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In fifth grade unit 5, Reading Historical Fiction Book Clubs, students will be organized into reading clubs consisting of 3-5 students of similar reading levels as they read historical fiction text set made up of related historical fiction, informational text and primary sources (photographs, letters, posters etc.) How do readers read, analyze and interpret historical fiction text? to understand their historical fiction and the time period connected to the text.
Summarize a written text read aloud or information presented in diverse media and formats, including visually, quantitatively, and orally. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.
V is for vocabulary. A content area unit provides the theme for a specialized ABC book, as students select, research, define, and illustrate a word for each alphabet letter.
Adapting the song "A-Hunting We Will Go," students put a "whale" in a "pail" and even "take a little "bear" and hug it if we "dare"."
Students increase their understanding of alphabet books by participating in a variety of reading and writing activities.
This online tool enables students to learn about and write acrostic poems. Elements of the writing process are also included.
Students create acrostic poems using their names and the names of things that are important to them.
Creating an illustrated alphabet book of action words, from "attack" to "zap", reinforces the definition of verbs as it stretches and expands students' vocabulary.
Students must "become" a character in a novel in order to describe themselves and other characters using powerful adjectives.
Using names and high-frequency words from nursery rhymes and the Big Book "The Enormous Watermelon", students engage in word recognition activities such as character identification and a word matching game.
This recurring lesson encourages students to comprehend their reading through inquiry and collaboration. They choose important quotations from the text and work in groups to formulate "quiz" questions that their peers will answer.
Given the secondary position of persons of African descent throughout their history in America, it could reasonably be argued that all efforts of creative writers from that group are forms of protest. However, for purposes of this discussion, Defining African American protest poetrysome parameters might be drawn. First—a definition. Protest, as used herein, refers to the practice within African American literature of bringing redress to the secondary status of black people, of attempting to achieve the acceptance of black people into the larger American body politic, of encouraging practitioners of democracy truly to live up to what democratic ideals on American soil mean. Protest literature consists of a variety of approaches, from the earliest literary efforts to contemporary times. These include articulating the plight of enslaved persons, challenging the larger white community to change its attitude toward those persons, and providing specific reference points for the nature of the complaints presented. In other words, the intention of protest literature was—and remains—to show inequalities among races and socio-economic groups in America and to encourage a transformation in the society that engenders such inequalities. For African Americans, Some of the questions motivating African American protest poetrythat inequality began with slavery. How, in a country that professed belief in an ideal democracy, could one group of persons enslave another? What forms of moral persuasion could be used to get them to see the error of their ways? In addition, how, in a country that professed belief in Christianity, could one group enslave persons whom Christian doctrine taught were their brothers and sisters? And the list of “hows” goes on. How could white Americans justify Jim Crow? Inequalities in education, housing, jobs, accommodation, transportation, and a host of other things? In response to these “hows,” another “how” emerged. How could writers use their imaginations and pens to bring about change in the society? Protest literature, therefore, focused on such issues and worked to rectify them. Poetry is but one of the media through which writers address such issues, as there are forms of protest fiction, drama, essays, and anything else that African Americans wrote—and write.
Tradition and technology come together in this lesson in which students learn about Alaskan animals through Native American tales and their own online research.
Students learn about alliteration, and then practice using alliteration in acrostic poems, tongue twisters, alphabet books, and number books.
Students will be introduced to the term alliteration and create a headline poem consisting of 25 words that contain at least three examples of alliteration.
Students compare attending a performance at The Globe Theater with attending a modern theater production or movie. They then create a commercial for an Elizabethan audience promoting a modern product.
Students write original stories using alphabetical order, beginning each page with a new letter, and then illustrate their texts in class or at home with their families.
The traditional autobiography writing project is given a twist as students write alphabiographies - recording an event, person, object, or feeling associated with each letter of the alphabet.
After reading Avis novel "Who Was That Masked Man, Anyway?", students create an alter ego for themselves and use it to write their own radio show, modeled after the book.
Through a close reading of "Amelia Bedelia", students reread the material to discuss text-dependent questions, promoting deep thinking about the text and its characters.