WW_L8_M2_TE_23A_887915_Updated 11.22

Grade 8 Module 2

The Great

Teacher Edition

War

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Table of Contents

MODULE OVERVIEW

Module Summary 2 Module at a Glance 3 Texts 4

Module Learning Goals 5 Module in Context 6 Standards ............................................................................................................................... ........................................................... 7 Major Assessments ............................................................................................................................... ......................................... 9 Module Map ............................................................................................................................... ................................... 11

INSTRUCTIONAL LESSONS

Focusing Question: Lessons 1–5

Why did countries and individuals join World War I?

Lesson 1 ............................................................................................................................... ............................................... 23

n TEXTS: “The War to End All Wars,” Shari Lyn Zuber (Handout 1A) • “The Peace President Goes to War,” Duane Damon (Handout 1B)

¢ Vocabulary Deep Dive: Examine Academic Vocabulary: Affect, effect

Lesson 2 37

n TEXTS: “The War to End All Wars,” Shari Lyn Zuber (Handout 1A) • “The Peace President Goes to War,” Duane Damon (Handout 1B) ¢ Vocabulary Deep Dive: Explore Content Vocabulary: Patriotism, nationalism

Lesson 3 51

n TEXTS: “The Teenage Soldiers of World War One,” BBC • “The Peace President Goes to War” (Handout 1B) ¢ Style and Conventions Deep Dive: Execute: Avoid Redundancies

Lesson 4 ............................................................................................................................... .............................................. 63

n TEXT: “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Initiated, exhorted, and coerced

Lesson 5 ............................................................................................................................... .............................................. 73

n TEXTS: “The War to End All Wars,” Shari Lyn Zuber (Handout 1A). “The Peace President Goes to War,” Duane Damon (Handout 1B) • “The Teenage Soldiers of World War One,” BBC • “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker

¢ Style and Conventions Deep Dive: Excel: Eliminate Wordiness and Redundancies

* You can find detailed explanations of all instructional routines in “Wheatley English Core Instructional Routines, K-2”.

Focusing Question: Lessons 6–16

How did the conditions on the front affect soldiers?

Lesson 6 ............................................................................................................................... .................................................................. 81

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Content Vocabulary: Military Terms and Expressions

Lesson 7 ............................................................................................................................... .............................................. 93

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Beckons, ostracized

Lesson 8 103

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Threshold

Lesson 9 113

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Irony

Lesson 10 ............................................................................................................................... .................................... 123

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Academic Vocabulary

Lesson 11 ............................................................................................................................... ............................................ 131

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Sensibilities

Lesson 12 141

n TEXT: “Fighting from the Trenches,” Kathryn M. Horst (Handout 12A)

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Elaborate

Lesson 13 153

n TEXTS: Gassed, John Singer Sargent • All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Insubordination Lesson 14 165

n TEXTS: Gassed, John Singer Sargent • All Quiet on the Western Front, Erich Maria Remarque • “Fighting from the Trenches,” Kathryn M. Horst (Handout 12A)

¢ Style and Conventions Deep Dive: Examine Shifts in Verb Mood

Lesson 15 ............................................................................................................................... .......................................... 177

n TEXTS: Gassed, John Singer Sargent • All Quiet on the Western Front, Erich Maria Remarque

¢ Style and Conventions Deep Dive: Experiment: Recognize and Correct Inappropriate Shifts in Verb Moods

Lesson 16 189

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • “Fighting from the Trenches,” Kathryn M. Horst (Handout 12A)

¢ Style and Conventions Deep Dive: Execute: Recognize and Correct Inappropriate Shifts in Verb Moods

Focusing Question: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

Lesson 17.................................................................................................................................................................................................................... 197

n TEXTS: Soldiers Playing Cards, Fernand Léger • All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Vocabulary Assessment

Lesson 18 ............................................................................................................................... ......................................... 205

n TEXTS: Soldiers Playing Cards, Fernand Léger • “In Flanders Fields,” John McCrae • “Dulce et Decorum Est,” Wilfred Owen

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Ardent, zest

Lesson 19 219

n TEXTS: “In Flanders Fields,” John McCrae • “Dulce et Decorum Est,” Wilfred Owen

Lesson 20 231

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • Soldiers Playing Cards, Fernand Léger

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: trud, trus Lesson 21............................................................................................................................... .......................................... 243

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • All Quiet on the Western Front, Lewis Milestone

¢ Style and Conventions Deep Dive: Examine Active and Passive Voices

Lesson 22 255

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • All Quiet on the Western Front, Lewis Milestone ¢ Vocabulary Deep Dive: Explore Academic Vocabulary: ject

Lesson 23 269

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • “Fighting from the Trenches,” Kathryn M. Horst (Handout 12A) • “The Peace President Goes to War,” Duane Damon (Handout 1B)

¢ Style and Conventions Deep Dive: Experiment with Active and Passive Verb Voices

Lesson 24 ............................................................................................................................... ......................................... 283

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • “The Charge,” All Quiet on the Western Front, Lewis Milestone

¢ Style and Conventions Deep Dive: Execute with Active and Passive Voices

Lesson 25 293

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • “Forgive Me, Comrade,” All Quiet on the Western Front, Lewis Milestone

¢ Style and Conventions Deep Dive: Execute: Identify Shifts in Verb Voice

Lesson 26 305

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • All Quiet on the Western Front, Lewis Milestone

¢ Style and Conventions Deep Dive: Excel: Correct Inappropriate Shifts in Verb Voice

Focusing Question: Lesson 27–33

What are the psychological effects of war?

Lesson 27 315

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

Lesson 28 327

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

Lesson 29 337

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • “The Teenage Soldiers of World War One,” BBC ¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Dis–Lesson 30 347

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Vocabulary Deep Dive: Explore Academic Vocabulary: Superfluous Lesson 31 ............................................................................................................................... ..................... 359

n TEXT: The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley

¢ Style and Conventions Deep Dive: Examine and Experiment: Ellipsis to Indicate Omission Lesson 32 ............................................................................................................................... ....................................................... 371

n TEXT: The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley

¢ Style and Conventions Deep Dive: Execute: Use an Ellipsis to Indicate an Omission Lesson 33 381

n TEXTS: All Module Texts

¢ Style and Conventions Deep Dive: Excel: Use an Ellipsis to Indicate an Omission

Focusing Question: Lesson 34–37

How does All Quiet on the Western Front illuminate the effects of World War I?

Lesson 34 ............................................................................................................................... .......................................... 391

n TEXTS: All Quiet on the Western Front, Erich Maria Remarque • “The Teenage Soldiers of World War One,” BBC ¢ Vocabulary Deep Dive: Vocabulary Assessment

Lesson 35 ............................................................................................................................... ..................................................... 403

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

Lesson 36 409

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

Lesson 37 417

n TEXT: All Quiet on the Western Front, Erich Maria Remarque

¢ Style and Conventions Deep Dive: Excel: Peer Edit

Appendices

Appendix A: Text Complexity 425

Appendix B: Vocabulary 427

Appendix C: Answer Keys, Rubrics, and Sample Responses 441

Appendix D: Volume of Reading 461

Appendix E: Works Cited 463

Teacher Edition

GRADE 8 MODULE 2

The Great War

Module Summary

I am young; I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another.

—Eric Maria Remarque, All Quiet on the Western Front, 1929

What were the effects of War World I? How can literature and art illuminate an understanding of the experience of individuals who were thrust into this conflict? What mental scars remained once the fight was over? Students explore these questions in order to develop an understanding of how literature and art can communicate and even deepen our understanding of the effects of World War I by examining artistic responses to the war and learning about the realities of modern warfare.

War is an unfortunate reality throughout all periods of human history. As technology and the conflicts that spark wars become increasingly complex, it is important for students to understand the way war shapes the individual experience, as well as generates artistic responses. World War I is but one example of how increasing modernization led to a new kind of warfare with grave consequences. Tanks, gas, and the trenches that snaked across the European countryside are symbolic of the physical and mental devastation that soldiers and those at home faced as a result of the war. Responses in art and literature through Cubism and other Modernist artistic movements provide powerful examples of the way artistic inspiration can be a response to, or its creation motivated by, war. In this module, students explore the ways that a devastating war can also inspire powerful aesthetic responses, and focus their analysis on an understanding of literary and artistic texts as entrenched in the events of the real world. Far from representing forms of escapism, novels, poetry, painting, and film represent rich and varied responses that interpret and express the effects of world-changing events on humanity. Art and literature in this module are presented not as distinct or separate from their cultural context but as directly and inextricably related. The themes, techniques, and content of the art and literature students encounter in this module provide a foundational exploration of the kinds of responses the artistic and literary communities produced in the wake of World War I. Students develop an understanding of how World War I affected an entire generation of young men and women and examine closely the art and literature that shaped the way we remember and view this war.

To begin their exploration of the Great War, students read a series of informational articles focusing on the inciting incidents of the conflict and the responses of British and American people, some who considered it their duty to fight and others who resisted participation at the outset. Throughout the module, students read and closely examine great art and literature that respond to the war, including the poems “In Flanders Fields,” and “Dulce et Decorum Est,” two iconic pieces of literature about World War I. They also view paintings by Cubist artist Fernand Léger, his seminal work Soldiers Playing Cards, and John Singer Sargent’s famous painting Gassed, and read an article about artistic responses to the war. Finally, a variety of informational articles provide context for the realities of World War I and show diverse perspectives that range from female ambulance drivers at the front to a more historic overview of trench warfare.

And perhaps there is no more famous artistic response to the war than a novel penned by a young German soldier, translated by a British soldier, and read across nations. The core text of this module is All Quiet on the Western Front, by Erich Maria Remarque, which chronicles the experience of a group of young soldiers, initially idealistic about the war, who become increasingly disillusioned as they witness and are forced to participate in unspeakable violence. Long considered one of the finest pieces of literature about World War I, Remarque’s novel provides a chilling look at an individual experience that has implications for an entire generation.

For their End-of-Module (EOM) Task, students write an informative essay to explain how the experience of Paul, the protagonist of All Quiet on the Western Front, illuminates individual effects of war and suggests larger reverberations through society at large.

Module at a Glance

ESSENTIAL QUESTION

How do literature and art illuminate the effects of World War I?

SUGGESTED STUDENT UNDERSTANDINGS

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As the first modern war, in its length and use of technology, World War I provoked a wideranging and innovative response in literature, visual art, and film.

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Literature and art illuminate individuals’ various experiences of war and convey a sense of how the Great War impacted individuals’ understanding of other humans as well as the future of humanity.

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Literature and art express ways that the war caused an irreparable rupture from the past and the familiar, portraying this effect at the individual level and also more broadly, connecting to larger abstract ideas about the human experience.

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Soldiers experienced grueling and unprecedented conditions on the front that are vividly conveyed through figurative and sensory language in literature and visual and sound techniques in film.

Texts

CORE TEXTS

Novel (Literary)

All Quiet on the Western Front, Erich Maria Remarque (translator A. W. Wheen)

SUPPLEMENTARY TEXTS

Film

All Quiet on the Western Front, Lewis Milestone (excerpts)

“The Charge” (http://witeng.link/0002)

“Before the Storm” (http://witeng.link/0005)

“Forgive me, Comrade” (http://witeng.link/0006)

Historical Accounts

“The Peace President Goes to War,” Duane Damon ƒ

“The War to End All Wars,” Shari Lyn Zuber ƒ

“Fighting from the Trenches,” Kathryn M. Horst ƒ

“The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley (http://witeng.link/0014) ƒ

“‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker (http://witeng.link/0015)

Journalism

“The Teenage Soldiers of World War One,” BBC Magazine (http://witeng.link/0001)

Paintings

Gassed, John Singer Sargent (http://witeng.link/0009) ƒ

Soldiers Playing Cards, Fernand Léger (http://witeng.link/0010)

Poetry

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“Dulce et Decorum Est,” Wilfred Owen (http://witeng.link/0012) ƒ

“In Flanders Fields,” John McCrae (http://witeng.link/0013)

Module Learning Goals

KNOWLEDGE GOALS

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Identify how writers and artists depict attitudes toward World War I. ƒ

Explain how war can have a significant effect on individuals and society at large. ƒ

Analyze how significant incidents from individual experiences of World War I can illuminate the physical and psychological effects of war.

READING GOALS

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Analyze how particular incidents in a novel reveal aspects of a character or provoke a decision and develop the effects of war on individuals (RL.8.1, RL.8.2, RL.8.3). ƒ

Analyze how informative and literary texts convey various attitudes about the war (RL.8.3, RI.8.1, RI.8.3). ƒ

Identify and evaluate choices made by a director or actors in film adaptations and analyze the relationship between the source text and the films in depicting incidents and their effects (RL.8.1, RL.8.3, RL.8.7).

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Identify how an informative text makes connections and distinctions among ideas about the effects of war (RI.8.2, RI.8.3).

WRITING GOALS

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Use well-chosen evidence in order to demonstrate a thorough and comprehensive understanding of a subject in explanatory writing (W.8.2.b, W.8.9). ƒ

Practice organizing evidence and information in explanatory writing by using categories and subcategories (W.8.2.a). ƒ

Draft a thesis statement and a concluding statement that encompass a category and explain its broader significance to demonstrate a nuanced understanding of a category (W.8.2.f).

SPEAKING & LISTENING GOALS

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Listen from a speaker’s perspective, both to demonstrate a sophisticated understanding of the perspective of a character, as well as to build understanding of peers’ perspectives and ideas. (SL.8.1.d).

ƒ Collaborate in Socratic Seminars by building and elaborating on the thinking of others, connecting ideas from multiple speakers, reflecting, and responsively revising or reinforcing their own ideas by thinking aloud (SL.8.6).

LANGUAGE GOALS

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Use clear and precise language to demonstrate understanding of texts and recognize and correct wordiness and redundancy (L.7.3.a).

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Employ indicative, imperative, and interrogative verb moods to show awareness of speaker, context, and ideas and correct inappropriate shifts in verb moods (L.8.1.c, L.8.1.d).

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Form and use active and passive verb voices to emphasize the actor or the action and correct inappropriate shifts in verb mood (L.8.1.b, L.8.1.d, L.8.3.a).

ƒ Apply knowledge of texts to use an ellipsis to indicate an omission of irrelevant information (L.8.2.b).

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Utilize knowledge of prefixes and roots (dis-, punct, cede) and context clues to determine the meanings of unknown words (L.8.4.a, L.8.4.b).

ƒ Distinguish among the connotations and denotations of particular words to better understand each of the words (L.8.5.b, L.8.5.c).

Module in Context

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Knowledge: In Module 2, students extend their Module 1 focus on the power of storytelling by exploring the way literature can illuminate the experiences of an individual transformed by a catastrophic event. In particular, students focus their analysis on what happens when one’s agency is stripped away in the gears of modern warfare. Students’ work in this module focuses on cultivating a deep understanding of the ways in which literature and other artistic mediums can express the psychological and emotional trauma of those who experienced World War I. Students examine the multiple ways texts represent the relationship between war and humanity, thus continuing their exploration of big ideas, which will continue as they study the concepts of love and social advocacy in future modules.

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Reading: Students extend their critical and close reading skills by working with a complex novel and its sophisticated themes, as well as with a range of informational articles, visual art, and film adaptations. While reading Erich Maria Remarque’s All Quiet on the Western Front, students examine the effects that specific incidents have on character development and psychological

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effects of war, while also analyzing how such incidents develop complex themes over the course of a narrative. Students then apply their understanding of the psychological effects of war to an analysis of details and descriptions used in informative accounts of World War I.

Writing: Students study the use of well-chosen evidence as they begin their work with explanatory writing, focusing especially on incorporating different types of evidence (such as statistics or first-person accounts) to develop a specific purpose. Students then use this understanding of evidence in a module-long craft progression, in narrative and explanatory writing, that focuses on using broad conceptual categories, rather than plot or character, as an organizing structure in writing. Students also explore the use of a conclusion that states the larger significance of a piece of writing. Especially in their EOM Task explanatory essay, students apply what they have learned about well-chosen evidence, categories, thesis statements, and conclusions in order to write a clear, logical essay that examines the nuances of a psychological effect of war in literature.

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Speaking and Listening: Students extend their speaking and listening skills in two Socratic Seminars about the effectiveness of different mediums and the way literature and art illuminate the effects of war by elaborating on and responding to others’ thinking, by listening from a speaker’s perspective, and, in the process, revising and rearticulating.

Standards

FOCUS STANDARDS

Reading Literature

RL.8.3 Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision.

RL.8.7 Analyze the extent to which a filmed or live production of a story or drama stays faithful to or departs from the text or script, evaluating the choices made by the director or actors.

Reading Informational Text

RI.8.1 Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

RI.8.3 Analyze how a text makes connections among and distinctions between individuals, ideas, or events (e.g., through comparisons, analogies, or categories).

Writing

W.8.2 Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.

W.8.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)

Language

L.8.1.b Form and use verbs in the active and passive voice.

L.8.1.d Recognize and correct inappropriate shifts in verb voice and mood.

L.8.2.b Use an ellipsis to indicate an omission.

L.8.5.b Use the relationship between particular words to better understand each of the words.

L.8.5.c Distinguish among the connotations (associations) of words with similar denotations (definitions) (e.g., bullheaded, willful, firm, persistent, resolute).

Speaking and Listening

SL.8.1.b Follow rules for collegial discussions and decision-making, track progress toward specific goals and deadlines, and define individual roles as needed.

SL.8.1.d Acknowledge new information expressed by others, and, when warranted, qualify or justify their own views in light of the evidence presented.

CONTINUING STANDARDS

Reading Literature

RL.8.10 By the end of the year, read and comprehend literature, including stories, dramas, and poems, at the high end of grades 6–8 text-complexity band independently and proficiently.

Reading Informational Text

RI.8.10 By the end of the year, read and comprehend literary nonfiction at the high end of the grades 6–8 text-complexity band independently and proficiently.

Language

L.8.6 Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Major Assessments

Focusing Question Task Elements That Support Success on the EOM Task Standards

1. Write two explanatory paragraphs that identify and explain the British and American reasons for joining World War I.

ƒ Supply well-chosen and varied evidence that strongly supports an explanation.

ƒ Demonstrate an understanding of how to choose specific evidence for a particular purpose.

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2. Write a one-page letter from the point of view of a character from All Quiet on the Western Front that demonstrates an understanding of the conditions of the front and their effects on a soldier.

3. Write a three-paragraph explanatory essay that evaluates how a scene from Lewis Milestone’s 1930 adaptation of All Quiet on the Western Front interprets war’s effect on humanity in comparison to the novel.

4. Write a four-paragraph explanatory essay that explains how an article about female shell-shock victims makes connections and distinctions among ideas about the psychological effects of war on men and women.

Use language that expresses ideas precisely and concisely to avoid wordiness and redundancy.

ƒ Demonstrate an understanding of how an incident in the novel reveals aspects of a character.

ƒ Analyze the way literature conveys the conditions on the front and their effects on an individual.

RI.8.1, RI.8.2, W.8.2.a, W.8.2.b, W.8.2.d, W.8.4, L.7.3.a

RL.8.3, W.8.3.a, W.8.3.b, W.8.3.d, W.8.4, W.8.9, L.8.1.c, L.8.1.d

ƒ Synthesize evidence in order to effectively analyze a scene in the novel.

ƒ Analyze a key incident in the novel that reveals effects of war on the humanity of the protagonist.

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Explain a broad idea about the psychological effects of war using evidence.

RL.8.1, RL.8.2, RL.8.7, W.8.2.b, W.8.2.d, W.8.2.e, W.8.2.f, W.8.9, L.8.1.b, L.8.1.d, L.8.6

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Write a thesis statement and conclusion that suggest the broader implications of the psychological effects of war.

RI.8.3, W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9, L.8.2.c, L.8.4.a, L.8.6

New-Read Assessment

1. Read an excerpt from chapter 3 of All Quiet on the Western Front Respond to multiple-choice questions, and then write a paragraph using a broad category that analyzes how descriptive and sensory language illustrates the soldiers’ experience on the front.

Elements That Support Success on the EOM Task Standards

ƒ Analyze a specific incident from All Quiet on the Western Front.

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Demonstrate an understanding of broad categories in explanatory writing.

RL.8.1, RL.8.2, RL.8.4; W.8.2.a; L.8.4.a, L.8.5.a, L.8.5.b

2. Read an excerpt from chapter 7 of All Quiet on the Western Front Respond to multiple-choice questions, and then gather evidence that reveals different depictions of attitudes toward war in the text and write an explanatory paragraph that compares and contrasts the two different attitudes

1. Delineate and analyze the themes of war and humanity that have emerged across multiple texts.

2. Evaluate the module texts and the representations of the psychological effects of war.

Demonstrate an understanding of how literature can illuminate attitudes toward the war. ƒ

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Expand and deepen an understanding of how incidents in the novel reveal aspects of Paul’s character.

RL.8.1, RL.8.3, RL.8.4, L.8.4.a, L.8.5.b

Elements That Support Success on the EOM Task Standards

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Synthesize an understanding of the theme of war and humanity across texts. ƒ

Demonstrate an understanding of the expression and development of a theme in All Quiet on the Western Front

RL.8.1, RL.8.2, RL.8.3, RL.8.4, SL.8.1.b, SL. 8.6, L.8.6

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Synthesize an understanding of how the novel illuminates the effects of World War I. ƒ

Articulate understanding of the psychological effects of war.

RL.8.1, RL.8.2, RI.8.1, RI.8.3, SL.8.1, SL.8.6

End-of-Module Task Criteria for Success Standards

Write an explanatory essay that explains a psychological effect of war on Paul. Examine the different ways this effect is defined and developed in the novel. Establishing the effect as a broad category, identify subcategories, and develop the essay by demonstrating how three incidents in the novel reveal different aspects of this effect.

Identify a psychological effect of war, and show how that psychological effect develops over the course of the novel.

Identify subcategories of the psychological effect, and use subcategories to structure the essay.

Use well-chosen evidence, including incidents from the novel, that demonstrate an understanding of the effects of war on Paul.

RL.8.1, RL.8.2, RL.8.3, W.8.2, W.8.4, W.8.9, L.8.1.b, L.8.1.d, L.8.2.b, L.8.6

Vocabulary Assessments* Elements That Support Success on the EOM Task Standards

Demonstrate understanding of academic, text-critical, and domainspecific words, phrases, and/or word parts.

