a variety of framing and angle techniques to create variety and interest in your text, and choose color and detail that support your purpose.

4. Create at least one dialogue balloon in each panel to further establish the connection to the hero’s journey. include relevant and accurate quotations from the novel that reflect insights about the journey. You may also incorporate quotations from the novel as narrative.

5. Create a title for your story.

6. Write a reflective text to accompany your graphic novel. This reflection should explain the relationship of Jonas’s journey to the hero’s journey archetype in a way that demonstrates your thorough understanding of the concept. You should also reflect on the color, detail, and framing and angle techniques you used to create your graphic novel. Explain how these choices illustrate your ideas about Jonas as an archetypal hero.

7. Consult the Scoring Guide to ensure that you have met specific criteria.


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Embedded Assessment 2 Visualizing an Event in Jonas’s Journey

Presenting

8. Present your graphic novel to the class, using ideas from your reflective text to explain your interpretation of Jonas as an archetypal hero.

TECHNOLOGY TIP if you have software available for creating graphics, you may want to use it to create your text. Be sure to budget your time so that you are able to complete the assignment.


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SCoring gUiDE

Scoring Criteria Exemplary Proficient Emerging

graphic novel

The text vividly demonstrates seven or more steps in the hero’s journey.

The product contains visually compelling panels that incorporate skillful use of color, detailed images with effective framing and angle techniques, and dialogue balloons with at least three direct quotations from the novel to clearly represent steps in the hero’s journey.

The text demonstrates at least six steps in the hero’s journey.

The product contains visually appealing panels that incorporate thoughtful use of color, images with purposeful framing and/or angle techniques, and dialogue balloons with at least two direct quotations from the novel to clearly represent steps in the hero’s journey.

The text demonstrates five or fewer steps in the hero’s journey.

The visual images and dialogue balloons are incomplete, inaccurate, and/or inappropriate and may not directly represent the steps in the hero’s journey.

reflective Text

The written explanation shows an insightful understanding of how Jonas fits the archetypal pattern of the hero’s journey and provides a perceptive and detailed explanation of the color, detail, and framing/angle techniques used.

The written explanation shows a clear understanding of how Jonas fits the archetypal pattern of the hero’s journey and provides an adequate explanation of the color, detail, and framing/angle techniques used.

The written explanation shows a limited understanding of how Jonas fits the archetypal pattern of the hero’s journey and provides an inadequate explanation of the color, detail, and framing/angle techniques used.

Presentation The oral presentation is clear, engaging, and insightful.

it shows extensive evidence of collaboration and planning.

The oral presentation is clear and thoughtful.

it shows evidence of collaboration and planning.

The oral presentation is disorganized and unclear. it lacks collaboration and planning.

Additional Criteria

Comments:


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1Unit

Thinking About ThinkingPortfolio Entry

Concept:

Description of artifact:

Commentary on Questions:

Reflectionan important aspect of growing as a learner is to reflect on where you have been, what you have accomplished, what helped you to learn, and how you will apply your new knowledge in the future. Use the following questions to guide your thinking and to identify evidence of your learning. Use separate notebook paper.

Thinking about Concepts 1. Using specific examples from this unit, respond to the Essential

Questions:

• What defines a hero?

• How do visual images enhance or create meaning?

2. Consider the new academic vocabulary from this unit (Diction, Archetype, Definition Essay, nonprint Text, Compare/Contrast, imagery), and select 3–4 terms of which your understanding has grown. For each term, answer the following questions:

• What was your understanding of the word before you completed this unit?

• How has your understanding of the word evolved throughout the unit?

• How will you apply your understanding in the future?

Thinking about Connections 3. review the activities and products (artifacts) you created. Choose those

that most reflect your growth or increase in understanding.

4. For each artifact that you choose, record, respond to, and reflect on your thinking and understanding, using the following questions as a guide:

a. What skill/knowledge does this artifact reflect, and how did you learn this skill/knowledge?

b. How did your understanding of the power of language expand through your engagement with this artifact?

c. How will you apply this skill or knowledge in the future?

5. Create this reflection as Portfolio pages—one for each artifact you choose. Use the model in the box for your headings and commentary on questions.


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the challenge of heroism€¦ · unit1 the challenge of heroism goals c to define various traits...

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