Acquire and use grade-appropriate academic terms. ƒ Acquire and use domain-specific or text-critical words essential for communication about the module’s topic.

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L.8.6

*While not considered Major Assessments in Wit & Wisdom, Vocabulary Assessments are listed here for your convenience. Please find details on Checks for Understanding (CFUs) within each lesson.

Socratic Seminars

Module Map

Focusing Question 1: Why did countries and individuals join World War I?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

1 “The War to End All Wars”

“The Peace President Goes to War”

Wonder

What do I notice and wonder about “The War to End All Wars” and “The Peace President Goes to War”?

2 “The Peace President Goes to War”

“The War to End All Wars”

Organize What’s happening in two articles about World War I?

Examine Why is well-chosen evidence important?

Analyze the importance of a word related to conflict or tension in developing an idea about why countries joined World War I (RI.8.1, RI.8.3, RI.8.4, L.8.4.a).

Distinguish between the homophones affect and effect, and spell the words correctly (L.8.2.c).

Determine and explain a crucial factor leading to one country’s decision to join World War I using effective evidence (RI.8.1, RI.8.2).

Use the relationship between patriotism and nationalism to better understand the denotation and connotation of each word (L.8.5.b, L.8.5.c).

3 “The Teenage Soldiers of World War One”

Reveal

What does a deeper exploration of the experiences of British teenage soldiers reveal?

Experiment

How does well-chosen evidence work?

Execute

How do I avoid redundancies in my writing?

Analyze how British teenagers’ experience of war develops a larger idea about war’s impact on society using effective evidence (RI.8.1, RI.8.2).

Explore the role of types of evidence in adding precision to the development of a topic (W.8.2.b).

Recognize and correct redundancies in writing (L.7.3.a).

4

“‘Your Country Needs You’: Why Did So Many Volunteer in 1914?”

Distill

What are the central ideas of “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?”?

Experiment

How does well-chosen evidence work?

Demonstrate an understanding of the role of types of evidence in the development of a particular purpose (W.8.2.b).

Synthesize an understanding of the national and social pressures that influenced men’s decision to volunteer to fight in World War I (RI.8.1, RI.8.2).

Distinguish among the connotations of initiated, exhorted, and coerced, and apply words in the appropriate contexts (L.8.5.c).

5 FQT “The War to End All Wars”

“The Peace President Goes to War”

“The Teenage Soldiers of World War One”

“‘Your Country Needs You’: Why Did So Many Volunteer in 1914?”

Know

How do informational texts about the war build my knowledge of reasons for joining World War I?

Execute

How do I use well-chosen evidence in an explanatory response? Excel

How do I improve the conciseness and precision of my writing?

Explain two perspectives on the reasons for joining World War I at different points in the conflict using varied and well-chosen evidence (RI.8.1, RI.8.2, W.8.2.a, W.8.2.b, W.8.2.d, W.8.4, L.7.3.a).

Recognize and correct wordiness and redundancies in writing (L.7.3.a).

Focusing Question 1: Why did countries and individuals join World War I?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

Focusing Question 2: How did the conditions on the front affect soldiers?

6 All Quiet on the Western Front, pages 1–7

Wonder What do I notice and wonder about the soldiers in All Quiet on the Western Front?

7 All Quiet on the Western Front, pages 7–18

Organize What’s happening in All Quiet on the Western Front?

8 All Quiet on the Western Front, chapter 2

Organize What’s happening in All Quiet on the Western Front?

Examine

Why are broad categories important?

Identify qualities of a character in the Second Company using effective evidence (RL.8.1).

Use context to determine the meanings of various words related to the military and verify definitions with a dictionary (L.8.4.a, L.8.4.d).

Summarize an incident in chapter 1, and explain two characters’ reactions to that incident using effective evidence (RL.8.1, RL.8.3).

Use context to determine meanings of beckons and ostracized and verify inferred meanings with the dictionary (L.8.4.a, L.8.4.d).

Summarize the events and perspectives of the Iron Youth, before and after they join the army (RL.8.1, RL.8.2).

Define threshold as used in context, and determine its relationship to a broad category (L.8.4.a).

9 All Quiet on the Western Front, pages 8–50

Reveal

What does a deeper exploration of incidents in chapter 3 reveal about comradeship?

Experiment

How do broad categories work to organize information?

Analyze how the incidents in training camp develop comradeship between the soldiers (RL.8.2, RL.8.3).

Identify broad categories by making connections between evidence (W.8.2.a).

Interpret use of irony in context (L.8.5.a).

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

Focusing Question 2: How did the conditions on the front affect soldiers?

10 NR VOC

All Quiet on the Western Front, pages 51–64

Reveal

What does a deeper exploration of descriptive language reveal?

Execute

How do I use a broad category to organize information in a NewRead Assessment task?

Analyze how descriptive and sensory language illustrates the soldiers’ experience on the front in a new text (RL.8.1, RL.8.2, RL.8.4, W.8.2.a, L.8.4.a, L.8.5.a, L.8.5.b).

Execute an explanatory paragraph using a category (W.8.2.a).

Integrate understanding about the Latin root punct to determine word meaning in context (L.8.4.a, L.8.4.b).

11 All Quiet on the Western Front, pages 65–74

Reveal

What does a deeper exploration of the Second Company’s experience on the front reveal?

12 “Fighting from the Trenches” Organize What’s happening in “Fighting from the Trenches”?

13 Gassed All Quiet on the Western Front, pages 75–91

Distill

What are the central ideas of chapter 5?

Examine

Why are transitions important?

Analyze how different incidents on the front reveal the war’s effect on the men in the Second Company (RL.8.3).

Use context clues to define sensibilities, and apply understanding of the word to the text (L.8.4.a).

Explain how the physical realities of trench warfare affected soldiers during World War I (RI.8.1, RI.8.2).

Use context clues to infer the meaning of elaborate, and verify its definition in a dictionary (L.8.4.a, L.8.4.d).

Analyze how a key sentence or phrase reveals the war’s effect on the men in the Second Company (RL.8.3).

Use the relationships among insubordination, tedious, comradeship, bombardment, and wearisome to better understand insubordination (L.8.5.b).

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

Question 2: How did the conditions on the front affect soldiers?

14 Gassed

All Quiet on the Western Front, pages 99–123

“Fighting from the Trenches”

Organize What’s happening in chapter 6?

Experiment

How does using transitions to create cohesion work?

Depict an understanding of conditions of trench warfare in All Quiet on the Western Front (RL.8.1, RL.8.2, RI.8.2, W.8.3.d).

Use context clues and knowledge of morphemes to determine the meaning of unattainable and predominate (L.8.4.a, L.8.4.b).

15 All Quiet on the Western Front, pages 123–136 Gassed

Reveal What does a deeper exploration of trench warfare in All Quiet on the Western Front reveal?

Execute

How do I use transitions to create cohesion in an explanatory paragraph? Execute

How do I recognize and correct inappropriate shifts in verb moods?

Analyze the effect of an incident of trench warfare on the men in the Second Company using effective descriptive details (RL.8.1, RL.8.3).

Execute an explanatory paragraph using transitions (W.8.2.c).

Recognize and correct inappropriate shifts in indicative, imperative, and interrogative verb moods (L.8.1.c, L.8.1.d).

16 FQT All Quiet on the Western Front, chapters 1–6 “Fighting from the Trenches”

Know How do literary and informational texts build my knowledge of conditions on the front?

Excel

How do I improve my use of verb moods?

Identify and explain how conditions on the front affected the soldiers in the Second Company, using effective evidence from All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.3).

Write a narrative that describes and reflects on the conditions on the front and their effects on a soldier in the Second Company (RL.8.3, W.8.3.a, W.8.3.b, W.8.3.d, W.8.4, W.8.9, L.8.1.b, L.8.1.d).

Use the indicative, imperative, and interrogative moods for a particular effect and correct inappropriate shifts in verb moods (L.8.1.c, L.8.1.d).

Focusing

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

17 NR VOC

Soldiers Playing Cards

All Quiet on the Western Front, pages 151–169

Reveal

What does a deeper exploration of Paul’s encounters with others during his return home reveal?

18 Soldiers Playing Cards

“In Flanders Fields”

“Dulce et Decorum Est”

19 “In Flanders Fields”

“Dulce et Decorum Est”

20 Soldiers Playing Cards

All Quiet on the Western Front, pages 169–185

Organize

What’s happening in poetry from World War I?

Reveal

What does a deeper exploration of modes of address reveal?

Reveal

What does a deeper exploration of two texts’ depictions of soldiers reveal?

21 All Quiet on the Western Front, page 101

All Quiet on the Western Front, film

Organize

What’s happening in a film adaptation of All Quiet on the Western Front?

Examine

Why are active and passive verb voices important?

Explain how Paul’s encounters with civilians in his hometown reveal conflicting attitudes toward the war (RL.8.1, RL.8.2, RL.8.3, RL.8.4, L.8.4.a, L.8.5.b).

Demonstrate acquisition of grade-appropriate academic and domain-specific words (L.8.6).

Summarize the main ideas in “In Flanders Fields” and “Dulce et Decorum Est” (RL.8.2).

Use the relationships between ardent and zest to better understand the words in context (L.8.4.a, L.8.5.b).

Compare how modes of address depict attitudes toward the war and its effects in “Dulce et Decorum Est” and “In Flanders Fields” (RL.8.2, RL.8.5).

Interpret the meaning of the transformation depicted in the last passage of chapter 7 and explain how it conveys an attitude toward the effects of war (RL.8.2, RL.8.4, L.8.4.a).

Integrate understanding about the root trud and trus to determine unfamiliar words’ meanings (L.8.4b, L.8.4.d).

Analyze how visual film techniques develop a scene about trench warfare in an adaptation of All Quiet on the Western Front (RL.8.7).

Identify active and passive verb voices (L.8.1.b).

Focusing Question 3: How do texts inspired by World War I illuminate attitudes toward the war?

Focusing Question 3: How do texts inspired by World War I illuminate attitudes toward the war?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

22 All Quiet on the Western Front, pages 112–113

All Quiet on the Western Front, film

Reveal

What does a deeper exploration of film techniques reveal?

23 All Quiet on the Western Front, pages 209–220

“Fighting from the Trenches”

“The Peace President Goes to War”

24 SS All Quiet on the Western Front

All Quiet on the Western Front, film

Reveal

What does a deeper exploration of the incident in the shellhole reveal?

Examine

Why is a conclusion important? Experiment

How do active and passive verb voices work?

Evaluate depictions of war as annihilation in the novel and film adaptation of All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.4, RL.8.7, L.8.4.a).

Integrate meaning of root when defining words in context (L.8.4.a, L.8.4.b).

Analyze how Paul’s repeated use of the word comrade in chapter 9 develops attitudes about the war and its effects (RL.8.2, RL.8.3, RL.8.4).

Write sentences in the active and passive verb voices (L.8.1.b).

Distill

What are the central themes of literature, art, and film inspired by World War I?

Experiment

How does revising or reinforcing my thinking aloud work? Execute

How do I use active and passive verb voices in my film analysis?

Synthesize an understanding of themes about war and humanity that emerge in literature and art through collaborative conversation with peers (RL.8.2, RL.8.4, SL.8.1, SL.8.6, L.8.6).

Use active and passive verb voices to emphasize the actor or the action (L.8.1.b, L.8.3.a).

25 All Quiet on the Western Front, pages 220–229

All Quiet on the Western Front, film

Reveal

What does a deeper exploration of the incident in the shellhole reveal in the novel and in its film adaptation?

Experiment

How does a conclusion work?

Execute

How do I find shifts in verb voices in my writing?

Explain how the soldiers’ response to Paul’s killing of the French soldier reveals the effects of combat on soldiers (RL.8.2, RL.8.3).

Explore how a concluding statement is connected to a bigger idea or an audience’s interests (W.8.2.f).

Identify inappropriate shifts in verb voice (L.8.1.b, L.8.1.d).

Focusing Question 3: How do texts inspired by World War I illuminate attitudes toward the war?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

26

FQT All Quiet on the Western Front, pages 220–229 All Quiet on the Western Front, film

Know

How does a film adaptation build my knowledge?

Execute

How do I write a concluding statement that explains the significance of my analysis? Excel

How do I improve the clarity of my writing?

Evaluate a film’s interpretation of the attitudes about war’s effect on humanity in comparison to those depicted in the novel All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.7, W.8.2.b, W.8.2.d, W.8.2.e, W.8.2.f, W.8.9, L.8.1.b, L.8.1.d, L.8.6).

Recognize and correct inappropriate shifts in verb voice (L.8.1.b, L.8.1.d).

Focusing Question 4: What are the psychological effects of war?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

27 All Quiet on the Western Front, pages 239–244

Organize

What’s happening in chapter 10?

28 All Quiet on the Western Front, pages 244–264 and 268–269

Organize

What’s happening in scenes of medical care in All Quiet on the Western Front?

Examine

Why is using a broad category to develop a thesis statement important?

Experiment

How does developing a thesis statement using a broad category work?

Examine psychological effects of war by distinguishing physical and psychological effects in chapter 10 (RL.8.1, RL.8.2).

Analyze how incidents of medical care reveal psychological effects of war (RL.8.2, RL.8.3).

Explore how a thesis statement suggests the significance of a broad category (W.8.2.a).

Focusing Question 4: What are the psychological effects of war?

29 All Quiet on the Western Front, pages 271–283

“The Teenage Soldiers of World War One”

Reveal

What does a deeper exploration of incidents in chapter 11 reveal?

30 All Quiet on the Western Front, pages 283–296

Distill

What are the main ideas of All Quiet on the Western Front?

31 “The Forgotten Female ShellShock Victims of World War I”

Organize What’s happening in “The Forgotten Female Shell-Shock Victims of World War I”?

Experiment

How does developing a thesis statement using a broad category work? Examine

Why are ellipses important? Experiment

How do ellipses work when incorporating evidence into my writing?

Analyze how an incident in All Quiet on the Western Front reveals psychological effects of war on the men in the Second Company (RL.8.2, RL.8.3).

Use knowledge of the prefix dis–define disillusion, disengagement, and dissatisfaction, and verify definitions using a dictionary (L.8.4.b, L.8.4.d).

Integrate an understanding of psychological effects of war across the final incidents of the All Quiet on the Western Front (RL.8.2, RL.8.3).

Analyze how the novel illuminates the psychological effects of war (RL.8.2).

Examine the connotation of superfluous to better understand a character’s perspective (L.8.4.c).

Describe how the author of “The Forgotten Female Shell-Shock Victims of World War I” uses shell shock and hysteria to explain the psychological effects of war (RI.8.1, RI.8.3, L.8.4.a).

Explore how a thesis statement suggests the significance of a broad category from “The Forgotten Female ShellShock Victims of World War I” (W.8.2.a).

Identify the purpose of ellipses in incorporating evidence from a text, and with support, use an ellipsis to indicate an omission (L.8.2.b).

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

Focusing Question 4: What are the psychological effects of war?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

32

FQT “The Forgotten Female ShellShock Victims of World War I”

Distill

What are the central messages of “The Forgotten Female ShellShock Victims of World War I”?

Execute

How do I use a thesis statement with a broad category in an explanatory essay?

Execute

How do I use an ellipsis in my analysis of All Quiet on the Western Front?

33 SS All Module Texts Know

How do the module texts build my knowledge?

Experiment

How do I revise and reinforce my thinking aloud?

Excel

How do I improve my use of textual support using an ellipsis?

Explain the ways an informational text makes connections and distinctions among ideas about the psychological effects of war on men and women (RI.8.3, W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9, L.8.2.c, L.8.4.a, L.8.6).

Employ an ellipsis to indicate an omission in textual evidence (L.8.2.b).

Synthesize an understanding of the ways the module texts illuminate the effects of World War I through collaborative conversation with peers (RL.8.1, RL.8.2, RI.8.1, RI.8.3, SL.8.1, SL.8.6).

Revise Focusing Question Task 4 to use an ellipsis to indicate an omission in textual evidence (L.8.2.b).

34 EOM VOC

All Quiet on the Western Front “The Teenage Soldiers of World War One”

Know

How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Examine

Why is using categories and subcategories to structure an explanatory essay important?

Experiment

How does structuring an explanatory essay using categories and subcategories work?

Identify a broad category and subcategories in the EOM Task exemplar essay (W.8.2.a, W.8.5).

Identify a psychological effect of World War I on Paul (RL.8.1, RL.8.2, RL.8.3, RL.8.4, W.8.2.b, L.8.6).

Demonstrate acquisition of grade-appropriate academic and domain-specific words (L.8.6).

Focusing Question 5: How does All Quiet on the Western Front illuminate the effects of World War I?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

35 EOM All Quiet on the Western Front Know

How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Execute

How do I identify subcategories for an explanatory essay? Excel

How do I improve my use of well-chosen evidence in an explanatory essay?

Execute

How do I write a thesis using a category?

Evaluate and refine evidence by selecting the examples that best exemplify two subcategories of the psychological effect of World War I on Paul (RL.8.1, RL.8.2, RL.8.3, W.8.2.b).

Execute a thesis that integrates two significant subcategories of the effect of World War I on Paul (RL.8.3, W.8.2.a).

36 EOM All Quiet on the Western Front Know

How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

37 All Quiet on the Western Front Know

How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Execute

How do I use a concluding statement to express the broader implications of my category?

Excel

How do I improve my draft using the explanatory writing checklist? Excel

How do I improve the clarity of my ideas and the support of my claims?

Analyze how a psychological effect illuminates a broader impact of World War I (RL.8.2, W.8.2.f).

Finalize the draft of an explanatory essay (W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9).

Demonstrate an understanding of verb mood, active and passive voice, and ellipses (L.8.1.b, L.8.1.c, L.8.1.d, L.8.2.b).

Focusing Question 5: How does All Quiet on the Western Front illuminate the effects of World War I?

Lesson Text(s) Content Framing Question Craft Question(s) Learning Goals

Lesson 1

QUESTION: LESSONS 1-5 Why did countries and individuals join World War I?

“The War to End All Wars,” Shari Lyn Zuber (Handout 1A)

“The Peace President Goes to War,” Duane Damon (Handout 1B)

Lesson 1: At a Glance

AGENDA

Welcome (6 min.)

Summarize Quotations

Launch (4 min.)

Learn (60 min.)

Apply Prior Knowledge (10 min.)

Encounter Texts (16 min.)

Explore Word Relationships (20 min.)

Research Who, What, or Where (14 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework and Volume of Reading

Vocabulary Deep Dive: Examine Academic Vocabulary: Affect, effect (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RI.8.1, RI.8.2, RI.8.3, RI.8.4, RI.8.5

Writing ƒ

W.8.7, W.8.10

Speaking and Listening ƒ SL.8.1

Language ƒ

L.8.4.a, L.8.4.c, L.8.4.d, W.8.5.b ƒ L.8.2.c

MATERIALS

Handout 1A: “The War to End All Wars” ƒ

Handout 1B: “The Peace President Goes to War” ƒ

Handout 1C: Fluency Homework

Learning Goals

Analyze the importance of a word related to conflict or tension in developing an idea about why countries joined World War I (RI.8.1, RI.8.3, RI.8.4, L.8.4.a).

Write a brief explanation of a chosen word’s meaning and function in an informational article.

Distinguish between the homophones affect and effect, and spell the words correctly (L.8.2.c).

Write two sentences, one correctly using effect and the other correctly using affect

ESSENTIAL QUESTION

How do literature and art illuminate the effects of World War I?

FOCUSING QUESTION: Lessons 1—5

Why did countries and individuals join World War I?

CONTENT FRAMING QUESTION: Lesson 1

Wonder: What do I notice and wonder about “The War to End All Wars” and “The Peace President Goes to War”?

With its focus on the literature and art of the World War I era, this module emphasizes an understanding of literary and artistic texts, not as forms of escapism, but as engaged with realworld events. Therefore, students begin the module by gaining some background knowledge on World War I. In this Focusing Question arc, students read a series of informational articles about the inciting incidents of the conflict and the responses of British and American people, some who considered it their duty to fight and others who resisted participation at the outset. While not intending to be comprehensive in scope, this particular historical context will orient students to their reading of the novel All Quiet on the Western Front in the next Focusing Question arc. In particular, it will enhance their understanding of the decisions and situations of the novel’s main characters: the young enlisted men of the Second Company. In this lesson, students complete their first read of two informational texts and begin their examination of why countries joined the war.

TEACHER NOTE

All Quiet on the Western Front is an enduring classic work of literature that examines in detail the physical, emotional, and psychosocial effects of war on individuals. The narrator, Paul Baumer, is often unflinching in his descriptions of warfare, including scenes of graphic violence and devastating trauma. The film adaptation of the novel, along with some of the informational articles, include similar moments. These scenes and descriptions, while often troubling, are never gratuitous and serve to provide a realistic and poignant look at life on the front during World War I. However, this does not mean that the material is not potentially disturbing, especially for students who may have lost loved ones in war. It is important to approach this novel with a level of care and sensitivity to the material. Choosing how to approach this sensitive and possibly upsetting material is a decision that will vary depending on the classroom, comfort level, and any existing policies or practices. Occasionally, in the lessons that follow, there are recommendations for portions of the novel that some classrooms may choose not to read.

Welcome

6 MIN.

SUMMARIZE QUOTATIONS

Display the following quotations without providing citation information:

“Over 10 months in 1916, the two armies at Verdun suffered over 700,000 casualties, including some 300,000 killed.”

“I am young; I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another.”

TEACHER NOTE

The first quotation comes from Encyclopaedia Britannica (http://witeng. link/0016).

The quotation from All Quiet on the Western Front appears on page 263.

Provide the following definitions to support students’ reading:

fatuous (adj.) Self-satisfyingly dumb or stupid.

superficial (adj.) Interested only in what is trivial, readily apparent, or lies on the surface.

abyss (n.) An extremely wide and deep hole that is too big to be exactly understood or measured.

Post the following task for pairs to complete: “Read each quotation aloud. Define unknown words using the provided definitions. For each quotation, write a one-sentence summary explaining what you learn about war from reading it.”

Launch

4 MIN.

Tell students they will return to their summaries later in the lesson.

Post the Essential Question, Focusing Question, and Content Framing Question.

Ask: “What kinds of texts would you expect to read or view while studying World War I?”

Responses will vary but may include the following:

n History books.

n Textbooks.

n Documentaries about the war.

Tell students that in this module, they will learn about World War I, primarily through the lens of literature and art. Tell them they will now explore the Essential Question more deeply and connect it to the learning in Module 1.

Learn60 MIN.

APPLY PRIOR KNOWLEDGE 10 MIN.

Whole Group

Have a student read aloud the Essential Question.

Provide the following definitions, and have students record them in the New Words section of their Vocabulary Journal.

Word Meaning Synonyms

illuminate (v.)

1. To brighten with light or make light where it was once dark.

2. To make something more straightforward or easier to understand; explain.

3. To provide understanding and knowledge.

Give examples of the three definitions of illuminate:

1. Lights illuminated the stage.

2. The teacher’s example illuminated the math problem.

1. lighten.

2. clarify, illustrate.

3. educate, enlighten, inform.

3. This book has illuminated many people on the importance of fighting against prejudice.

Have students Think–Pair–Share, and ask: “How many ways can you rewrite the Essential Question using a definition or synonym of the word illuminate?”

Students share responses.

n How do literature and art illustrate the effects of World War I?

n How do literature and art explain the effects of World War I?

n How do literature and art make the effects of World War I easier to understand?

n How do literature and art educate people about the effects of World War I?

n How do literature and art inform people about the effects of World War I?

n How do literature and art enlighten us about the effects of World War I?

n How do literature and art provide knowledge of the effects of World War I?

n How do literature and art bring to light the effects of World War I?

Have students take out their Knowledge Journal from Module 1, and reread their reflection about the power of storytelling.

Ask: “What have you learned about the power of storytelling that could explain how literature illuminates the effects of World War I?”

Possible responses include the following:

n Stories help people understand their pasts, so literature could illuminate what happened to people as a result of World War I.

n In “Your Brain on Fiction,” we learned that the brain does not distinguish much between reading about an event and experiencing it in real life. So literature can help illuminate real-life experiences.

n Stories help us make sense of ourselves and others by illuminating experiences unknown to us.

n Fiction shows the inner lives of characters, so literature could illuminate the effects World War I has on a character’s thoughts, feelings, and actions.

n Literature can enlighten us about how individual characters understood World War I, explaining a perspective that might be different from the objective or factual one in history books.

Have students return to the quotations and summaries from the Welcome task.

Have students Think–Pair–Share, and ask: “What kind of information about war did each quotation provide? How might the second quotation, which is from the novel we will read later in this module, illuminate the fact that appears in the first quotation?

Facilitate a brief discussion about responses.

ENCOUNTER TEXTS

Whole Group

16 MIN.

Inform students that before they examine how literature and art illuminate the effects of War World I, they need to have a basic understanding of the war itself.

Tell students they will begin their examination of two informational texts about World War I that include a lot of factual information about the war. Tell them that, as you read the texts aloud, they may not understand every detail, or they might have a lot of questions. Indicate that, in this lesson, students begin their understanding, and in the next lesson, they will examine the factual information more closely.

Distribute “The War to End All Wars” (Handout 1A).

Provide the following definitions to support student understanding:

alliance (n.) Multiple people, organizations, countries, or any group that has similar aims and work together to achieve these goals.

ultimatum (n.) The last thing that is said in a discussion that is usually a threat or terrible consequence, and often in a discussion between groups or governments.

neutrality (n.) The position of not taking any side in an argument.

Read the text aloud.

Name Date Class

Handout 1A: “The War to End All Wars,” Shari Lyn Zuber Directions: Follow along in your copy of the text as you listen to a Read Aloud. France was humiliated. Within six months, it had been overrun by the newly united Germany in the Franco-Prussian War (1870–1871). In France’s Palace of Versailles, Germany officially declared its new empire. This insult was compounded by German demands for a huge war payment and the ceding of France’s Alsace-Lorraine region.

Over the previous ten years, Otto von Bismarck, Germany’s “Iron Chancellor,” had united the Teutonic (Germanic) states by picking fights with other nations and using the conflicts to unify his people. In 1882, to keep France isolated, Germany joined with Austria-Hungary (also known as the Dual Monarchy) and Italy in the Triple Alliance. (During World War I, however, Italy sided against Germany and Austria-Hungary.) By 1907, partially in response to the Triple Alliance, France, Russia, and Great Britain had joined together to form the Triple Entente. These alliances aggravated the already tense situation in Europe by engaging in a competition to see which alliance could accumulate the strongest military force.

A particularly troubled region was the Balkans, an area of southeastern Europe ruled by the Austro-Hungarian and Turkish Ottoman empires. There, a group of ethnic minorities called Slavs longed for their own national identity and began to agitate against domination by these two powers.

In 1912 and 1913, a group of Balkan states defeated Turkey in two short conflicts called the Balkan Wars. One of those states, Serbia (a Slavic state), gained significant territory during the wars. Serbia then called for all Slavs, including those living under the Austro-Hungarian Empire, to unite.

On June 28, 1914, Archduke Francis (or Franz) Ferdinand, the heir to the Austro-Hungarian throne, and his wife, Sophie, were in the empire’s Slavic-dominated region of Bosnia. There, Gavrilo Princip, a Serbian nationalist, assassinated them.

Austria-Hungary’s harsh ultimatum to Serbia—including the demands to stop anti-Austrian propaganda and to dismiss anti-Austrian government officials—was rejected. The empire, with the unconditional backing of Germany, declared war on Serbia on July 28. In time, the Ottoman Empire (present-day Turkey) and Bulgaria (who had lost territory to Serbia in the Balkan Wars) joined Germany, becoming part of the Central Powers.

Russia came to Serbia’s aid. Then Germany declared war on Russia (August 1) and France (August 3). Following Germany’s invasion of neutral Belgium on August 4, Great Britain entered the war. Russia, France, and Great Britain then became known as the Allies.

Since the United States traded with both the Allies and the Central Powers, President Woodrow Wilson tried to maintain U.S. neutrality. But to combat a British naval blockade of continental Europe, Germany used a new weapon, the Unterseeboot, or U-boat. While underwater, this submarine was able to launch torpedoes that could sink enemy ships. In

Page of 2

After reading, allow time for any comprehension questions. Tell students they will return to this article, but first they will listen to the second article.

Distribute “Peace President Goes to War” (Handout 1B).

Read the text aloud.

After reading, allow time for any comprehension questions.

EXPLORE WORD

Small Groups

RELATIONSHIPS

Have a student read aloud the Focusing Question.

20 MIN.

Have small groups discuss, and ask: “What do you notice about the way the word war is connected to another key word in each title?”

Name Date Class

Handout 1B: “The Peace President Goes to War,” Duane Damon Directions: Follow along in your copy of the text as you listen to a Read Aloud.

On a spring evening in 1917, a former college professor rose to speak in the ornate chamber of the House of Representatives. Seated before him were the assembled members of both houses of Congress. The speaker was Thomas Woodrow Wilson, twenty-eighth president of the United States. For nearly three years, he had struggled to keep the United States at peace. But that night he had come to ask for war.

“It is a fearful thing to lead this great peaceful people into war,” Wilson stated solemnly. “But the right is more precious than peace.”

The storm of applause that greeted his speech disturbed the troubled president. He knew well the terrible price of warfare. “My message today was a message of death for our young men,” he later remarked to an aide. “How strange it seems to applaud that.” With those misgivings, Woodrow Wilson led the United States into World War I.

The events that brought the president before Congress that April night began not in the United States but in the tense atmosphere of Europe. There, closely packed nations eyed their neighbors with centuries-old resentments and suspicions. Out of those ancient ill feelings had come the first rumblings of a worldwide conflict.

As the twentieth century opened, the British Empire stood as the mightiest on Earth. Yet Britain was a nervous giant. The rising military and industrial might of Germany caused the British to keep a wary eye on their neighbor across the North Sea. Both countries nursed festering grudges over past clashes and disagreements. Nearby France had its own turbulent history of warring with the Germans.

At the same time, unrest was simmering in Austria-Hungary. Its sprawling empire dominated the peoples of several smaller states, such as Serbia and Bosnia. Many Serbs, Czechs, Poles, and others resented their Austria-Hungarian rulers.

Another factor adding to European tensions was the rise of nationalism, a kind of patriotism gone wild. Nations infected with this dangerous feeling often felt superior to other countries and jealous of their territories.

As fear of war deepened, nations began forming partnerships, or alliances, with other nations. By 1914, Europe was like a cord of dry kindling waiting for a match.

The United States, meanwhile, recently had elected the scholarly, strong-jawed Woodrow Wilson to the presidency. A former university president and New Jersey governor, Wilson had written books and articles on the U.S. government. He had definite ideas on how to do his job. His stubborn devotion to his principles caused some to consider him arrogant and © Great Minds PBC

n In “The War to End All Wars,” the word war can be connected to its plural version, wars.

n In “The Peace President Goes to War,” the word war is connected to its opposite, the word peace

Have small groups discuss, and ask: “How could each word relationship indicate the article’s focus for explaining why countries joined the war?”

n “The War to End All Wars” might indicate that there were a lot of smaller wars going on and countries joined the war to end all of those wars.

n “The Peace President Goes to War” indicates that the president wanted peace and not war, so something must have happened to make the United States decide to join.

G8 M2 Handout 1B WIT & WISDOM

Instruct students to number the paragraphs in their copies of the text.

Have students silently reread the first sentence of paragraph 4 in “The War to End All Wars.”

Ask: “What word in this sentence connects to the word relationship you identified in the article’s title?”

n The word conflicts appears in this sentence. It is used to describe the Balkan Wars, which came before World War I. So, the Balkan Wars are smaller wars that might have caused countries to join the big war, World War I.

Now have students turn to “The Peace President Goes to War” and silently reread the first sentence of paragraph 7.

Then, ask: “What word in this sentence connects to the word relationship you identified in the article’s title?”

n The word tensions appears in this sentence. The title suggests that there was a tension between the president’s desire for peace and the need to go to war.

Tell students that both articles explore the idea of conflict, or tensions, in relationship to why countries joined World War I. The first article points out that conflicts between different groups caused countries to join World War I. The second article points out that the United States’ decision about whether to join the war represented a tension between war and peace.

Assign half of the small groups “The War to End All Wars” and half “The Peace President Goes to War.”

Tell students they will develop what they noticed about word relationships by conducting a word hunt to find other words like it.

Direct groups to annotate as many words as possible that relate to their assigned word, conflicts for “The War to End All Wars” or tensions for “The Peace President Goes to War.”

Instruct students to hunt for a variety of connections, identifying words that describe actions and qualities related to conflicts or tensions, and not just nouns that are synonyms of their assigned word.

Inform groups of the following rules:

1. Briefly discuss group members’ understanding of their assigned word, and confirm the meaning with a dictionary.

2. Find words representing any part of speech.

3. Find a minimum of eight words, or two-word phrases, in the article. Use a dictionary to confirm definitions of words.

4. Write definitions of three words they find, including one unfamiliar word.

Have each small group create a Word Wall that connects the words they notice. Write the two words conflicts and tensions on the board, and have small groups add related words as they work to create a whole-class Word Wall. Or, have small groups share their words after they finish annotating, and facilitate the creation of the Word Wall that traces connections between words.

Have groups share findings.

TEACHER NOTE Students should find words with clear connections, such as unrest and agitate Encourage them to make connections to words like insult or suspicions

Individuals choose one word from the group’s annotations, write its definition, and write one or two sentences explaining how the word is used to describe an incident or development about conflict or tension in the article.

RESEARCH WHO, WHAT, OR WHERE

Pairs

Divide small groups into pairs.

14 MIN.

Instruct pairs to review their assigned article and identify something they would like to know more about.

Pairs develop a research question starting with either Who, What, or Where

Pairs research their questions using available resources.

Tell pairs to take notes and prepare to share one or two interesting discoveries with classmates.

TEACHER

NOTE

Doing brief, informal research assignments help students become more comfortable with the research process, practice their skills as researchers without the burden of having to produce a formal research paper, and learn how to use research to answer questions of interest.

Depending upon students’ skills and the technology available, consider letting students search for resources on their own. Or, consider providing them with access to encyclopedias or links to appropriate websites with material on World War I.

Have students identify and record findings in their Response Journal.

Invite several pairs to share what they learned.

Land

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Wonder: What do I notice and wonder about “The War to End All Wars” and “The Peace President Goes to War”?

Students complete an Exit Ticket briefly explaining one thing they noticed in their assigned article and one thing they wonder.

1 MIN.

ASSIGN HOMEWORK AND VOLUME OF READING

Distribute and read aloud Handout 1C. Students begin their fluency homework. Also distribute and review the list of additional texts from Appendix D: Volume of Reading and the Volume of Reading Reflection Questions handout. Students respond to the reflection questions after they independently read any additional texts.

TEACHER NOTE

Students may complete the Volume of Reading Reflection Questions in their Knowledge Journal or submit them directly. The questions can also be used as discussion questions for a book club or other small-group activity. See the Implementation Guide for a further explanation of Volume of Reading, as well as various ways of using the reflection.

Analyze

Context and Alignment

Students identify and define a word that has connections to the lesson’s learning and write an explanation of its meaning and function in an informational article (RI.8.1, RI.8.3, RI.8.4, L.8.4.a).

This task engages students with content-specific vocabulary as well as begins their work with identifying connections and distinctions in informational texts. Check for the following success criteria:

ƒ Identifies a relevant word that follows from the analysis.

ƒ Correctly defines their chosen word.

ƒ Explains how their word functions within the article.

Next Steps

If students have difficulty identifying a relevant word, consider allowing them to complete this work in pairs, or assigning them a word and having them complete the explanation to check for understanding.

Lesson 1 Deep Dive: Vocabulary

Examine Academic Vocabulary: Affect, effect

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Time: 15 min.

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Text: None

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Vocabulary Learning Goal: Distinguish between the homophones affect and effect, and spell the words correctly (L.8.2.c).

Launch

Display, and read words aloud: Further, farther Accept, except Roll, role Than, then

Tell students to choose a partner. Instruct students to use a dictionary to define each word and be prepared to explain how the words are different. Call on students to share ideas.

n Farther means “to or at a greater distance for physical space,” while further means “to or at a greater distance for figurative distance.” For example, I want to discuss your ideas further. Do we have to drive much farther?

n Accept means “to receive or to give approval to,” and except means “with the exclusion of; other than.” They almost seem like opposites!

n Roll is a verb that means “to move by rotating,” and role means “a part played by an actor” or “the customary expected behavior associated with a particular position.” These words don’t have anything in common.

n Than means “to introduce the alternative of a comparison.” You could say I’d rather have chocolate than vegetables. Then means “at that past time” or “next.” We use then as a transition in our essays.

Instruct students to raise their hand if they have ever misused one of these words. Ask: “Why are these words so commonly misused?” Using Equity Sticks, call on students.

n They sound almost identical.

n Some of them have similar meanings.

n People might just accidentally misspell the word.

Explain that words that have identical pronunciations but different meanings and spellings are called homophones. The prefix homo– actually means “same or similar.” Homophones are often misused or misspelled. One important set of homophones in this module is affect and effect.

Display the Essential Question: “How do literature and art illuminate the effects of World War I?”

Display: The violence soldiers witnessed during World War I affected every aspect of their lives.

Instruct students to Think–Pair–Share, and say: “Looking at these two sentences, can you infer how affect and effect are different?”

n Effects seems to refer to the consequences of something, and affect is the action—to inflict the consequences on someone.

n Affect is a verb, and effect is a noun.

Provide the following definitions for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonyms

effect (n.)

1. Something that is made or launched by something else.

2. A sense or feeling produced in the mind. result, consequence impression affect (v.) To produce a change or cause to be different in some way. influence, alter

Emphasize that affect is a verb, whereas effect is a noun. Explain that mnemonic devices are memory tricks developed to help remember word meanings and spellings. Emphasize that mnemonic devices cannot be wrong because the memory trick only need make sense to the person who makes it. As an example, tell them that FANBOYS is one way to remember the conjunctions: for, and, nor, but, or, yet, so.

Ask: “What kind of mnemonic devices or memory tricks could you come up with to help remember the meanings and different spellings of affect and effect?”

Allow students to brainstorm. Instruct students to Turn and Talk, sharing their mnemonic devices. Ask: “What are some of the best mnemonic devices you heard?”

n VANE—The acronym stands for verb, affect, noun, effect.

n A means “action,” and e means “every noun.”

n You affected me with your effective words.

Land

Students write two sentences, one correctly using effect and the other correctly using affect

Remind students that these words will reoccur throughout the module and they need to use them correctly.

Lesson 2

QUESTION: LESSONS 1-5 Why did countries and individuals join World War I?

“The War to End All Wars,” Shari Lyn Zuber (Handout 1A)

“The Peace President Goes to War,” Duane Damon (Handout 1B)

Lesson 2: At a Glance

AGENDA

Welcome (5 min.)

Launch (2 min.)

Learn (62 min.)

Identify Main Events (25 min.)

Synthesize Information in a Timeline (24 min.)

Examine Well-Chosen Evidence (13 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Content Vocabulary: Patriotism, nationalism (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RI.8.1, RI.8.2

Writing ƒ W.8.2.b

Speaking and Listening ƒ

SL.8.1, SL.8.2

Language ƒ

L.8.4.a ƒ L.8.5.b, L.8.5.c

MATERIALS

Handout 1A: “The War to End All Wars” ƒ

Handout 1B: “The Peace President Goes to War”

Handout 2A: Choosing Evidence for Concision and Precision

Different colored index cards

Different colored markers

Sticky notes

Learning Goals

Determine and explain a crucial factor leading to one country’s decision to join World War I using effective evidence (RI.8.1, RI.8.2).

Complete a Quick Write that explains a crucial factor leading to one country’s decision to join the conflict.

Use the relationship between patriotism and nationalism to better understand the denotation and connotation of each word (L.8.5.b, L.8.5.c).

Write from the perspectives of a patriot and a nationalist in a brief response.

Prepare

FOCUSING QUESTION: Lessons 1–5

Why did countries and individuals join World War I?

CONTENT FRAMING QUESTION: Lesson 2

Organize: What’s happening in two articles about World War I?

CRAFT QUESTION: Lesson 2

Examine: Why is well-chosen evidence important?

Students continue their examination of informational articles that provide historical background on World War I. In this lesson, they synthesize information from both articles in a timeline in order to determine the major factors contributing to different countries’ decisions to enter the war at the time that they did. Students also begin their craft instruction for the module by examining the importance of concision and precision in choosing evidence to support their ideas.

Welcome

5 MIN.

IDENTIFY AN IMPORTANT EVENT

Post the following question: “What is one of the major events, or developments, that caused a country to enter the conflict of World War I? Why?”

Students review the articles and annotations from the previous lesson and write their choice and explanation in their Response Journal.

Launch

2 MIN.

Tell students they will return to their responses later in the lesson.

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson, they will identify the important individual events discussed in each of the informational articles they examined in the previous lesson and then synthesize that information in order to understand the major causes and developments affecting countries’ decisions to join World War I.

62 MIN.

IDENTIFY MAIN EVENTS 25

Small Groups

Have students take out “The War to End All Wars” (Handout 1A) and “The Peace President Goes to War” (Handout 1B).

MIN.

Name Date Class

Handout 1A: “The War to End All Wars,” Shari Lyn Zuber Directions: Follow along in your copy of the text as you listen to a Read Aloud.

France was humiliated. Within six months, it had been overrun by the newly united Germany in the Franco-Prussian War (1870–1871). In France’s Palace of Versailles, Germany officially declared its new empire. This insult was compounded by German demands for a huge war payment and the ceding of France’s Alsace-Lorraine region.

Over the previous ten years, Otto von Bismarck, Germany’s “Iron Chancellor,” had united the Teutonic (Germanic) states by picking fights with other nations and using the conflicts to unify his people. In 1882, to keep France isolated, Germany joined with Austria-Hungary (also known as the Dual Monarchy) and Italy in the Triple Alliance. (During World War I, however, Italy sided against Germany and Austria-Hungary.) By 1907, partially in response to the Triple Alliance, France, Russia, and Great Britain had joined together to form the Triple Entente. These alliances aggravated the already tense situation in Europe by engaging in a competition to see which alliance could accumulate the strongest military force.

A particularly troubled region was the Balkans, an area of southeastern Europe ruled by the Austro-Hungarian and Turkish Ottoman empires. There, a group of ethnic minorities called Slavs longed for their own national identity and began to agitate against domination by these two powers.

Tell students they will collect information about the important factors leading up to World War I. These factors will explain why different countries joined the conflict when they did.

In 1912 and 1913, a group of Balkan states defeated Turkey in two short conflicts called the Balkan Wars. One of those states, Serbia (a Slavic state), gained significant territory during the wars. Serbia then called for all Slavs, including those living under the Austro-Hungarian Empire, to unite.

On June 28, 1914, Archduke Francis (or Franz) Ferdinand, the heir to the Austro-Hungarian throne, and his wife, Sophie, were in the empire’s Slavic-dominated region of Bosnia. There, Gavrilo Princip, a Serbian nationalist, assassinated them.

Austria-Hungary’s harsh ultimatum to Serbia—including the demands to stop anti-Austrian propaganda and to dismiss anti-Austrian government officials—was rejected. The empire, with the unconditional backing of Germany, declared war on Serbia on July 28. In time, the Ottoman Empire (present-day Turkey) and Bulgaria (who had lost territory to Serbia in the Balkan Wars) joined Germany, becoming part of the Central Powers.

Russia came to Serbia’s aid. Then Germany declared war on Russia (August 1) and France (August 3). Following Germany’s invasion of neutral Belgium on August 4, Great Britain entered the war. Russia, France, and Great Britain then became known as the Allies.

Since the United States traded with both the Allies and the Central Powers, President Woodrow Wilson tried to maintain U.S. neutrality. But to combat a British naval blockade of continental Europe, Germany used a new weapon, the Unterseeboot, or U-boat. While underwater, this submarine was able to launch torpedoes that could sink enemy ships. In Page of 2

Name Date Class

Handout 1B: “The Peace President Goes to War,” Duane Damon Directions: Follow along in your copy of the text as you listen to a Read Aloud.

On a spring evening in 1917, a former college professor rose to speak in the ornate chamber of the House of Representatives. Seated before him were the assembled members of both houses of Congress. The speaker was Thomas Woodrow Wilson, twenty-eighth president of the United States. For nearly three years, he had struggled to keep the United States at peace. But that night he had come to ask for war.

“It is a fearful thing to lead this great peaceful people into war,” Wilson stated solemnly. “But the right is more precious than peace.”

The storm of applause that greeted his speech disturbed the troubled president. He knew well the terrible price of warfare. “My message today was a message of death for our young men,” he later remarked to an aide. “How strange it seems to applaud that.” With those misgivings, Woodrow Wilson led the United States into World War I.

The events that brought the president before Congress that April night began not in the United States but in the tense atmosphere of Europe. There, closely packed nations eyed their neighbors with centuries-old resentments and suspicions. Out of those ancient ill feelings had come the first rumblings of a worldwide conflict.

As the twentieth century opened, the British Empire stood as the mightiest on Earth. Yet Britain was a nervous giant. The rising military and industrial might of Germany caused the British to keep a wary eye on their neighbor across the North Sea. Both countries nursed festering grudges over past clashes and disagreements. Nearby France had its own turbulent history of warring with the Germans.

At the same time, unrest was simmering in Austria-Hungary. Its sprawling empire dominated the peoples of several smaller states, such as Serbia and Bosnia. Many Serbs, Czechs, Poles, and others resented their Austria-Hungarian rulers.

Another factor adding to European tensions was the rise of nationalism, a kind of patriotism gone wild. Nations infected with this dangerous feeling often felt superior to other countries and jealous of their territories.

As fear of war deepened, nations began forming partnerships, or alliances, with other nations. By 1914, Europe was like a cord of dry kindling waiting for a match.

The United States, meanwhile, recently had elected the scholarly, strong-jawed Woodrow Wilson to the presidency. A former university president and New Jersey governor, Wilson had written books and articles on the U.S. government. He had definite ideas on how to do his job. His stubborn devotion to his principles caused some to consider him arrogant and Page of

Provide the definition of the word factor, and have students record the definition in the New Words section of their Vocabulary Journal.

Word Meaning Synonym

factor (n.) One of the reasons that something changes; one of the parts of a difference in a result of something.

Direct students to the first sentence of paragraph 7 in Handout 1B.

Have a student read the sentence out loud.

element, aspect, cause

Instruct students to Think–Pair–Share, and ask: “How can you rephrase this sentence, using your understanding of the word factor?”

Students share responses.

Divide students into small groups, and assign half of the small groups “The War to End All Wars” (Handout 1A) and half “The Peace President Goes to War” (Handout 1B).

TEACHER NOTE

Based on the needs of your classroom, you may choose to have students work with the same article they did in Lesson 1, which would give them the opportunity to build on their previous understanding. Or, you might have small groups swap articles so students have the opportunity to work closely with each one.

Distribute a set of index cards to each group. Distribute index cards of one color to all groups working with “The War to End All Wars” (Handout 1A) and index cards of a different color to all groups working with “The Peace President Goes to War” (Handout 1B).

Tell small groups they will use a different card to record information for every major factor, or event, that the article includes.

Instruct small groups to reread each paragraph of their assigned article and complete the following steps:

1. Write each date mentioned in the paragraph on a separate index card. Be sure to include the year. If the year is not mentioned, search other paragraphs to find the information.

2. Underneath each date, write a word or short phrase that describes what happened. This could be an event, action, a factor leading to the war, or a response to an event.

3. Then write the name(s) of the country, or countries, that were involved in what happened. Add the name(s) of any important individual(s).

4. Once you have written all of your cards, place them in chronological order.

For “The War to End All Wars” (Handout 1A), possible index card entries include the following:

n Paragraph 1: 1871. France is overrun by Germany.

n Paragraph 2: 1882. Germany, Austria-Hungary, and Italy make the Triple Alliance. Otto Von Bismarck; 1907. France, Russia, and Great Britain make the Triple Entente.

n Paragraphs 3 and 4: 1912–1913. Balkan Wars. Serbia grows larger, beats Turkey, and wants Slavs to unite.

n Paragraph 5: June 28, 1914. Franz Ferdinand is assassinated. Bosnia and Austria-Hungary.

n Paragraph 6: July 28, 1914. Austria-Hungary declares war on Serbia. Germany, the Ottoman Empire, and Bulgaria make the Central Powers.

n Paragraph 7: August 1, 3, 4, 1914. Germany declares war on Russia and France. Great Britain declares war on Germany. Belgium.

n Paragraph 8: May 1915. Lusitania is sunk by Germany. Woodrow Wilson does not get the U.S. to enter the war.

n Paragraph 9: April 6, 1917. U.S. enters the war. Germany commits sabotage. Mexico.

n Paragraph 10: 1917, U.S. arrives in Europe. Germany is tired, and the war is stalled. Belgium.

n Paragraph 11: March 1918. Russia gets out of the war. Germany and Treaty of Brest-Litovsk.; March 21, 1918. Germany’s final assault. France, Somme River.; June 1918. American commander John “Black Jack” Pershing captures key position. Paris.

n Paragraph 12: July 1918. Allies go on offensive. Marne River; November 11, 1918. Armistice signed, war over. Kaiser William.

For “The Peace President Goes to War” (Handout 1B), possible index card entries include the following:

n Paragraphs 1–4: April 2, 1917. President Wilson asks Congress to go to war. Germans sink American ships.

n Paragraphs 5–6: Beginning of twentieth century. Great Britain nervous about Germany. France is nervous too. Austria-Hungary has a big empire.

n Paragraph 8: 1914. Europe is set for war.

n Paragraphs 10–11: June 28, 1914, Franz Ferdinand is assassinated in Bosnia. Serbian nationalists. Russia, France, and England support Serbia. Germany supports Austria-Hungary.

n Paragraph 12: May 7, 1915. Lusitania was torpedoed by Germany. 1,198 people died, British and American.

n Paragraph 14: 1916. Americans reelect President Wilson because he kept them out of the war.

n Paragraph 15: April 1917. Germans sink American ships.

SYNTHESIZE INFORMATION IN A TIMELINE 24 MIN.

Whole Group

Tell students they will construct one timeline for the class that synthesizes information from both articles.

TEACHER NOTE Create a place to construct the timeline that is visible to the class and that will allow students to post their index cards, using tape or pushpins.

Tell students the class needs to identify the starting point of the timeline, and ask: “What is the earliest date you found in the articles?” Have one student with the earliest date on an index card post it on the far left of the timeline.

Conduct a Whip Around of small groups in which each group posts the index card with the next chronological date. Have groups adjust the placement of posted index cards as needed.

Rotate groups until all index cards have been posted.

Then, ask: “What do you notice about the placement of the different colored index cards? Where are there overlaps? Where are there differences?”

Students share observations.

Have students Think–Pair–Share, and ask:

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“What does the placement of index cards tell you about the major factors that contributed to the conflict and different countries’ decisions to join the conflict?”

ƒ

“What does the placement of index cards tell you about the focus of each article?”

Facilitate a discussion of responses.

TEACHER NOTE

Students’ observations will vary. The goal is for students to explore the different perspectives of informational articles focused on the same topic. Students should notice the cluster of cards around important dates and events, the cluster of close proximity of cards noting the dates when many European countries joined the conflict, and then the gap between those countries and the date that the United States entered the war. You may extend the discussion to suit the needs and interests of your class by asking students to qualify the information in terms of causes and effects, or motives, outcomes, and responses. They might also identify further areas for research.

Tell students to reflect on how the placement of index cards revises or reinforces their response in the Welcome task.

Individuals complete a three- or four-sentence Quick Write in response to the following task: “Evaluate the information on the timeline, and explain a crucial factor leading to one country’s decision to join the conflict. Use at least two pieces of evidence from one or both of the informational articles.”

EXAMINE WELL-CHOSEN EVIDENCE 13 MIN.

Whole Group

Display the Craft Question:

Examine: Why is well-chosen evidence important?

Have students review their Knowledge and Response Journals from Module 1 to find information about effective evidence.

TEACHER NOTE

Students discussed effective evidence in Lesson 27 of Module 1.

Ask: “What do you already know about what makes evidence an effective choice?”

Responses should include the following:

n The evidence directly connects to the central idea I want to talk about.

n The evidence states the idea more clearly or persuasively than I could by myself.

n The evidence is supported by other ideas in the text; I can return to the text to find additional evidence to support the idea I am expressing.

n I can restate the evidence in my own words; I understand what it means and how it connects to my ideas.

Tell students that in the next several lessons, they will examine additional factors that will support their use of effective evidence in their writing.

Tell them that effective evidence requires making good choices around what evidence to include, and it also requires making good decisions about how much evidence to choose.

Distribute Handout 2A: Choosing Evidence for Concision and Precision.

Tell students that the word concision is the noun form of the word concise.

Ask for a definition of concise, and provide the following definition of concision: concision (n.) The quality of saying much in a few words; the quality of being short and to the point.

Now solicit or provide a definition for the word precision: precision (n.) To be exact or very correct.

Have students add the definitions to Handout 2A.

Then have students read the examples and answer the first set of questions directly below the examples.

Students share their responses.

Possible responses include the following:

n The first example is not an example of concision. There is only one line written by the writer, and the rest of the example is a quotation.

n As a reader, I just skimmed the first example because it was all a quote, and I’ve read the article myself. There is so much information that I don’t know the writer’s point in quoting all of it. The writer is letting Zuber do all the talking.

n The second example is not an example of precision. There are a lot of general ideas, but there is no evidence to explain or support the ideas.

n As a reader, I was curious about the second example, but I needed more specific information that explained and connected the points. It seems like important information is missing.

Remind students that it is important to create a balance between quoted evidence and their own writing. Tell them that aiming for concision in choosing evidence can add precision to their ideas.

Have students reread the underlined material in each example.

Ask: “How could you combine and edit this material in a way that adds precision to the writer’s idea with a concise quotation from Zuber’s article?”

Students share ideas.

Possible responses include:

n The United States president promoted neutrality because “the United States traded with both the Allies and the Central Powers.” This is a more precise revision than the example, but it is still concise.

n Because “the United States traded with both the Allies and the Central Powers,” President Wilson promoted a neutral stance. This is a more concise revision than the example, but it still provides the most precise information.

Conduct a brief discussion of why these examples are effective.

Guide students to the understanding that well-chosen evidence is concise information that makes a writer’s idea more precise by offering specific detail or explanation.

Students complete the question at the bottom of Handout 2A.

Land5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in two articles about World War I?

Students complete an Exit Ticket that summarizes each article in one to two sentences.

ASSIGN HOMEWORK

If students did not have time to complete Handout 2A in class, they complete the paragraph for homework. Students continue their fluency homework.

Analyze

Context and Alignment

Students determine and explain a crucial factor leading to one country’s decision to join World War I, using effective evidence (RI.8.1, RI.8.2). By summarizing key information from each text and physically displaying clusters of evidence, students build their understanding of why countries decided to join World War I. Check for the following success criteria:

ƒ

Uses effective evidence to demonstrate an understanding of a country’s decision to join World War I.

ƒ

Explains a crucial factor that influenced a country’s decision to join World War I.

Next Steps

If students have difficulty identifying crucial factors and key evidence, consider modeling the creation of the index cards for the beginning of both articles. Additionally, consider comparing different events and instances in each text as a whole group, noting which information might be tangential and which is crucial to the information in the articles.

Lesson 2 Deep Dive: Vocabulary

Explore Content Vocabulary: Patriotism, nationalism

ƒ Time: 15 min.

ƒ Text: None

ƒ

Vocabulary Learning Goal: Use the relationship between patriotism and nationalism to better understand the denotation and connotation of each word (L.8.5.b, L.8.5.c).

Launch Display: ism—a distinctive theory or set of beliefs or practices.

Instruct students to Think–Pair–Share and ask: “What are some different kind of isms, like commercialism or socialism?”

Possible Responses:

n Romanticism.

n Darwinism.

n Patriotism. n Isolationism.

n Optimism. n Pessimism. n Racism.

n Spiritualism. n Realism.

Scaffold

If students seem unable to list –isms, provide a list of –isms that contain roots that students may be familiar with (e.g., commercialism, racism, optimism). From there, ask students what set of beliefs these –isms must represent.

Ask: “Why is the world filled with so many –isms?” Using Equity Sticks, call on several students.

Possible Responses:

n There are many different kinds of people, so there are lots of different beliefs.

n Life has so many different aspects, and people can believe lots of unique things about those aspects.

n People like to sound important, so they create different belief systems to make their ideas sound official.

n People like to name and categorize things so they can group ideas and understand them.

Reveal that –isms help people to categorize and name beliefs. In this Deep Dive, they will look at two –isms or beliefs that inspired countries and their men and women to join World War I.

Learn

Direct students to paragraph 7 of Handout 1B. Instruct students to underline nationalism and patriotism. Read the paragraph aloud to the class, and ask: “What clues do we have to the meaning of nationalism and patriotism?” Call on students.

n The author says that nationalism is “a kind of patriotism gone wild” (Damon 1), so it must be a more intense set of beliefs than patriotism.

n Words like infected and dangerous (Damon 1) are used to describe nationalism, so it must be a negative set of beliefs or have some kind of bad consequences.

n Duane Damon writes that countries who had nationalist feelings felt “superior to other countries and jealous of their territories” (1). Nationalism must cause countries to fight with one another since often wars are fought over land.

Provide the following definitions for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonyms

patriotism (n.) To have a deep loyalty and love for the country where one was born or identifies as a citizen. fidelity, loyalty

nationalism (n.) A feeling that people have of being proud of their country, often with the belief that it is better than other countries.

Instruct students to Think–Pair–Share, and ask: “How can you compare the relationship between patriotism and nationalism?” Instruct students to write a simile or metaphor that represents their understanding of the relationship.

TEACHER

NOTE

In Module 1, students worked with similes and metaphors through their poetry study. Students should be familiar with these terms. However, since the goal of this exercise is to deepen and assess students’ understanding of the relationship between words, if needed, provide students with the definitions of simile and metaphor and an example (i.e., Patriotism is like snow, and nationalism is like a blizzard.). Students’ similes and metaphors need not be perfect examples of the literary techniques; the main criteria for success is to show that the two terms represent similar ideas, but one, nationalism, is extreme and has a negative connotation.

Possible responses include the following:

n Patriotism is like a being full after a good meal, and nationalism is like eating so much that you are sick.

n Patriotism is like rain, and nationalism is like a hurricane.

n Patriotism is love, and nationalism is obsession.

n Patriotism is like a loyal dog, and nationalism is like a wolf!

Emphasize that the two words, though very similar, have slightly different meanings and connotations. As they continue reading various texts in this module, they will see how both terms inspired young men and women to enlist.

Land Display: Dear Mother, I decided to enlist in the war because ...

With love, Your son/daughter, a true patriot

With love, Your son/daughter, a true nationalist

Provide students with two sticky notes each. Tell students that they are going to imagine that they are young American men who just enlisted in World War I and they want to send a short message to their mother.

Students write one reason from the perspective of a patriot and one from the perspective of a nationalist.

Require students to initial each sticky note and post each on the corresponding sections of the board.

Lesson 3

QUESTION: LESSONS 1-5 Why did countries and individuals join World War I?

“The Teenage Soldiers of World War One,” BBC (http://witeng.link/0001)

“The Peace President Goes to War,” Duane Damon (Handout 1B)

Lesson 3: At a Glance

AGENDA

Welcome (5 min.)

Write a Journal Entry Launch (5 min.)

Learn (59 min.)

Encounter the Text (14 min.)

Analyze the Soldiers’ Experience (25 min.)

Experiment with Well-Chosen Evidence (20 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions

Deep Dive: Execute: Avoid Redundancies (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RI.8.1, RI.8.2, RI.8.4, RI.8.5

Writing

ƒ

W.8.2.b, W.8.3.d

Speaking and Listening

ƒ SL.8.1, SL.8.2

Language ƒ L.8.4.a ƒ L.7.3.a

MATERIALS

ƒ

Handout 1B: “The Peace President Goes to War”

Learning Goals

Analyze how British teenagers’ experience of war develops a larger idea about war’s impact on society using effective evidence (RI.8.1, RI.8.2).

Explain how the military’s treatment of soldiers revealed the war’s impact on society in two to three sentences.

Explore the role of types of evidence in adding precision to the development of a topic (RI.8.1, RI.8.2).

(CFU) Compose a found materials poem about soldiers’ experience of war that incorporates several types of evidence.

Recognize and correct redundancies in writing (L.7.3.a).

Complete an Exit Ticket that identifies and explains redundancies.

Prepare

FOCUSING QUESTION: Lessons 1–5

Why did countries and individuals join World War I?

CONTENT FRAMING QUESTION: Lesson 3

Reveal: What does a deeper exploration of the experiences of British teenage soldiers reveal?

CRAFT QUESTION: Lesson 3

Experiment: How does well-chosen evidence work?

Students continue their exploration of the reasons people joined the war, turning their attention from countries to a specific group of individuals: the British teenagers who flocked to the army after war was declared. Students read “The Teenage Soldiers of World War One,” an article from the BBC that succinctly describes how and why boys joined the war, as well as the resulting impacts the war had on their lives. Students consider how the social pressures and resulting treatment of the boys reveals larger ideas about society at the time. Students also continue their work with well-chosen evidence to identify the types of evidence that can support precision in their thinking. Then they compose a found materials poem that expresses the schism between individuals and society by incorporating different types of evidence from the article.

Welcome

5 MIN.

WRITE A JOURNAL ENTRY

Display the photo at the top of “The Teenage Soldiers of World War One.”

Students choose one of the figures and write a brief journal entry from that individual’s perspective, explaining where he is, how he got there, and what he is thinking or feeling.

Launch

5 MIN.

Students share their journal entry with a partner.

Post the Focusing Question and Content Framing Question.

Explain that in this lesson, students will examine the experiences of teenage British soldiers during World War I and analyze the way their experiences suggest larger ideas about war’s impact on society.

Learn59 MIN.

ENCOUNTER THE TEXT 14 MIN.

Whole Group

Read “The Teenage Soldiers of World War One” aloud.

Students follow along, reading silently.

Have students number the paragraphs of “The Teenage Soldiers of World War One.”

TEACHER NOTE

For reference in this lesson, the subheadings have not been treated as paragraphs, and the bulleted list in this article has been treated as a single paragraph. There are a total of thirty paragraphs.

Ask: “How do the title and the subheadings help you understand what this article is about?”

n This article is about teenage boys who joined the military during World War I.

n This article is about how Britain let thousands of young boys join the war during World War I.

n This article is about the reasons that many of the teenagers joined the fight in World War I.

n This article is about the large amount of British teenagers who joined the fight in World War I.

Ask: “What other elements of this article help you understanding its content?”

n The photos help me understand the article because they show how young the soldiers were when they joined the army.

n The quotes in the article are set apart from the text and help me understand what the text says explicitly.

n The poem helps me understand the article because it provides descriptive and sensory language about the battlefield.

n The bulleted list helps me understand possible reasons the boys might have gone to war or were allowed to go to war.

Students record notes from their discussion in their Response Journal.

ANALYZE THE SOLDIERS’ EXPERIENCE 25 MIN.

Pairs

Instruct students to reread “The Teenage Soldiers of World War One” and annotate why teenagers joined the war W and what happened to the teenagers after they joined the war WH

Have students share their annotations.

Possible annotations: ƒ Why W:

n “[P]atriotic fervor,” “sought escape from grim conditions at home,” “wanted adventure” (paragraph 7).

n “[E]nthusiastic” (paragraph 9).

n “[S]trong sense of adventure joined up,” “heavy unemployment” (paragraph 10).

n “[S]cared of being called a coward,” “pressure from society” (paragraph 14).

n “[P]roof of loyalty to their new country “ (paragraph 15).

n “[S]hortage of experienced officers” (paragraph 26).

ƒ

What Happened WH

n “[T]hey learn the true meaning of fear” (paragraph 1).

n “[S]ome find that killing comes easily to them” (paragraph 2).

n “[T]hey are hurled into a place of maiming and death” (paragraph 3).

n “[T]urned [Cyril] into a vehement opponent of militarism for the rest of his life” (paragraph 12).

n “Aby discovered the wretched nature of trench warfare” (paragraph 17).

n “[T]he trenches meant cold and mud, wet clothes and rats, the smell of death and the sight of mutilated flesh” (paragraph 19).

n “[Aby] was wounded and suffered what was then simply called ‘shock’” (paragraph 19).

n “[Aby] was eventually arrested and charged with desertion” (paragraph 21).

n “Those who survived the trenches and came home brought memories that retained the power to haunt until the end of their lives” (paragraph 24).

n “[St. John] was blown up by a German shell and lost his left leg” (paragraph 27).

Display the following questions. Pairs discuss their responses before sharing with the whole group.

Provide the following definition to support students’ analysis of the article:

Word Meaning Synonyms

monotonous (adj.)

Very boring because of a repeated action. boring, dull

How did the expectations of the teenagers who volunteered compare with the realities of World War I?

n The teenagers “wanted adventure” (paragraph 7) and were excited to serve their country. But the reality of World War I were that many of them were injured or experienced horrifying situations. Many soldiers had memories that would “haunt [them] until the end of their lives” (paragraph 24).

n The teenagers wanted excitement, those with a “strong sense of adventure” (paragraph 10) joined the fight in World War I. However, most of the time, a soldier experienced monotonous or boring conditions that were dirty and scary with a few moments of “terror” (paragraph 18).

n The teenagers expected to get away from the “grim conditions at home” (paragraph 7). But the realities of World War I were not any better; they were dirty and dangerous, “the trenches meant cold and mud, wet clothes and rats, the smell of death” (paragraph 19). The teenagers went from a place where they could not get a job to a place where they were likely to die.

Have a volunteer reread the first paragraph aloud and direct students to the first sentence: “War confers many things on boys who pick up a weapon to fight.”

Students Stop and Jot, and rewrite this sentence in their own words.

Then, ask: “How does the meaning of confer develop World War I’s overall effect on the teenagers?”

n Confer means to give.

n World War I did give the teenagers a lot of different experiences, but most of them were negative: the soldiers were injured, left with memories they could not forget, were thrown in jail, or they died. World War I gave the teenagers many things, just not what they expected when they joined.

1. What was the “pressure from society” (paragraph 14) that motivated teenagers to join the fight in World War I?

n “Pressure from society” was a way to prove that teenagers were loyal to their country.

n “Pressure from society” was the way other people talked about the war, possibly in newspapers or the media.

n “Pressure from society” was the army’s “desperate need” (paragraph 8) for more troops.

n “Pressure from society” was peer pressure, or the influence of “patriotic fervor” (paragraph 7), or general excitement about the war.

Instruct students to respond to the following question independently, then discuss their response with their partner. Remind students to use effective text evidence in their response.

2. What does the military’s treatment of the teenage soldiers reveal about society at this time?

n The military had rules that people under nineteen were not allowed to join the military, but they did not try very hard to enforce those rules (paragraph 8). Eventually the government decided to try and take “all those under 19 years of age out of the front lines,” but they allowed boys to stay in the fight if they “wished” to (paragraph 26).

n The treatment of Aby reveals that society valued fighting in the war more than it valued the boys’ lives. One boy, Aby, was “arrested and charged with desertion” (paragraph 21) after he was attacked on the front and wandered off. Eventually he was “executed” (paragraph 23) for his crime.

Students record notes from their discussion in their Response Journal.

EXPERIMENT WITH WELL-CHOSEN EVIDENCE 20 MIN.

Whole Group

Remind students that there are many different strategies they can use to develop their ideas with well-chosen evidence. Remind them that in the last lesson, they examined how the concision of evidence—how much they include—is an important factor.

Tell students they will now explore how choosing different types of evidence can add precision to their ideas.

Have students create a T-chart in their Response Journal.

Instruct them to title the left column Types of Evidence and the right column Evidence.

Display the following types of evidence for students to list in the left column: ƒ Fact. ƒ Statistic. ƒ Definition. ƒ Brief explanation or description. ƒ

First-person account. ƒ Argumentative claim or opinion.

Tell students that as they choose evidence to develop their ideas, they should think about which precise type of evidence best suits their purpose.

Have students take out “The Peace President Goes to War” (Handout 1B).

Tell students to silently reread paragraph 12.

Have students Think–Pair–Share, and ask: “Choosing from the list in your T-chart, what type of evidence does the author use to support his purpose of explaining Americans’ support of isolationism?”

n The author provides a definition of the term directly after he introduces the word. He says that Americans believed “we should keep to ourselves and let Europe work out its own problems” (par. 12).

that April night began not in the United States but in the tense atmosphere of Europe. There, closely packed nations eyed their neighbors with centuries-old resentments and suspicions. Out of those ancient ill feelings had come the first rumblings of a worldwide conflict.

As the twentieth century opened, the British Empire stood as the mightiest on Earth. Yet Britain was a nervous giant. The rising military and industrial might of Germany caused the British to keep a wary eye on their neighbor across the North Sea. Both countries nursed festering grudges over past clashes and disagreements. Nearby France had its own turbulent history of warring

Direct students to the next sentence in which the author reveals that the idea of isolationism “soon was shattered.”

Now, ask: “Read the following paragraph. What precise piece of evidence from your T-chart would convince you, as an American citizen in 1915, to abandon your commitment to isolationism?”

n The author provides a statistic that says that when an unarmed boat was torpedoed off the Irish coast, “among the 1,198 people who died were 128 Americans” (par. 13).

n That statistic about how many Americans were killed in Europe would have an effect on American citizens. It is more powerful to list a number than to just say “many people died.” It really gets your attention.

Tell students there are many ways to use different types of evidence. They should consider how the type of evidence matches a specific purpose.

Ask: “How would you summarize the ways each piece of evidence we discussed matches a specific purpose?”

n In the first case, the author provided a definition for a term his readers may not know. His purpose was to have them understand a big idea central to his essay.

n In the second case, the author used a statistic to grab the readers’ attention and make them understand why the American idea of isolationism was “shattered.”

Have students Think–Pair–Share, and say: “Review the article and find an example of the remaining types of evidence that are listed in the left column.”

Possible responses include the following:

n Fact: “On May 7, 1915, the unarmed British passenger ship Lusitania was torpedoed by a U-boat and sunk off the Irish coast” (par. 13).

n Brief explanation or description: “As fear of war deepened, nations began forming partnerships, or alliances, with other nations. By 1914, Europe was like a cord of dry kindling waiting for a match” (par. 8).

n First-person account: President Wilson: “My message today was a message of death for our young men …. How strange it seems to applaud that” (par. 3).

n Argumentative claim or opinion: “As a nation, the United States paid a bitter price to learn that its position as a world power brought responsibilities that could not be ignored” (par. 19).

Now, have students Think–Pair–Share, and ask: “For what purpose might you, as a writer, include each type of evidence in a piece of writing about the United States’ entry into World War I?”

n Fact: The writer’s purpose could be to include evidence that identifies an important event, or turning point, in the development of a situation. In this case, the sinking of the Lusitania outraged American people, but President Wilson did not go to war. The evidence could be used to show the growing differences in perspectives about the war between American citizens and President Wilson.

n Brief explanation or description: The writer’s purpose could be to include evidence that summarizes important information. In this case, the explanation provides a general summary of nations’ actions

n over a longer period of time. The evidence shows a general trend, so a description is more effective than presenting a fact about one specific event or incident.

n First-person account: The writer’s purpose could be to include evidence that reveals the specific perspective, thoughts, or feelings of an individual. This type of evidence provides a personal, rather than general, account of what’s happening. In this case, the first-person account shows how President Wilson’s response about joining the war differed greatly from that of many other Americans. The quotation helps the reader understand Wilson’s perspective and struggle as a leader.

n Argumentative claim or opinion: The writer’s purpose could be to include evidence that conveys the larger significance of the other evidence. In this case, Damon claims that the United States learned something about the responsibilities that came with being a great world power. The country could not remain neutral but had to enter a conflict that was important on the world stage. This type of evidence answers the “So what?” question because it explains the importance of President Wilson’s decision.

Tell students they will now construct a found poem to distill the teenage soldiers’ experiences and convey the conflict between individuals and society that they have discussed in this lesson.

Have students scan the article, highlighting or underlining words and phrases that best convey the teenagers’ experiences and represent the types of evidence in their T-chart.

Students should record effective examples in their T-chart and rearrange them into a poem that conveys their purpose.

Students compose a found poem that incorporates several types of evidence.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of the experiences of British teenage soldiers reveal?

Students share with a partner which experience they think was most significant to British teenage soldiers.

ASSIGN HOMEWORK

If students did not have time to complete their found poems in class, they complete the poems for homework. Students continue their fluency homework.

Analyze

Context and Alignment

Students analyze how a British teenager’s experience of war develops a larger idea about war’s impact on society using effective evidence (RI.8.1, RI.8.2). Students develop their understanding of why the individual joined the fight in World War I. By examining the teenager’s thwarted expectations and the British response to teenage soldiers, students consider how treatment of an individual reflects on the impact of World War I on British society. Check for the following success criteria:

ƒ Uses one or two pieces of effective evidence in their response.

ƒ Explains the relationship between the treatment of a teenage soldier and the impact of the war on society.

Next Steps

If students have difficulty answering the Check for Understanding (CFU), consider charting the reactions of the military and its responses to the teenage soldiers as a whole group. Additionally, consider unpacking the concept of society and its pressures with students by returning to the ideas of “sense of self” and relationship to the broader world from Module 1.

Lesson 3 Deep Dive: Style and Conventions

Execute: Avoid Redundancies

ƒ

Time: 15 min.

ƒ

Text: “The Teenage Soldiers of World War One,” BBC (http://witeng.link/0001)

ƒ Style and Conventions Learning Goal: Recognize and correct redundancies in writing (L.7.3.a).

Launch

Display the following phrases:

brief moment end result join together write down unexpected surprise plan ahead

Ask students to raise their hands if they have ever used these phrases in writing or when speaking.

Remind students that redundant means “unnecessarily repetitive.”

Tell students that these phrases are considered common redundancies. Ask students to explain why one or more of these phrases is redundant.

n A moment is something short, so brief just repeats the meaning of moment.

n When I write, I put something down on paper. I don’t need to say where I’m writing because it’s implied.

n Surprise means “something unexpected;” you don’t need to say it’s unexpected.

Ask: “Why do we say and write these expressions if we know they are redundant?”

n When we are speaking, we don’t plan our words ahead of time. We are often talking in the moment.

n I don’t always pay attention when I’m writing. Sometimes I just want to get my ideas on paper.

n When a teacher gives me a word count, I’ll use more words to reach the minimum requirement. In this lesson, students practice finding and correcting repetitive words and phrases.

Learn

Tell students that some redundancies occur when writers try to describe a word, using a description that already captures the meaning of the original word. Often, an adjective or adverb makes the phrase redundant.

Display the following sentences:

The new recruits were eager to prove themselves in battle.

The young soldiers had to cooperate together to survive the war.

Have students read the two sentences. Instruct students to Think–Pair–Share, and say: “Find at least one redundancy in the statement, and explain why it’s redundant.”

n In the first sentence, new is redundant because a recruit is someone who is new to a certain group.

n I think together is unnecessary in the second sentence because cooperate already means “to do something together.”

Instruct students to Think–Pair–Share with the same partners, and say: “Create a short reminder for your classmates about how to check for redundancies when proofreading. You may write a question, statement, or a phrase.”

Possible responses include:

n Don’t say it twice!

n Do you need that adverb or adjective?

n Check your descriptions before you hand it in!

n One and done.

Land Display: “After the German army forcefully invaded Belgium, Britain’s young, teenage boys enlisted in droves. They were left in shock though by the wicked atrocities they witnessed.”

Students complete and submit an Exit Ticket, identifying one or more redundancies in the displayed passage, and explaining why each one is redundant.

TEACHER NOTE Consider defining atrocities for students prior to this exercise.

n The redundancies are “forcefully invaded,” “young, teenage boys,” and “wicked atrocities.” The descriptive words are all part of the original words’ definitions.

Inform students that they will continue to practice spotting redundancies, but they should now be prepared to find and correct redundancies in their writing.

Lesson 4

QUESTION: LESSONS 1-5 Why did countries and individuals join World War I? ƒ “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker (http://witeng.link/0015)

Lesson 4: At a Glance

AGENDA

Welcome (5 min.)

Interpret a Picture Launch (5 min.)

Learn (59 min.)

Encounter Text (15 min.)

Explore Vocabulary and Central Ideas (20 min.)

Experiment with Types of Evidence (10 min.)

Analyze a Key Quote (14 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Academic Vocabulary: Initiated, exhorted, and coerced (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RI.8.1, RI.8.2, RI.8.3

Writing

ƒ W.8.2.b

Speaking

ƒ

and Listening

SL.8.1, SL.8.2

Language ƒ L.8.4.a ƒ L.8.5.c

MATERIALS

ƒ Chart paper

Learning Goals

Demonstrate an understanding of the role of types of evidence in the development of a particular purpose (W.8.2.b).

Synthesize an understanding of the national and social pressures that influenced men’s decision to volunteer to fight in World War I (RI.8.1, RI.8.2).

Write a paragraph analyzing a key quote from the article.

Distinguish among the connotations of initiated, exhorted, and coerced, and apply words in the appropriate contexts (L.8.5.c).

Complete three sentences.

Prepare

FOCUSING QUESTION: Lessons 1–5

Why did countries and individuals join World War I?

CONTENT FRAMING QUESTION: Lesson 4

Distill: What are the central ideas of “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?”

CRAFT QUESTION: Lesson 4

Experiment: How does well-chosen evidence work?

Students build on their work with the idea that society pressured individuals to join the fight in World War I. The informational article “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?” presents the idea that volunteering during World War I was not really voluntary, and the national and social pressures young men faced were complex and persuasive. Students examine a propaganda poster and analyze key vocabulary in the article that illuminates the various pressures. Students continue their work with well-chosen evidence in explanatory writing before writing a paragraph explaining the dual pressures men faced when deciding whether to join. These ideas will support student work with the Focusing Question Task in the following lesson.

INTERPRET A PICTURE

Display the following picture: http://witeng.link/0007

Pairs brainstorm responses to the following question: “What is the purpose of this picture?”

Launch

5 MIN.

Facilitate a whole-group discussion of student brainstorming.

n The purpose of this picture is to explain that the army wants soldiers.

n The purpose of this picture is to convince men to join the army.

n The purpose of this picture is to remind people that they need to serve their country.

n The purpose of this picture is to persuade men to serve their king and country.

Post the Focusing Question and Content Framing Question.

Explain to students that in this lesson, they read a new article that expands on the reasons British men volunteered to fight in World War I, exploring the national and social pressures on men in 1914.

59 MIN.

ENCOUNTER TEXT 15 MIN.

Whole Group

Read “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?” aloud.

Students follow along, reading silently.

Instruct students to number the paragraphs in their copies of the text.

Facilitate a whole-group discussion.

Ask: “What ideas about the war and volunteering to fight are presented in the article?”

n The idea that “Britain was fighting a righteous war” (paragraph 5) and the war was a good thing.

n The idea that joining the fight was “the right moral choice” (paragraph 5) and there was no other option.

n The idea that volunteering for the war was a difficult decision for many men, which could take them “months” to make (paragraph 7).

n The idea that volunteering to fight was a terrible choice; Rupert Brooke faced “bitter criticism” (paragraph 8) from his friends for joining.

n The idea that volunteering to fight was a movement influenced by peer pressure. Men in Wales and in the countryside did not volunteer as much as people in cities because there were fewer people telling them it was a good idea (paragraph 10).

Students record notes from their discussion in their Response Journal.

EXPLORE VOCABULARY AND CENTRAL IDEAS 20 MIN.

Small Groups

Distribute chart paper to students, and display the following words:

ƒ Coerced.

ƒ Righteous. ƒ Patriotic. ƒ Derision. ƒ Criticism.

Explain that in this activity, students will complete the following steps for each word:

1. Copy the vocabulary word onto your chart paper.

2. Define each word, using context clues or a dictionary.

3. Beneath the word, write one or two sentences explaining how this word develops the national and social pressures men faced in 1914.

Students complete their vocabulary charts.

Have students display their vocabulary charts around the classroom.

Students participate in a Gallery Walk.

Ask: “How does your vocabulary chart compare with that of your classmates? How did the Gallery Walk illuminate new understandings about the article?”

Students record notes from their discussion in their Response Journal.

EXPERIMENT WITH TYPES OF EVIDENCE 10 MIN.

Whole Group

Display the Craft Question: Experiment: How does well-chosen evidence work?

Tell students they will continue the work with different types of evidence that they began in the previous lesson.

Remind students that, when they are selecting evidence, they should consider how a particular type of evidence matches a specific purpose.

Remind students that they can make different choices, but they should always consider the needs of their writing task and the needs of their audience. Prompt students to recall their previous analysis of Duane Damon’s use of the definition of a term (isolationism) that may be unfamiliar to his readers.

Display the following topic sentences:

1. Many teenagers lost their lives in War World I.

2. Nationalism was a major reason young men enlisted.

3. The United States was one of the last Allies to join World War I.

Students respond to the following prompt:

n Choose one of the three topic sentences, and explain what three types of evidence you would choose to develop it. Consider the needs of the task. List each selection, and provide a two-sentence explanation of each choice, describing how each type of evidence serves a particular purpose in relationship to the development of your topic or the illumination of your audience’s understanding.

ANALYZE A KEY QUOTE

Small Groups

14 MIN.

Display the following question for students: What did Rupert Brooke mean when he said, “It will be Hell to be in it, and Hell to be out of it” (paragraph 6)?

Instruct students to respond to the paragraph, using at least one of the vocabulary words from the previous activity and at least two pieces of effective evidence from the text.

Students complete a paragraph.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Distill: What are the central ideas of “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?”

Students complete an Exit Ticket in response to the following question: “How does the article answer the question in the title: ‘Why did so many volunteer in 1914?’”

Wrap1 MIN.

ASSIGN HOMEWORK

Students review their notes and texts in preparation for the Focusing Question Task in the following lesson. Students continue their fluency homework in preparation for performing a fluent reading in the next lesson.

Analyze

Context and Alignment

Students synthesize an understanding of the national and social pressures that influenced men’s decision to volunteer to fight in World War I (RI.8.1, RI.8.2). After defining and explaining the connections between key vocabulary in the article and pressures on men in 1914, students analyze a quote that synthesizes the complexity of the choices men faced before entering World War I. Check for the following success criteria:

ƒ Identifies the variety of pressures on men, coming from society, family, and friends.

ƒ Explains how both decisions men faced would result in negative consequences.

Next Steps

If students have difficulty drafting their paragraph, consider facilitating a whole-group discussion, unpacking the quote, and providing students with a To-SEEC organizer for their writing. Additionally, consider instructing students to highlight effective evidence in pairs before drafting their paragraphs.

Lesson 4 Deep Dive: Vocabulary

Explore Academic Vocabulary: Initiated

, exhorted, and coerced

ƒ

Time: 15 min.

ƒ

Text: “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker

ƒ Vocabulary Learning Goal: Distinguish among the connotations of initiated, exhorted, and coerced, and apply words in the appropriate contexts (L.8.5.c).

Launch

Display the following words:

unconcerned, irresponsible, reckless, lighthearted

Remind students that connotations are ideas or feelings that words evoke. Words with very similar denotations, or definitions, can have different connotations.

Ask students to work in groups of three to rank the words from the word with the most positive connotation to the least positive connotation. Call on small groups to share their rankings and reasons.

n The word lighthearted has the most positive or happy connotation because it makes me think of someone who is happy and carefree.

n We’d rank unconcerned next because it seems fairly neutral. Unconcerned just means that a person isn’t bothered one way or the other.

n Irresponsible has a negative connotation. Irresponsible people usually cause trouble and make mistakes. For example, it’s irresponsible to lose your textbook.

n Reckless is the most negative because when someone is reckless, they cause danger. For instance, it is reckless to drink and drive.

Learn

Write the words initiated (paragraph 7), exhorted (paragraph 4) and coerced (paragraph 11) on the board. Tell students to review the definitions they recorded in their Vocabulary Journal as well as reread the words in context in “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?”

Ask: “Which word has a more positive connotation, initiated or coerced?” Allow students to Turn and Talk to compare ideas. Using Equity Sticks, call on students.

Ask: “Which word has a more negative connotation, initiated or exhorted?”

Allow students to Think–Pair–Share to compare ideas. Using Equity Sticks, call on students.

Instruct students to stand up. Label one side of the room Positive and the other side Negative. Call out each of the three words, and ask students to position themselves in the room to indicate the kind of connotation the word has. Pause between each word to call on students to explain their decisions.

n Initiated has the most positive connotation of the three because it means “to cause something to begin.” The something isn’t necessarily good or bad. The word is pretty neutral.

n Exhorted is slightly more positive than coerced because coerced involves violence and threats, whereas to exhort just means “to strongly encourage.” A person could use negative ways to pressure someone, but not always.

Land

Students fill in the blanks of these sentences with the word that best completes them:

The young man a conversation with the woman across the table. The guards a confession from the prisoner.

Her counselor her to stand up to the bully. ƒ initiated ƒ coerced ƒ exhorted

Reveal that understanding the connotations of words will be important when students consider the various psychological impacts of warfare.

FOCUSING QUESTION: LESSONS 1-5

Why did countries and individuals join World War I?

Lesson 5

TEXTS

“The War to End All Wars,” Shari Lyn Zuber (Handout 1A) ƒ

“The Peace President Goes to War,” Duane Damon (Handout 1B) ƒ

“The Teenage Soldiers of World War One,” BBC (http://witeng.link/0001) ƒ

“‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker (http://witeng.link/0015)

Lesson 5: At a Glance

AGENDA

Welcome (5 min.)

Evaluate Evidence Launch (5 min.)

Learn (59 min.)

Organize Evidence (19 min.)

Create: Focusing Question Task (30 min.)

Perform a Fluent Reading (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Excel: Eliminate Wordiness and Redundancies (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RI.8.1, RI.8.2

Writing

ƒ

W.8.2.a, W.8.2.b, W.8.2.d, W.8.4

Language ƒ

L.7.3.a

MATERIALS

Learning Goals

Explain two perspectives on the reasons for joining World War I at different points in the conflict using varied and wellchosen evidence (RI.8.1, RI.8.2, W.8.2.a, W.8.2.b, W.8.2.d, W.8.4, L.7.3.a).

Complete Assessment 5A.

Recognize and correct wordiness and redundancies in writing (L.7.3.a).

ƒ

Handout 1C: Fluency Homework ƒ

Handout 5A: Collect Evidence: Two Perspectives ƒ

Assessment 5A: Focusing Question Task 1

Correct redundancy and wordiness in Focusing Question Task 1.

Prepare

FOCUSING QUESTION: Lessons 1–5

Why did countries and individuals join World War I?

CONTENT FRAMING QUESTION: Lesson 5

Know: How do informational texts about the war build my knowledge of reasons for joining World War I?

CRAFT QUESTION: Lesson 5

Execute: How do I use well-chosen evidence in an explanatory response?

Students integrate their understanding of the forces that influenced the beginning of World War I, and the reasons countries and individuals chose to get involved, by completing their first Focusing Question Task. Students reflect on their new knowledge about the conditions surrounding World War I in preparation for starting the novel All Quiet on the Western Front in the following lesson.

Welcome

EVALUATE EVIDENCE

5 MIN.

Students write a brief response to the following question: “Based on the evidence from your reading, how does a country’s decision to join the war compare with an individual’s decision to join the war?”

Launch

5 MIN.

Students share their responses.

Possible responses include the following:

n An individual’s reasons are specific to them and their situation, a country’s reasons are usually more political or related to larger things in the world.

n An individual’s reasons are influenced by family and friends; a country’s reasons are influenced by politics and what is happening in the world.

Post the Focusing Question and Content Framing Question.

Explain that in this lesson, their first Focusing Question Task of the module, students synthesize their understanding of why individuals—British men—and countries—the United States—joined the war, using multiple texts from this Focusing Question arc.

59 MIN.

ORGANIZE EVIDENCE

19 MIN. Pairs

Distribute Handout 5A: Collect Evidence: Two Perspectives. Instruct students to use their notes, annotations, and texts to complete the handout.

Students complete Handout 5A in preparation for their Focusing Question Task.

CREATE: FOCUSING QUESTION TASK

Individuals

30 MIN.

Display the Craft Question: Execute: How do I use well-chosen evidence in an explanatory response?

Distribute Assessment 5A: Focusing Question Task 1. Review Assessment 5A, addressing any questions.

Students independently complete Focusing Question Task 1.

Small Groups

Students take out Handout 1C: Fluency Homework and individually read aloud to their small groups, demonstrating mastery of fluent reading skills, including appropriate pace, tone, expression, emotion, and attention to words and punctuation.

Students self-assess their growth as fluent readers and submit Handout 1C.

TEACHER NOTE

Students will be assigned a new fluent reading passage in Lesson 7, after they start the novel All Quiet on the Western Front.

Know: How do informational texts about the war build my knowledge of reasons for joining World War I?

Have students respond to the Content Framing Question in the Knowledge of the World section of their Knowledge Journal.

Then have students respond to the following question in the Knowledge of Skills section of their Knowledge Journal: “How do different types of evidence build your knowledge of reasons for joining World War I?”

Wrap

1 MIN.

Students will start the novel All Quiet on the Western Front in the following lesson.

Analyze

Context and Alignment

Students explain two perspectives on the reasons for joining World War I at different points in the conflict, using varied and well-chosen evidence to complete the Focusing Question Task (RI.8.1, RI.8.2, W.8.2.a, W.8.2.b, W.8.2.d, W.8.4, L.7.3.a). Refer to Appendix C for an exemplar student response. Check for the following success criteria:

ƒ

Summarizes why a British citizen and the United States joined the war effort.

ƒ Demonstrates an understanding of how to choose specific evidence for a particular purpose.

ƒ Differentiates between the British or American rationales for joining the war effort.

Next Steps

If students were unable to identify two perspectives and complete their paragraphs, consider modeling the evidence collection activity before pairs complete their charts. Additionally, consider providing students with a To-SEEC organizer for their Focusing Question Task.

Group students with similar needs and plan small group support for these skills to set students up for success with their next Focusing Question Task.

Lesson 5 Deep Dive: Style and Conventions

Excel: Eliminate Wordiness and Redundancies

ƒ

Time: 15 min.

ƒ

Text: “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” Toby Thacker

ƒ Style and Conventions Learning Goal: Recognize and correct wordiness and redundancies in writing (L.7.3.a).

Launch

Display the following sentence pairs:

Enlisting as a soldier in World War I is something many young Canadian men wanted to do.

Many young Canadian men wanted to enlist in World War I.

Soldiers had to run and race through the battlefields.

Soldiers had to dash through the battlefields.

The British, male teenagers who enlisted as boys were not old enough to vote.

The British, male teenagers weren’t old enough to vote.

Ask: “Which sentences are clearer? Why?”

n In the first sentence pair, the second sentence is clearer because the subject is short and it completes the action of the sentence. The idea is much easier to follow.

n The first sentence of the first pair is not as clear because it starts with a phrase that makes the subject unclear.

n In the second pair, the words run and race mean the same thing, so saying dash gets the point across.

n In the third pair, teenagers lets us know that they were still young, so we don’t need “who enlisted as boys” to restate that same idea.

Say: “Wordiness means ‘using more words than necessary.’ The opposite of wordiness is conciseness. Many times writers use clauses and phrases that could be shortened or eliminated. Concise writing is often more direct and clear for readers, especially in explanatory writing. Making your writing concise takes practice and careful proofreading. In this lesson, you will practice making writing concise.”

Learn

Display: In the passage from page 3, Smith talks about what happened to the teenagers who survived the trenches: “Those who survived the trenches and came home brought memories that retained the power to haunt until the end of their lives” (3).

Complete a Think Aloud to model revision process.

In these sentences, I can clearly see that the page number is repeated twice. When citing from a source, I only need to list the page numbers once. Here, the author includes an in-text citation, so I will delete “In the passage from page 3.”

I also see that “survived the trenches” is repeated as well. The author tries to introduce the quotation, but their introduction basically tells us exactly what the quotation does. I’d eliminate most of that introductory sentence and rewrite it to signal its importance. Let’s see: “Smith demonstrates the emotional horrors of war: ‘Those who survived the trenches and came home brought memories that retained the power to haunt until the end of their lives’ (3).”

Now my introductory sentences lets my readers know what is significant about the quotation, not what it will tell us.

Display: The British public pressured and pushed young men into joining the army. In Toby Thackers’s article “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?,” he describes how even women strong-armed men into joining when he writes, “Many were presented with white feathers by women, something which often left a lasting sense of shame” (Thacker 1).

Instruct students to work in pairs to make this passage concise. Call on pairs to share and explain their revisions.

The British public pressured young men into joining the army. In fact, even women strongarmed young men by presenting them with white feathers, “which often left a lasting sense of shame” (Thacker 1).

Land

Direct students to their Focusing Question Task 1 assignments. Instruct students to switch papers with their partners and underline any wordiness or redundancies. Remind students to look for descriptive words, like adjectives and adverbs, when correcting redundancies and to check phrases and clauses to ensure that their ideas are clear.

Students correct the issues their partners found.

Lesson 6

QUESTION: LESSONS 6-16 How did the conditions on the front affect soldiers?

Lesson 6: At a Glance

AGENDA

Welcome (5 min.)

Identify Qualities of a Soldier Launch (7 min.)

Learn (57 min.)

Examine the Novel’s Intent (10 min.)

Encounter Text (25 min.)

Read and Annotate for Character Details (22 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Content Vocabulary: Military Terms and Expressions (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RL.8.1, RL.8.3

Writing ƒ W.8.10

Speaking and Listening ƒ SL.8.1, SL.8.2

Language ƒ L.8.4.a ƒ L.8.4.a, L.8.4.d

MATERIALS ƒ

Chart paper

Markers

Handout 6A: Military Vocabulary

Index cards

Learning Goals

Identify qualities of a character in the Second Company using effective evidence (RL.8.1).

Write one or two sentences about a character, and describe the most important qualities of their personality.

Use context to determine the meanings of various words related to the military, and verify definitions with a dictionary (L.8.4.a, L.8.4.d).

Complete PART 2 of Handout 6A.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 6

Wonder: What do I notice and wonder about the soldiers in All Quiet on the Western Front?

To begin their study of literature and art that illuminates the effects of World War I, students start their reading of Erich Maria Remarque’s enduring classic All Quiet on the Western Front. Students discuss the novel’s preface, examining its purpose and effect. Students then begin chapter 1 and record significant observations about characters, laying a foundation for the way the novel represents the conditions of the front and its impact on soldiers.

Welcome

5 MIN.

IDENTIFY QUALITIES OF A SOLDIER

Ask students to describe qualities they associate with a soldier.

Tell them to consider the following:

ƒ Stories you have heard about the past. ƒ Movies you have watched. ƒ People you may know who serve, or have served, in the military.

Students record brief descriptions in their Response Journal.

Launch

7 MIN.

Post the Focusing Question and Content Framing Question. Have a student read aloud the Focusing Question: How did the conditions on the front affect soldiers?

Define front for students: “the place or region where there is fighting and physical conflict during a war.”

Ask: “What kind of place do you think the front would be?”

n The front would be where all the fighting happened in World War I.

n The front would be a dangerous place for soldiers.

n The front would be a place where soldiers would be more likely to die.

Have students rewrite the Focusing Question in their own words.

Ask: “What do you know about the word conditions? What might be some synonyms for conditions in this context?”

n Conditions are used when talking about the weather or what it might be like outside.

n Other words for conditions in this context might be environment or surroundings.

Explain that in this Focusing Question arc, students begin reading the novel All Quiet on the Western Front and explore the way this novel represents the conditions on the front and the experiences of soldiers who fought in World War I.

57 MIN.

EXAMINE THE NOVEL’S INTENT

Whole Group

10 MIN.

Have students consider their responses about the front and now read the title of this book.

Ask: “What do you notice and wonder about the title?”

n I wonder why the front, a place where there was lots of fighting, would be quiet.

n I wonder if the author is making a joke by saying that a dangerous place would be quiet.

n I wonder what the use of quiet in the title is trying to say about the war.

n I notice that the title does not specifically mention War World I.

Direct students to the preface in All Quiet on the Western Front

TEACHER NOTE

The preface of the book refers to the paragraph on the page before chapter 1, from “This book is to be neither an accusation nor a confession” to “were destroyed by the war.”

Students read the paragraph silently.

Now read the paragraph aloud.

Ask: “What information does the paragraph provide that you wouldn’t have if you started the novel on page 1?”

Guide students to the understanding that the purpose of the preface is to state the intention of the novel. Explain that the word intention means “a clear and fixed decision for a particular plan of action.”

Instruct students to Think–Pair–Share, and ask: “Why would an author state the intention of his book up front rather than have readers figure it out as they read?”

Possible responses include the following:

n The author wants to explain his idea about the book clearly.

n The author thinks that there are many different ideas about war and wants the reader to know his exact viewpoint.

Now, ask: “As someone about to read this novel, what’s your response to the preface?”

n This statement makes me wonder about how men could be destroyed by the war without dying.

n This makes me wonder about the author and his own experience with war.

n Now that the author has stated what he will say about the war, I wonder how he is going to tell his story.

ENCOUNTER THE TEXT 25 MIN.

Whole Group

Read pages 1–7 aloud, from “we are at rest five miles behind” to “synthetic honey to each man.”

Students follow along silently in their copies of the text.

Reread the first paragraph from “we are at rest five miles behind” to “he is and always will be as thin as a rake.” Quickly define words that are unknown to students.

Ask: “What do you notice and wonder about the first paragraph?”

n I wonder if these men are soldiers.

n I notice the men are eating and saving food in “washbasins” (1).

n I notice they are not at the front, but “five miles behind” (1).

n I wonder what the men were “relieved” from (1).

Read aloud page 2, from “What’s more important still” to “a long time at one stretch.”

Students follow along silently in their copy of the text.

Ask: “Does page 2 help develop any of your noticing, resolve any of your wondering, or bring up new questions?”

n The men are soldiers because they had to go fight on the “front line” (2).

n The soldiers are at war, and they do not get enough sleep.

n I notice the men are not English because the “English heavies” fired on them; I wonder what country they are from (2).

n I notice that the soldiers “suffered severely” after the attack by the English.

n I wonder why the soldiers don’t usually have this much food (2).

n I wonder why the English attack was “astonishing” if the soldiers are at war (2).

Tell students that the word Prussian refers to the German leadership, and these soldiers are German.

Have students annotate for all explicit facts about the narrator on pages 1–4.

Ask: “What do you notice about the narrator?”

n The narrator’s name is Paul Bäumer.

n The narrator is nineteen-years-old.

n The narrator has quite a few friends.

n The narrator describes his friends using figurative language.

n The narrator says more about his friends than he does about himself.

n The narrator, Paul, is very specific about the rations the soldiers receive and the food they are eating.

Students record notes from their discussion in their Response Journal.

READ AND ANNOTATE FOR CHARACTER DETAILS 22 MIN.

Small Group

Tell students that as they continue to read All Quiet on the Western Front, they will track what happens to Paul and his friends. Remind students that keeping track of individual characters supports their understanding of what’s happening in a long text.

Ask: “Who are Paul’s friends?”

n Stanislaus Katczinsky.

n Tjaden.

n Müller.

n Albert Kropp.

n Leer.

n Haie Westhus.

n Detering.

TEACHER NOTE

If this works for your classroom, simulate the experiences of soldiers like those in the novel by delivering the following squad rules as orders in a military style and posting the rules in your barracks (classroom). To facilitate the assignment and rotation of characters, consider numbering students within a squad.

Organize students into small groups, and explain that students remain in these home groups for this module. Each home group is a “squad” that has its own responsibilities.

Display or distribute the following guidelines:

Squad Rules:

ƒ

Each squad names itself.

ƒ

For every lesson’s reading, each “soldier” in a squad is responsible for writing details, observations, and inferences about one character in All Quiet on the Western Front.

ƒ Soldiers record observations, inferences, and details about their character’s personality, actions, and involvement in incidents. They record this information, and anything else that happens to their character, in a status report.

ƒ Soldiers rotate their characters every lesson so that each squad member has the chance to track a different character.

ƒ

Soldiers track the following characters: Albert Kropp, Müller, Tjaden, and Stanislaus Katczinsky (Kat).

ƒ

Each soldier debriefs their notes with the squad, sharing relevant information about the assigned character.

TEACHER NOTE

Students rotate which character they track to ensure all students have the opportunity to track the two characters they may write about in the subsequent Focusing Question Task. Not every section of assigned reading will have information about each character.

Share the definition of a status report: “a report on the current situation of something.”

Explain that no one in the squad will specifically track Paul Bäumer. Tell students they are tracking characters to follow what happens to the Second Company. Because the novel is told from Paul’s perspective, he will be the “guide” for students. Tell them that they will analyze Paul’s experience in their EOM Task.

Distribute chart paper.

Display the following template and guide students through an exemplar status report of Haie Westhus. Tell students that an incident is a “single event.” In the context of the novel, an incident refers to a single contained event or conversation.

Status Report for: Haie Westhus

Characteristics:

ƒ

What is he like?

ƒ How does the narrator describe him?

ƒ

What is his history—what did he do before the war?

Haie is a nineteen-year-old peatdigger who is large and has big fists (3).

Incidents:

ƒ What happens to him? ƒ What activities does he participate in?

Responses:

ƒ

How does he react to what happens to him or others around him? ƒ

What does he say? ƒ What is his mood or emotional state?

Haie is in line for beans (3). Haie does not speak up or bully the cook like some of the other men.

In their squads, students create a status report for each character on a piece of chart paper, with individual students recreating the layout of the exemplar status report and filling in the name of their assigned character.

Group members rotate turns and reread pages 1–4 aloud, from “We are at rest five miles” to “dirty weather, good food, and soft jobs,” annotating for characteristics of their specified character, and add them to the Characteristics column on the status report.

Facilitate a brief whole-group discussion, and ask: “What is an important detail or significant observation you made about your character?”

Possible responses include the following:

n Kropp is the “clearest thinker” in the group (3).

n Müller loves school, still carries his textbooks, and thinks about “examinations” (3).

n Tjaden is very skinny because the narrator says he is “thin as a grasshopper” (3).

n Kat is the leader of the group and is very good at finding food and “soft jobs” (3–4).

Differentiation

If students require more support to identify observations and details about individual characters, consider creating a whole-group status report when students share.

Read aloud pages 4–7, from “Our gang formed the head,” to “synthetic honey to each man.”

Students follow along and annotate for their character’s reaction to the incident with the cook. Students complete the Incident and Responses columns on their status report.

Check students’ understanding of the incident by having them respond to the following question in small groups.

1. Disconcerted means “to feel baffled, confused, or generally uneasy about a particular thing or situation.” What is the cook reacting to and why is he disconcerted?

n The cook is reacting to the “fact” that almost half of the soldiers did not come back from the front (4).

n The cook is disconcerted because he expected to feed more soldiers. It is hard for him to believe so many men died.

Students record notes from their discussion in their Response Journal.

Land5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Wonder: What do I notice and wonder about the soldiers in All Quiet on the Western Front?

Students complete and submit an Exit Ticket in response to the following direction: “Choose a character, other than the one you recorded for your status report, and describe the most important qualities of their personality.”

Wrap1 MIN.

ASSIGN HOMEWORK

Students reread pages 1–7 of All Quiet on the Western Front.

Analyze

Context and Alignment

Students identify qualities of a character in the Second Company, using effective evidence (RL.8.1). Given that this is the students’ first encounter with All Quiet on the Western Front, it is most important that they demonstrate a basic understanding of the plot and characters in these first few pages.

Next Steps

If students have difficulty understanding some of the military context and details in the novel, consider engaging them in a mini-lesson on military culture or assigning short research topics for students to look into for context.

Explore Content Vocabulary: Military Terms and Expressions

ƒ

Time: 15 min.

ƒ

Text: All Quiet on the Western Front, Erich Maria Remarque, pages 1–7

ƒ Vocabulary Learning Goal: Use context to determine the meanings of various words related to the military, and verify definitions with a dictionary (L.8.4.a, L.8.4.d).

Launch

Before this lesson, create index cards for each student. There should be three types of index cards: private, lance corporal, and lieutenant. Format index cards with the following information:

TEACHER

NOTE

Private Enlisted rank New recruit

Lance Corporal Enlisted rank Non-commissioned officer (nomcom)

Lieutenant

Means “second in command”

Randomly distribute one index card to each student as they enter class. Tell students to form groups of three, making sure there is only one of each rank in the group. Orally provide students with the definition of commission: “the order that confers officer’s rank in the military.”

Tell students that in All Quiet on the Western Front, they will encounter words and phrases that are unique to the military. Tell them they will now preview some of these terms and expressions. Tell small groups that their first task is to line up for the mess hall to receive their rations. They should line up from highest rank to lowest rank, using only their index cards to decide the order. Observe students’ attempts to line up in order, and ask: “Who is the highest ranking soldier, and how do you know?”

n The lieutenant is the highest ranking soldier because they have a commission, which makes their position official.

n At first, I thought lance corporal was the highest because we saw “rank” in the explanation, but we realized “second in command” under lieutenant was still probably higher than a lance corporal because of “noncom” in that explanation.

n I’ve heard the term private in movies and television, and I know those are the soldiers usually following orders. Instruct students to Think–Pair–Share, and ask: “Why might the military use precise titles for rank?”

n The military is huge, as big as a company, or even a city. It needs to have a system of order.

n To be successful at wartime, you need discipline and order. Having very specific titles makes sure people can make decisions fast.

Junior commissioned officer

n There are so many people in the military that having precise levels of leadership makes it easier for people to know how to interact with each other.

Learn

Inform students that even though it may seem that the military has its own language, it is important to not become overwhelmed or frustrated by these unknown words. Explain that many words have very simple meanings that they can infer using context clues. Reveal that many times they do not need to know the definition of the term to understand the big picture, but as students noted, the unique terms the military uses help it to function efficiently.

Distribute Handout 6A. Allow students to work in pairs to complete PART 1.

As pairs complete PART 1, circulate to ensure understanding.

Land

Students individually complete PART 2 of Handout 6A.

Conduct a Whip Around, and ask: “What can you do if you get stuck on an unknown word that seems important to a passage?”

n Ask another student for help.

n Ask the teacher for help.

n Use a dictionary.

n Look it up online.

n Look it up in an encyclopedia.

FOCUSING QUESTION: LESSONS 6-16

How did the conditions on the front affect soldiers?

Lesson 7

All Quiet on the Western Front, Erich Maria Remarque, pages 7–18

Lesson 7: At a Glance

AGENDA

Welcome (5 min.)

Identify a New Insight Launch (5 min.)

Learn (59 min.)

Encounter Text (20 min.)

Explore Characters and Responses (20 min.)

Summarize an Understanding of Key Details (9 min.)

Write About an Incident (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore

Academic Vocabulary: Beckons, ostracized (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RL.8.1, RL.8.3

Writing ƒ W.8.10

Speaking and Listening ƒ

SL.8.1, SL.8.2

Language ƒ

L.8.4.a, L.8.4.d

MATERIALS

Handout 7A: Fluency Homework ƒ Chart paper ƒ Markers

Learning Goals

Summarize an incident in chapter 1, and explain two characters’ reactions to that incident using effective evidence (RL.8.1, RL.8.3).

Write a paragraph that summarizes an incident in chapter 1, and describes two characters’ reactions to that incident.

Use context to determine meanings of beckons and ostracized, and verify inferred meanings with the dictionary (L.8.4.a, L.8.4.d).

Highlight or underline ostracized in the text.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 7

Organize: What’s happening in All Quiet on the Western Front?

Students complete their reading of the first chapter of All Quiet on the Western Front, maintaining a focus on basic comprehension of events and characters. Students examine Paul’s descriptions of the former teacher who convinced him and his friends to join the war and then explore the men’s reaction to visiting their friend Kemmerich, who is dying. Students establish a routine for updating their status reports and sharing with the whole group. They then demonstrate their comprehension of the plot, character, and relationship between them by writing a paragraph in which they explain the responses of two characters to an incident in chapter 1.

Welcome

5 MIN.

IDENTIFY A NEW INSIGHT

Students find a partner and discuss anything new they noticed or wondered from their rereading for homework.

Launch

5 MIN.

Students share the results of their discussion from the Welcome task.

Post the Focusing Question and Content Framing Question.

Explain that in this lesson, students complete their reading of chapter 1 of All Quiet on the Western Front, exploring the soldiers’ lives in the military and the reactions and responses of Paul and his friends to incidents in this portion of text.

59 MIN.

ENCOUNTER TEXT 20 MIN.

Whole Group

Read aloud pages 7–13, from “Today is wonderfully good” to “alone we must see it through.”

Students follow along silently in their copies of the text.

Ask: “What do you notice and wonder about the soldiers’ lives in the military?”

n I notice that the soldiers enjoy going to the bathroom outside together. Maybe because this is one of the only places they can relax.

n I notice the soldiers enjoy simple pleasures, like the “soft warm wind” and getting mail (9).

n I notice the soldiers are playing with “cards”, and I wonder what game they are playing (9).

n I wonder why Paul is happy and thinks the setting is “beautiful” because he is at war (9).

n I notice that Paul’s life changed after he joined the military.

n I wonder why Paul’s teacher encouraged them to join the war.

n I wonder why Paul says the “unhappiness of the world” is caused by short men (10).

Read aloud pages 13–18, from “Before going over to see Kemmerich” to “We are old folk.”

Ask: “What do you notice and wonder about the soldiers’ visit with Kemmerich?”

n I wonder what the dressing station looks like and why Kemmerich isn’t in a hospital.

n I notice that Müller really wants Kemmerich’s boots.

n I notice that the men do not want to tell Kemmerich that he’s lost his foot.

n I notice that Paul imagines Kemmerich’s death.

n I wonder why the men have to ask for Kemmerich to get medicine.

n I wonder if Kemmerich will get to go home.

n I wonder why Kropp gets so upset.

n I wonder what “Iron Youth” means (18).

EXPLORE CHARACTERS AND RESPONSES

Whole Group

20 MIN.

Tell students they will now work to explore these two sections of chapter 1, discussing various incidents and the way the soldiers respond to them.

Reread aloud pages 10–13, from “Kantorek had been our schoolmaster” to “alone we must see it through.”

Instruct students to annotate pages 10–13 for details about the beliefs Paul and his friends share and the beliefs of their former teacher Kantorek.

Display a T-chart. Label one side Paul and His Friends and the other side Kantorek.

Facilitate a whole-group discussion of student annotations, and record them on the T-chart.

Possible responses: Paul and His Friends Kantorek

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“[O]ur generation was more to be trusted than theirs” (12).

ƒ “[W]e distinguished the false from true” (13).

ƒ “[W]e already knew that the death throes are stronger” (13).

ƒ “[W]e saw that there was nothing of their world left” (13).

“These teachers always carry their feelings ready in their waistcoat pockets” (11). ƒ

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“[B]eside themselves with joy” (11). ƒ

“[C]onvinced that they were acting for the best” (12). ƒ

“[T]hey taught that duty to one’s country is the greatest thing” (13).

Have students consider the differences between beliefs.

1. Why did Paul and his friends join the war?

n Paul and his friends joined the war because they “trusted” Kantorek and other teachers like him who believed that it was a man’s duty to fight in war (12).

n Paul and his friends did not want to be called a “coward” by their parents or other older people (11).

n Paul and his friends joined the war because they did not understand what it would be like to fight in the war.

Encourage students to connect their thinking to previous knowledge about why young men joined the war from the first Focusing Question Task sequence.

Students record notes from discussion and recreate the T-chart in their Response Journal.

Reread aloud pages 13–18, from “Before going over to see Kemmerich,” to “We are old folk.”

2. How do Paul and his friends respond to Kemmerich’s situation?

n Paul recalls seeing Kemmerich’s “mother” when they left for the war (15).

n Paul “cannot bear to look at [Kemmerich’s] hands” because they make him think about Kemmerich’s death (15).

n Paul and his friends give cigarettes to the orderly attending to Paul so he will “give Kemmerich a dose of morphia” (17).

n Müller tries to get Kemmerich to leave his things with them so they will not be taken by “the orderlies” after Kemmerich dies (16).

n Müller responds to Kemmerich’s situation by saying that he is “done for” and that is why he wants the nice leather boots, which won’t be of any use to Kemmerich (18).

Display the following definition: bombardment (n.)–to strike with artillery, or explosive devices such as bombs or cannons.

Inform students that this word will reoccur through the novel.

3. How do incidents in this part of chapter 1 show that Paul and his friends are “old folk” (18)?

n Incidents in this part of chapter 1 show some of what Paul and his friends have gone through since they joined the army.

n After Paul and his friends experience the “first bombardment,” they begin to see the realities of war, like the “wounded and dying” (13). Their friend Behm was blinded and shot in No Man’s Land.

n Paul and his friends have seen many horrible things, like their friend Kemmerich dying, so even though they are only “twenty years old,” they feel much older (18).

Students record notes from discussion in their Response Journal.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS 9 MIN.

Small Groups

Squad members update their status reports, recording characteristics, incidents, and responses for their assigned character. Tell students they will continue this routine throughout their reading of All Quiet on the Western Front.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned character.

WRITE ABOUT AN INCIDENT 10 MIN.

Individuals

Students write a paragraph in response to the following prompt.

“Choose two characters to write about. Summarize one incident in chapter 1, and explain how those two characters react to the incident and what their different reactions reveal about each one of them.”

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in All Quiet on the Western Front?

In their Response Journal, students write the five journalistic questions: who, what, when, where, and why. Remind students that these five simple questions are a way to summarize understandings and check for comprehension.

Students write a brief Exit Ticket summarizing “who” and “what” the novel is about thus far.

1 MIN.

Display and distribute Handout 7A: Fluency Homework, and review the assigned fluency passage with students.

Students reread chapter 1 from All Quiet on the Western Front and, in their Response Journal, write two sentences that explain “when” and “where” the novel takes place.

Students will work with “why” throughout the module and in subsequent lessons.

Analyze

Context and Alignment

Students summarize an incident in chapter 1 and explain two characters’ reactions to that incident using effective evidence (RL.8.1, RL.8.3). Students should demonstrate a further understanding of the plot and characters and be able to briefly summarize one event in chapter 1. Students will be working with incidents and character reactions throughout their study of this novel.

Next Steps

If students have difficulty identifying “who” and “what” the novel is about, consider providing sentence frames for students to complete (e.g., “The main characters of All Quiet on the Western Front are ” or “All Quiet on the Western Front is about during World War I.”).

Explore Academic Vocabulary: Beckons, ostracized

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque

Vocabulary Learning Goal: Use context to determine meanings of beckons and ostracized, and verify inferred meanings with the dictionary (L.8.4.a, L.8.4.d).

Launch

Display and reread:

“It is true we have no right to this windfall. The Prussian is not so generous. We have only a miscalculation to thank for it” (2).

Ask students to consider which words within this paragraph give hints as to what a windfall might be. Reread again very slowly. Instruct students to stand when they hear a context clue for windfall. Call on standing students to explain their thinking.

n “No right to” makes it sound like windfall is something special that they might not have ever had otherwise.

n “Generous” shows that windfall is an excess of something; it’s a quantity or quality that’s more than they would normally earn.

Ask students to Stop and Jot to define windfall. Reveal the definition: “an unexpected or unearned gain or piece of good fortune.”

Learn

Display and reread page 1.

Explain that dollop means “a small amount, such as a quick splash of liquid.” Instruct students to Think–Pair–Share about the ideas in sentences before and after sentence 7 that give clues about the meaning of beckons. Using Equity Sticks, call on students.

n The eighth sentence says the cook is trying to empty the stewpot quickly, so he’s encouraging them to come eat.

n In sentence 3, he says that there is twice as much food as they need. If the cook is trying to empty his stew pot, he’s trying to get people to eat even more than they do normally.

n

If the cook is “begging us to eat,” then when everyone is passing him by, he’s doing something to convince him to come get food.

n He’s doing something with his ladle when people walk past him to get their attention.

Tell students to draft a definition of beckons. Pairs compare definitions with one other pair before verifying their definitions using a dictionary. Instruct students to record beckons into the New Words section of their Vocabulary Journal.

Land

Direct students to the second to last paragraph on page 11, and instruct them to highlight or underline ostracized.

Display the rating scale:

0 = incorrect definition

1 = partially accurate definition

2 = accurate definition

Students use context to develop a definition for ostracized, verify their definitions with the dictionary, and rate the accuracy of their definitions using the displayed scale.

Scaffold

Provide a simplified version of the paragraph to build understanding of context before students return to original text to determine meaning of ostracized:

Joseph Behm hesitated and didn’t want to follow the leader’s directions, but he let the other men convince him to do so. If he hadn’t, he would have been ostracized by everyone. Maybe some others agreed with him but wouldn’t admit it; they didn’t want to be called cowards; none of us knew at all what was waiting for us.

Instruct students to enter the definition of ostracized into the New Words section of their Vocabulary Journal.

Ask students who rated their definitions of ostracized as a 2 to share the process they used to reach their definitions.

Lesson 8

Lesson 8: At a Glance

AGENDA

Welcome (5 min.)

Brainstorm About the Iron Youth Launch (5 min.)

Learn (59 min.)

Encounter the Text (25 min.)

Summarize an Understanding of Key Details (24 min.)

Examine Using Broad Categories (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Academic Vocabulary: Threshold (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading ƒ

RL.8.1, RL.8.2, RL.8.3

Writing ƒ W.8.2.b, W.8.5

Speaking and Listening ƒ SL.8.1

Language ƒ L.8.4.a ƒ L.8.4.a

MATERIALS

Handout 8A: Broad Category Organization ƒ

Chart paper ƒ Markers

Learning Goals

Summarize the events and perspectives of the Iron Youth, before and after they join the army (RL.8.1, RL.8.2).

Collaboratively create a timeline of the events and experiences of the Iron Youth.

Define threshold as used in context, and determine its relationship to a broad category (L.8.4.a).

Respond to a prompt about the definition of threshold in the novel.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 8

Organize: What’s happening in All Quiet on the Western Front?

CRAFT QUESTION: Lesson 8

Examine: Why are broad categories important?

Students read chapter 2 and discuss what’s happening so far in All Quiet on the Western Front. They support their understanding by creating a timeline of the experiences the Iron Youth have endured thus far. They then distill the information in this timeline to identify the Iron Youth’s holistic change in worldview, and students discuss how their experience is distinct. Finally, students begin their work with broad categories, examining two sets of example paragraphs that illustrate different organizational methods in informative writing.

Welcome

5 MIN.

BRAINSTORM ABOUT THE IRON YOUTH

Display the phrase Iron Youth on the board.

Have partners brainstorm one reason Kantorek might have referred to Paul and his friends as the Iron Youth.

Launch

5 MIN.

Tell students they will return to their brainstorming about the Iron Youth later in this lesson.

Facilitate a quick, whole-group discussion of student responses to the “when” and “where” questions they answered for homework.

n When: The novel takes place during World War I and begins in summer.

n Where: The novel is set in Europe, on and near the battlefields of World War I.

Post the Focusing Question and Content Framing Question.

In this lesson, students build their understanding of what’s happening in chapter 2 by examining the Iron Youth.

Learn

59 MIN.

ENCOUNTER THE TEXT 25 MIN.

Small Groups

Organize students into their squads.

Provide the following definitions to support student reading:

Word Meaning Synonym(s) protrude (v.) To stick out from something. bulge, project embittered (v.) To make someone resentful or produce nasty emotions or views of the world. gall, sour

indifferent (adj.) Without involvement or caring too much about something; lacking interest in. uninterested

Instruct squads to read aloud chapter 2, from “It is strange to think that at home” and “With it goes hot tea and rum,” rotating the reader after every paragraph. Instruct students who are not reading aloud to follow along in their copy of the text and annotate portions of the text that refer to either the past P, for example memories or flashbacks, or the present PR, for incidents that occur within the present time of the novel.

Circulate and offer support as needed.

TEACHER NOTE

Student small-group Read Alouds are part of the gradual release of student responsibility in this module. If necessary, consider reading chapter 2 aloud for students.

Facilitate a whole-group discussion, and ask: “What happens in chapter 2?”

n Paul describes his interests before the war, like poetry and writing.

n Paul recalls his time in training camp.

n Kemmerich dies, and Müller gets his boots.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS

Small Groups

Distribute chart paper to groups.

Explain that groups will plot the sequence of events that lead up to and immediately follow the enlistment of Paul and his friends. Students use this timeline to analyze the transition Paul and his friends make from being students to becoming soldiers.

Ask: “Where would a timeline about Paul and his friends begin? Where would it end based on the novel so far?”

Squads share their decisions with the whole group.

Responses should identify the following:

n The start of the Paul and his friends’ timeline is “school.”

n The end of the timeline so far would be “Kemmerich dies, and Müller gets his boots.”

Encourage students to review their notes and annotations from their status report.

Each squad creates a timeline that charts the experiences of Paul and his friends in chapters 1 and 2, sequencing them chronologically.

Possible timeline entries include the following:

n Paul and his friends go to school.

n Paul and his friends listen to their teacher Kantorek tell them that they must serve their country by fighting in the army.

n Paul and his friends enlist in the army.

n Paul and his friends enter training camp with “vague ideas” and a romantic sense about life and the war (22).

n Paul and his friends become “hard, suspicious, pitiless, vicious, [and] tough” after their training (26).

n Paul and his friends develop a sense of comradeship from training camp (27).

n Paul and his friends leave to fight in the war.

n The first of Paul and his friends to join the war, John Behm, is killed (12).

n Paul’s friend Kemmerich is injured and the other men visit him in the hospital (13).

n Kemmerich dies, and Müller gets his boots (32–33).

Have students return to their brainstorming from the Welcome task, and ask: “Based on the information in your timelines, is ‘Iron Youth’ an appropriate nickname for Paul and his friends? Why or why not?”

Facilitate a brief whole-group discussion of student responses.

Squads discuss the following questions, recording notes and definitions in their Response Journal. Facilitate a brief whole-group discussion after each question to ensure understanding.

1. Comradeship means “friendship based on shared or group activities or interests.” Why does the experience of the Iron Youth result in comradeship?

n All the Iron Youth go through the same difficulties together, which makes them close friends.

n Paul and his friends try to take care of each other during their challenges, which helps build their friendship.

n Paul states that their training resulted in a “strong, practical” sense of themselves as a group, and they feel loyal to one another (26).

Instruct squads to reread pages 19–20 aloud, from “It is strange to think that at home,” to “we are not often sad.”

2. How is the experience of the Iron Youth different from that of older men’s experience?

n The life of the “Iron Youth” had “taken no root” (20). The younger men went immediately from school into the army from their previous life.

n The “Iron Youth” did not have time to establish an identity before heading to fight. Paul says that the older men had lives the war could not “obliterate” (20), such as wives, children, and occupations. The “Iron Youth” only had their parents and “some hobbies” (20).

n Since the “Iron Youth” did not establish their own lives before joining the war, they experience a “melancholy way” and feel like “a waste land” (20). The “Iron Youth” are not sad all the time but understand that their lives are different as a result of their choices.

3. How do words like melancholy, embittered, and indifferent help you understand what life at war was like for the Iron Youth?

n Overall, life at war was challenging and sad.

n Life at war made the Iron Youth both depressed and bitter but also made them stop caring about things they used to care about.

Facilitate a brief wrap-up discussion with students summarizing how the Iron Youth’s perspective about life has changed since they enlisted.

Display and distribute Handout 8A: Broad Category Organization.

Read aloud the examples.

Instruct students to Think–Pair–Share and complete the questions on Handout 8A with their partner.

Facilitate a whole-group discussion of responses to ensure students understand that the examples in the first column are organized by characters and the examples in the second column are organized by ideas.

Tell students they will refer to the second column type as organizing information “using a broad category.”

Handout 8A WIT WISDOM

innocence in the incidents of chapters 1 and 2 of All Quiet on the Western Front For example, after enlisting in the army Paul made many new friends, including Kat and Detering. Paul says that “comradeship” is “the finest thing that arose out of the war” (27). However, Paul also sees many horrible things that cause him to lose the innocence of his youth and feel like “old folk” (18). In All Quiet on the Western Front, both comradeship and loss of innocence affect Paul.

Kemmerich experiences comradeship and loss of innocence in the incidents of chapters and 2 of All Quiet on the Western Front When he is in the dressing station, he relies on his friends to help him.

Kemmerich’s loss of innocence is clear right before his death. He knows he is going to die and “cries” silently (31). He is no longer the little boy Paul knew in school. In All Quiet on the Western Front, both comradeship and loss of innocence affect Kemmerich.

The incidents in chapters and 2 of All Quiet on the Western Front show how comradeship is important to men in the Second Company. The men face many challenges in the military, and, in order to stay safe and healthy, they need to rely on one another. For instance, Kemmerich relies on his friends to bring him his things when he is in the dressing station. Also, the friendship of the soldiers is important to Paul when his friend Kropp stands up to the mean Corporal Himmelstoss and ends the corporal’s “authority” over the men (25). Because of comradeship in the incidents in the novel so far, the soldiers are able to live a little better despite the difficult circumstances.

The incidents in chapters 1 and 2 of All Quiet on the Western Front confirm the loss of innocence of the soldiers in the Second Company. Paul cannot “comprehend” his former life and says he is “cut off” from the student he used to be at home (19). In addition, Kemmerich loses his foot. Before he dies, he weeps because he is “entirely alone” (31). Both of these examples show how the Iron Youth, the students who became soldiers, lose their innocence because of the war.

What do you notice about how these examples are organized?

Page of

Ask: “Why might it be important to organize writing using a broad category?”

n Using broad categories provides more opportunities to use a wide variety of evidence in writing.

n Using a broad category allows for synthesis of evidence from across a text and from multiple characters. It allows you to see similarities and differences between characters.

n Using a broad category shows a deeper understanding of a topic. The examples in the first column emphasize what happens to a specific character, but the examples in the second column emphasize developing an understanding of the ideas of comradeship and loss of innocence.

Ask: “What two activities have you been using to organize information from the novel thus far, and how do they organize information?”

n Status reports: they organize information by character.

n Timeline: it organizes information by events, or plot.

Tell students that these forms of organization are important for them to comprehend the novel and track development of the story. Tell them that they will try a new approach in their EOM Task by writing an essay that is organized by a broad category.

TEACHER

Craft instruction in this module will focus on the use of broad categories as an organizational strategy. Rather than provide instruction on discrete aspects of explanatory writing, the craft instruction focuses on the process of implementing a specific type of organizing structure that meets the requirements of W.8.2.a and offers students strategies for conducting all stages of a writing project, from sorting evidence to developing theses and analyses that moves beyond chronological or character-based organization into a more sophisticated, thematic based organization.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in All Quiet on the Western Front?

Conduct a Whip Around, with each student sharing one experience of the Iron Youth from chapters 1 or 2.

Wrap

1 MIN.

ASSIGN HOMEWORK

Students reread chapter 2 of the novel, annotating for the status report, and continue their fluency homework.

Analyze Context and Alignment

Students summarize the events and perspectives of the Iron Youth, before and after they join the army (RL.8.1, RL.8.2). Students should demonstrate an understanding that “Iron Youth” refers to young German men of Paul’s generation who joined the war effort at the encouragement of their elders, like parents and teachers.

Next Steps

The term Iron Youth may be challenging for students but is a helpful way to understand the distinctions Paul makes between the experience of his generation and those older and younger than him. This topic may also be a strong choice for a brief research investigation or further discussion.

Lesson 8 Deep Dive: Vocabulary

Explore Academic Vocabulary: Threshold

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque, chapter 2

Vocabulary Learning Goal: Define threshold as used in context, and determine its relationship to a broad category (L.8.4.a).

Launch

Conduct a Whip Around, and ask: “Is ‘Iron Youth’ a fitting name for Paul and his friends?”

TEACHER NOTE

This entrance task is intended to push students to further consider the implications of the term Iron Youth. Paul and his friends are not totally tough and unfeeling as the term would suggest. Also, the older men who imposed this term want to aggrandize war, when in fact, the Iron Youth find the opposite to be true. This exercise is a useful check for understanding and brief enough to allow time for the rest of the lesson.

Learn

Display and reread the first full paragraph on page 20, beginning with, “Kantorek would say we stood on the threshold of life.”

Draw a T-chart on the board with Younger Men listed on the left side and Older Men on the right side. Instruct student pairs to draw the T-chart and write details or figurative language from the paragraph into the column of the corresponding age group.

Call on pairs to share their responses from page 20.

Younger Men Older Men

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“Stood on threshold of life.”

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War is “but an interruption.”

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“Taken no root.”

ƒ Can think beyond war.

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“Swept” away by war.

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“Gripped” by war.

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“Become a wasteland.”

ƒ Not sad.

Ask: “Looking at our T-chart, according to Paul, how do younger and older men experience the war differently?”

n The older men have experienced more of life, so they know it isn’t all there is to life. They can remember life before the war and know they have something to go back to when it’s over. The young men’s lives have “taken no root,” meaning they are still new to the world and don’t have a firm place (20).

n The younger men are totally consumed by war because they haven’t experienced anything else. The older men aren’t “swept away” or “gripped” because they have other things like families or farms that they’re invested in.

Instruct students to predict the meaning of threshold. Use Equity Sticks to call on pairs.

n Threshold might mean “beginning or start.”

n The word could mean “entry.”

n The word could mean “shaky ground.”

Provide the following definitions for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonyms

threshold (n.)

Land

1. The material underneath a door that is part of a doorway.

2. The start of a new plan, action, or event. doorway verge, brink

Students choose the definition of threshold that is used in this paragraph and write one or two sentences that connect Kantorek’s saying they “stood on the threshold of life” to the loss of innocence (20).

Brainstorm other figurative thresholds, or markers of maturity, that adolescents and young adults experience.

Lesson 9

Lesson 9: At a Glance

AGENDA

Welcome (5 min.)

Rephrase a Quote

Launch (5 min.)

Learn (59 min.)

Summarize an Understanding of Key Details (9 min.)

Encounter the Text (25 min.)

Analyze Conditions at the Training Camp (15 min.)

Experiment Using Broad Categories (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Irony (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing

ƒ W.8.2.a

Speaking

Learning Goals

Analyze how the incidents in training camp develop comradeship between the soldiers (RL.8.2, RL.8.3).

and

Listening ƒ SL.8.1

Language ƒ L.8.4.a ƒ L.8.5.a

MATERIALS

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Handout 9A: Broad Category Evidence Organization

Write one or two sentences about how incidents in chapter 3 reveal comradeship among the men.

Identify broad categories by making connections between evidence (W.8.2.a).

Collaboratively label related evidence to identify broad categories.

Interpret use of irony in context (L.8.5.a).

Complete an Exit Ticket on the use of irony in the novel.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 9

Reveal: What does a deeper exploration of incidents in chapter 3 reveal about comradeship?

CRAFT QUESTION: Lesson 9

Experiment: How do broad categories work to organize information?

Students continue their analysis of incidents in All Quiet on the Western Front, focusing on how conditions at the military training camp result in an unlikely, but deep, bond among the men in the Second Company. Students identify instances of this comradeship and then analyze how it is both a result of and response to the actions of their much-maligned officer, Himmelstoss. Students continue their craft instruction using the organizational structure of categories by experimenting with the identification of broad categories through organizing related evidence.

Welcome

REPHRASE A QUOTE

5 MIN.

Students write the following quote in their own words, recording their new sentence in their Response Journal: “But by far the most important result was that it awakened in us a strong, practical sense of esprit de corps, which in the field developed into the finest thing that arose out of the war— comradeship” (26–27).

Launch

5 MIN.

Facilitate a brief whole-group discussion of students’ sentences.

Post the Focusing Question and Content Framing Question.

Students continue their examination of the Focusing Question by exploring more deeply how conditions of the front provoke particular decisions and actions by the soldiers.

55 MIN.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS 9 MIN.

Small Groups

Squads update their status reports, recording characteristics, incidents, and responses for their assigned character.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned characters.

ENCOUNTER THE TEXT

Small Groups

25 MIN.

Instruct squad members to read aloud chapter 3 of All Quiet on the Western Front, from “Reinforcements have arrived” to “describe us as ‘young heroes,’” rotating readers after every paragraph. Instruct students who are not reading aloud to follow along in their copy of the text and annotate for instances of comradeship.

Provide the following definitions to support student reading:

Word Meaning Synonym(s) decorum (n.) Respectable or dignified ways of behaving, acting toward others, or appearance. dignity, propriety absurdity (n.) Something that does not have reasonable order or meaning; ridiculous. ridiculousness, inanity

Circulate and offer support as needed.

TEACHER NOTE

Student small-group Read Alouds is part of the gradual release of student responsibility in this module. If necessary, consider reading chapter 3 aloud for students.

Facilitate a whole-group discussion, ask: “What happens in chapter 3?”

n Kat gets beef, beans, straw, and bread for his friends (36–40).

n The men discuss the politics of war and remember their military training (40–41).

n The men beat up their old corporal, Himmelstoss (45–50).

ANALYZE CONDITIONS AT THE TRAINING CAMP

Small Groups

Have squad members turn their attention to pages 40–50 of chapter 3.

Squads discuss the following questions and record notes from their discussion in their Response Journal.

If time allows, have squads share their answers to the questions with the whole group.

1. What are Kat’s and Kropp’s ideas about war, and how do they compare to the soldiers’ current circumstances in the military?

n Kat believes that if all the men fighting in the war were treated fairly and had “the same grub and all the same pay,” the war would be over quickly (41).

n Kropp believes that those in power should be the ones fighting or “have it out among themselves,” while dressed in funny outfits. Kropp thinks that the fight should be like a “popular festival” for people to come and enjoy (41).

n Both of these ideas focus on providing better lives for the soldiers. In the current circumstances, the men must follow orders and do not have control over their lives.

2. According to Kat, how does power affect relationships between the soldiers and officers?

n Kat explains that an officer in the military acquires the habit of using too much power to “torment” the men in his command because “they know they can” (44). The more a commanding officer in the military uses his power, the more “he is praised for being strict,” which creates harder conditions for soldiers who have a low rank (44).

n Kat says that commanding officers use their power in such a way that makes it “abuse” because regular soldiers are made to do absurd and difficult tasks. This creates a bad relationship between the soldiers and officers (45).

Differentiation

If students require additional support, consider asking the following questions:

According to Kvat, what is the “army based on” (44)?

n Kat says the army is based on the idea that anyone with “authority” will abuse their power and act cruelly toward the men in their command (44).

n According to Kat, this is a problem especially with officers who are “praised for being strict” and treat the soldiers badly for no reason (44).

What is Himmelstoss’s “system of self-education” (46)?

n Himmelstoss’s “system of self-education” is the way he teaches the soldiers lessons without needing to be present. For example, he puts Tjaden and another bed wetter into the same bunk so each one could “retaliate,” or get revenge, against the other (46).

n The system is supposed to make the men change their own behavior in response to hard conditions.

What responses does Himmelstoss’s “system of self-education” provoke (46)?

n Himmelstoss’s system made Tjaden have a “special grudge” against Himmelstoss because of the incident of bed-wetting (45).

n The men are obsessed with getting revenge on Himmelstoss. Kropp even suggests joining the postal service after the war is over because Himmelstoss put the men through so many difficult and pointless drills and even physically abused them (47).

n The men grow to hate Himmselstoss more and beat him up. Paul says it is because the men have become “successful students of his method” (49). This means that the men have learned to retaliate against Himmelstoss as a means of trying to correct the corporal’s behavior.

n Himmelstoss’s system also, and ironically, creates a deeper bond between the men. They collaborate in order to beat him up before they leave for the front.

EXPERIMENT USING BROAD CATEGORIES 10 MIN.

Small Groups

Display and distribute Handout 9A: Broad Category Evidence Organization.

Squads complete Handout 9A.

Then, instruct students to review their piles of evidence. Tell students that these piles represent possible broad categories.

Tell students that, now that they have sorted their evidence, they are ready to identify and name their categories.

Instruct students to label each pile based on the relationship they identified among the pieces of evidence. The label can be a single word or a phrase, but it should not be longer than that.

Squads create labels for their piles of related evidence.

Facilitate a brief discussion of responses.

Possible broad categories may include the following:

n Setting.

n Loss of Innocence.

n Comradeship.

TEACHER NOTE

Students may come up with these labels, or synonyms like Friendship or Loneliness. It is not essential that students identify these exact labels, as long as the labels they do identify follow logically from their evidence.

Extension

Have students complete a Gallery Walk to observe other squads’ organization of evidence and labels for categories. This activity supports student understanding that there is no one right way to sort and organize evidence. Tell students that these broad categories organize information by making specific connections that are related to a single idea or concept. Guide students to the understanding that there is no one right way to sort and organize evidence but that the organizing idea must make sense. Remind students that categories provide a structure for analysis of evidence, which they will use to organize their writing.

Land5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of incidents in chapter 3 reveal about comradeship?

Students complete an Exit Ticket in response to the following question: “What incident in chapter 3 best reveals comradeship, and why?”

Wrap1 MIN.

ASSIGN HOMEWORK

Students read pages 51–55 of All Quiet on the Western Front, from “we have to go up on wiring” to “shivers and falls on guard,” annotating for initial descriptions of conditions on the front. Students continue their fluency homework.

Analyze

Context and Alignment

Students analyze how the incidents in training camp develop comradeship between the soldiers (RL.8.2, RL.8.3). Comradeship is one of the core themes of All Quiet on the Western Front, and students should demonstrate an understanding that the shared difficulties the soldiers faced at training camp directly contributed to their deep friendships.

Next Steps

If students have difficulty during the craft experiment activity, consider allowing students to have a pile labeled I Don’t Know for evidence that does not fit into the categories they have identified. Encourage students to review their I Don’t Know piles and reevaluate that evidence for possible connections to their broad categories or a new category.

Lesson 9 Deep Dive: Vocabulary

Explore Irony

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque, pages 8–50

Vocabulary Learning Goal: Interpret use of irony in context (L.8.5.a).

Launch

Instruct students to think back to earlier lessons, and ask: “What is irony?” Write responses on the board.

n Irony is when the opposite of what you expect to happen happens!

n It is a contradiction between what is expected and what actually happens.

n Irony is surprising.

Remind students that they encountered irony in Module 1 and defined it as “contrast between expectation and outcome.”

Learn

Remind students that they recounted the events of chapter 3 earlier in the lesson:

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Kat gets beef, beans, straw, and bread for his friends (36–40).

ƒ The men discuss the politics of war and remember their military training (40–41).

ƒ The men beat up their old corporal, Himmelstoss (45–50).

Direct students to page 50 in the novel. Reread the last paragraph aloud. Instruct students to Think–Pair–Share, and ask: “How does the last paragraph provide an example of irony?”

n The old man calls them heroes, when they’d just thrown a bedsheet over their old corporal and beat him up!

n Someone calls them heroes, but they just committed a military crime.

n They aren’t really heroes because they didn’t face Himmelstoss; they beat him up when he couldn’t fight back or report them.

Write the word hero on the board. Ask: “What kind of behavior do we expect out of heroes?”

Using Equity Sticks, call on students.

n Acts of bravery and courage.

n Standing up for what is right.

n Defeating bad guys.

n Being loyal and honest.

n Defending the weak.

Reveal that the “old buffer” calling the soldiers heroes is ironic because they behaved exactly the opposite (50).

Land

Students write an Exit Ticket in response to the following question: “How does this example of irony relate to either the idea of loss of innocence or Iron Youth?”

If time remains, ask students if they have observed other ironic behaviors in the novel.

FOCUSING QUESTION: LESSONS 6-16 How did the conditions on the front affect soldiers?

Lesson 10

All Quiet on the Western Front, Erich Maria Remarque, pages 51–64

Lesson 10: At a Glance

AGENDA

Welcome (5 min.) Describe the Front Launch (5 min.) Learn (59 min.)

Complete a New-Read Assessment (33 min.)

Analyze Descriptions of the Front and the Soldiers (17 min.)

Summarize an Understanding of Key Details (9 min.)

Land (5 min.)

Answer the Content Framing Question Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore

Academic Vocabulary: punct (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing ƒ W.8.2.a

Speaking and Listening ƒ SL.8.1

Language ƒ

L.8.4.a, L.8.5.a, L.8.5.b ƒ L.8.4.a, L.8.4.b

MATERIALS

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Assessment 10A: New-Read Assessment 1.

Learning Goals

Analyze how descriptive and sensory language illustrates the soldiers’ experience on the front in a new text (RL.8.1, RL.8.2, RL.8.4, W.8.2.a, L.8.4.a, L.8.5.a, L.8.5.b).

Complete a New-Read Assessment.

Execute an explanatory paragraph using a category (W.8.2.a).

Write a paragraph in Assessment 10A.

Integrate understanding about the Latin root punct to determine word meaning in context (L.8.4.a, L.8.4.b).

Develop definitions for punctuated using this context and the knowledge of the root punct

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 10

Reveal: What does a deeper exploration of descriptive language reveal?

CRAFT QUESTION: Lesson 10

Execute: How do I use a broad category to organize information in a New-Read Assessment task?

Students focus their analysis on a deeper exploration of the way the front is described in the novel, as well as what particular incidents on the front reveal about soldiers in the Second Company. Students complete their first New-Read Assessment, in which they analyze descriptive and sensory language in chapter 3 and write a paragraph using a broad category. Students then work with the next section of chapter 3, analyzing Paul’s descriptions of and the men’s reactions to bombardment on the front and the screaming of the wounded horses. Finally, students reflect on their reading in this lesson by updating their status reports and participating in a Whip Around.

Welcome

DESCRIBE THE FRONT

5 MIN.

Organize students into groups of three.

Have groups use the details from their homework annotations to describe the front using at least three different senses.

Launch

5 MIN.

Invite one or two students to share their group’s findings.

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson, they analyze how the author’s use of language creates an understanding of the soldiers’ experiences on the front.

59 MIN.

COMPLETE A NEW-READ ASSESSMENT 33 MIN.

Individuals

Distribute Assessment 10A: New-Read Assessment 1. Students complete the New-Read Assessment.

ANALYZE DESCRIPTIONS OF THE FRONT AND THE SOLDIERS

17 MIN.

Whole Group

Read aloud pages 59–64 of All Quiet on the Western Front, from “At regular intervals we ram in the iron stakes” to “vilest baseness to use horses in war.”

Instruct students to Think–Pair–Share in response to the following questions. Facilitate a brief whole-group discussion after each question to ensure student understanding.

Assessment 10A: New-Read Assessment 1

Directions: Read pages 55–59 of All Quiet on the Western Front, from “To me the front is a mysterious whirlpool” to “He hesitates, is blinded and falls,” and answer the questions.

1. Why does Paul refer to the front as a “mysterious whirlpool” (55)? a. The front is a mysterious whirlpool because it is wet and muddy.

b. The front is a mysterious whirlpool because it is very windy.

c. The front is a mysterious whirlpool because it is dangerous for soldiers. d. The front is a mysterious whirlpool because it is a strong force.

2. PART A: According to Paul, what is a soldier’s relationship with the earth? a. The earth is like a mother that keeps soldiers safe, giving the men places to hide. b. The earth is like a brother, giving the men hugs and high fives. c. The earth is like a teacher, giving the soldiers wisdom. d. The earth is like an enemy; it could hurt or even kill the soldiers.

PART B: What evidence supports the correct answer for PART A? a. “[S]he is his only friend” (55). b. “[S]he shelters him and releases him for ten seconds to live” (55). c. “Earth with thy folds, and hollows, and holes” (55). d. “[I]n the bellowing death of the explosions” (55).

3. PART A: On page 55, what does the word annihilation mean? a. The act of hiding from danger. b. A large explosion, like from a bomb. c. The act of destroying completely. d. A kind of soldier in the German army.

PART B: What part of speech is the correct answer to Part A?

4. On page 55, Paul explains soldiers’ relationships to the earth: “he stifles his terror and his cries in her silence and her security.” The verb stifle “to hold back; to end or quell by force; crush.” Paul could also have used the verb quiet which means “to make quiet; to cause to become calm.” Consider the connotations of both words, and select the statement that best captures the effect of the replacement of the word stifle with quiet. a. The word quiet has a more negative, violent connotation than stifle and its use would show the utter terror of the soldiers. b. The word quiet has a more negative, gloomy connotation than stifle and quiet makes it seem like the soldiers are depressed.

c. The word quiet has a more positive, joyful connotation than stifle and would make it seem as though the soldiers are celebrating in the earth. d. The word quiet has a more positive, soothing connotation than stifle. Quiet makes the statement seem like the soldier is finding peace.

Page of

Students record short answers and notes from discussion in their Response Journal.

1. How does Paul describe the “fair-headed recruit” (61)?

n Paul describes the recruit’s movements as being “like a child” (61).

n Paul says the recruit is like his friends and has “[s]houlders just like Kemmerich’s” (61).

n Paul describes the recruit’s reaction to the guns as being embarrassed, “because he turns fiery red” (62).

2. What do the characteristics of the “fair-headed recruit” reveal about the soldiers’ experiences at the front (61)?

n Paul’s descriptions of the recruit show how the men have lost their innocence at the front. They are more experienced and can help the new soldier, but they do not identify with him. They feel much older than they are.

n Paul imagines that the new recruit looks like his dead friend Kemmerich, which shows he has compassion and wants to help other people who are with him at the front. He feels responsible for the new recruit.

n The new recruit is embarrassed that he has soiled himself during the bombardment, but Paul does not care. This shows that his time at the front has removed Paul’s self-consciousness and developed his empathy. His response shows the importance of the idea of comradeship.

3. How does Paul describe the “wounded horses” (62)?

n Paul describes the horses as crying out with “anguish, filled with terror” (62).

n Paul describes the horses as being badly wounded. One horse has its belly ripped open and its “guts trail out” (63).

n Paul describes the wounded horses as having “wide open mouths full of anguish” (64).

n Paul describes one of the wounded horses as dragging itself around in circles “like a merry-go-round” (64).

n Paul describes the horse with the broken back as sinking “humbly” to the ground after being shot (64).

4. Unendurable means “impossible to bear”. How does this word intensify the men’s reaction to the horses?

n The men have just endured a horrible bombardment, so their reaction to the horses is extreme.

n Because the men are under attack, the horses’ cries do not seem like something the men cannot bear. But the word unendurable makes the cries seem like the most horrible thing the men could experience.

5. How do Paul’s descriptions of the horses on pages 63–64 suggest how the horses are a symbol of what happens on the front?

n Paul describes the sound of the horses as “ghostly, invisible.” This makes it seem like the horses are from another world. The horrors of the front are so unlike anything the men have ever known that they seem unreal.

n Paul personifies the horses, describing one horse as dying “humbly” and others as crying out with “anguish, filled with terror” (62, 64).

n Paul and the other men, especially Detering, seem to have compassion for the horses, even though they hate the noise of their cries. They want their cries to stop more than anything. Their sounds seem to cause more pain than the bombardment itself.

n The horses seem to symbolize the killing of innocent victims, especially since this scene follows Paul’s discussion with the new recruit. The horses might also represent the loss of innocence since they have no idea how to fight or defend themselves, not unlike the new recruits.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS 9 MIN.

Small Groups

Squads update their status reports, recording characteristics, incidents, and responses for their assigned character.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned characters.

Land

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of descriptive language reveal?

Have students review the examples of descriptive language covered in the lesson’s New-Read Assessment and discussion and choose an example that best reveals something about soldiers’ experiences on the front.

Discuss a few students’ choices.

Wrap

1 MIN.

ASSIGN HOMEWORK

Students read pages 65–74 of All Quiet on the Western Front, from “We go back” to “we are again half asleep,” and annotate for evidence that relates to the category they wrote about for their New-Read Assessment paragraph. Students continue their fluency homework.

Analyze

Context and Alignment

Students complete their first New-Read Assessment (RL.8.1, RL.8.2, RL.8.4, W.8.2.a, L.8.4.a, L.8.5.a, L.8.5.b). See Appendix C for criteria for success and the answer key.

Next Steps

If students have difficulty completing the paragraph in their New-Read Assessment, consider providing graphic organizer or other visual supports to scaffold their writing.

Lesson 10 Deep Dive: Vocabulary

Explore Academic Vocabulary: punct

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque, pages 51–64

Vocabulary Learning Goal: Integrate understanding about the Latin root punct to determine word meaning in context (L.8.4.a, L.8.4.b).

Launch

Instruct students to define punctuation. Conduct a Mix and Mingle so students can revise or add to their definition as necessary.

Learn

Provide the following definition for students to add to the Morphemes section of their Vocabulary Journal.

Morpheme Meaning Example

punct Point, prick, or pierce.

Instruct students to Think–Pair–Share, and ask: “How did your definitions relate to the definition of the Latin root?”

n I said punctuation ends a sentence, so it literally looks like a point or dot.

n Punctuation is an end point to your ideas.

n Punctuation can pierce or separate a writer’s thoughts.

TEACHER NOTE

Reinforce that the relationship between the root and punctuation is not simply that a period is in the shape of a point but that punctuation denotes an end to the sentence and thought. It pierces the speaker’s or writer’s thoughts, forcing a pause point between ideas.

Display page 53, and reread the fourth paragraph.

Ask: “Why is the timing of the batteries important to the soldiers?” Using Equity Sticks, call on students.

They know exactly what time to expect the shelling, so they can prepare and be somewhere safe when it starts.

n The regular timing of the batteries provides a small measure of comfort to the soldiers in the front.

Ask: “Knowing that punct means “point, prick, or pierce,” how would you define punctually?” Call on students, and write definitions on the board.

n Punctually must mean at a certain point.

n If something is punctual, it is at that time, on that exact dot.

n Punctually must mean to pierce time at a specific moment.

Provide the following definition for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonyms

punctually (adv.) At the agreed or proper time. in time

Land

Direct students to the last paragraph on page 58. Define perpetual as “constant, nonstop movement.”

Students develop definitions for punctuated using this context and the knowledge of the root.

Instruct students to verify their definitions using a dictionary and add the definition to the New Words section of their Vocabulary Journal.

FOCUSING QUESTION: LESSONS 6-16

How did the conditions on the front affect soldiers?

Lesson 11

All Quiet on the Western Front, Erich Maria Remarque, pages 65–74

Lesson 11: At a Glance

AGENDA

Welcome (3 min.) Describe a Photo Launch (5 min.)

Learn (59 min.)

Summarize an Understanding of Key Details (9 min.)

Examine Conditions on the Front (12 min.)

Participate in a Collaborative Analysis (28 min.)

Synthesize Incidents on the Front (10 min.)

Land (7 min.) Answer the Content Framing Question

Wrap (1 min.) Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading ƒ

RL.8.1, RL.8.3

Writing ƒ W.8.10

Speaking and Listening ƒ SL.8.1, SL.8.2

Language ƒ L.8.5.a ƒ L.8.4.a

MATERIALS ƒ

Handout 11A: Text Analysis ƒ Chart paper ƒ Markers

Learning Goals

Analyze how different incidents on the front reveal the war’s effect on the men in the Second Company (RL.8.3).

Write three or four sentences that explain how two incidents in chapter 4 affect Kat or Paul.

Use context clues to define sensibilities, and apply understanding of the word to the text (L.8.4.a).

Complete an Exit Ticket about the definition of sensibility that best fits the word’s use in the novel.

min.)

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 11

Reveal: What does a deeper exploration of the Second Company’s experience on the front reveal?

Students analyze how the incidents on the front reveal the impact of the war on the characters in All Quiet on the Western Front. First, students view a picture of a gas attack from World War I, which provides background information for their examination of the gas attack incident in chapter 4 and, later in the module, their viewing of John Singer Sargent’s painting Gassed

After discussing their annotations and building on their work with categories in writing and descriptions of the front, students break out into expert groups and hone in on portions of the novel that develop the horrors of the theater of war, the soldiers’ helplessness in the face of these conditions, and the rote monotony of the grim brutality. Finally, students complete an Exit Ticket that explains the relationship between two incidents in chapter 4 and what these incidents reveal about Kat or Paul.

Welcome

DESCRIBE A PHOTO

3 MIN.

Display the photo found at: http://witeng.link/0020.

Students view the photo and quickly write one sentence describing what is happening.

Launch

5 MIN.

Students share their sentences from the Welcome task.

Possible responses:

n Soldiers are creeping toward the front in a fog.

n Soldiers are wearing masks to hide their identity from the enemy.

n Soldiers are wearing gas masks to protect themselves from a gas attack.

Explain that in the photo, the soldiers are running through a cloud of poison gas, wearing World War I era gas masks.

Post the Focusing Question and Content Framing Question.

Explain that students further develop their understanding of the men’s experience on the front by analyzing how incidents in chapter 4 illuminate the effects of the front on the men.

Consider displaying the photograph throughout the entire lesson.

59 MIN.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS

Small Groups

9 MIN.

Squads update their status reports, recording characteristics, incidents, and responses for their assigned character.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned characters.

EXAMINE CONDITIONS ON THE FRONT

Whole Group

12 MIN.

Facilitate a brief whole-group discussion of the students’ homework annotations, in which they collected more evidence that would fit with the category that they used in their New-Read Assessment.

Focus the on three potential categories identified in the previous lesson.

Chart student responses.

Possible responses include the following:

n Beauty:

n “[T]he air streams into me like cold water” (70).

n “[T]he rails of the light railway are torn up and rise stiffly in the air in great arches” (71).

n Protection:

n “I crouch together, claw for cover, feel something on the left” (67).

n “I merely crawl still farther under the coffin, it shall protect me, though Death himself lies in it” (67).

n Danger:

n “The moment it breaks out behind us, swells, roars, and thunders” (65).

n “The dark goes mad. It heaves and raves” (66).

n “Like a big, soft jellyfish it floats into our shell-hole and lolls there obscenely” (69).

Have students take out their paragraph from New-Read Assessment 1 and join a partner who wrote about the same category.

Partners read each other’s paragraphs.

Have pairs brainstorm, and ask: “How well do the new details develop your category describing the soldiers’ experience on the front?”

Then, facilitate a whole-group discussion, and ask: “Based on your review of the new details, which category best represents the soldiers’ experience in this portion of text, and why?”

n The category of “danger” best represents the soldiers’ experience because of the gas attack.

n The category of “danger” best represents the soldiers’ experience because the fair-headed recruit gets badly injured.

n The category of “danger” best represents the soldiers’ experience because of the bombardment when Paul has to hide under the coffin.

n The category of “danger” best represents the soldiers’ experience because the image of the gas as a “big, soft jellyfish” is such a powerful and memorable description.

Students record notes from their discussion in their Response Journal.

PARTICIPATE IN A COLLABORATIVE ANALYSIS 28 MIN.

Small Groups

Students in each squad count off by threes. Assign those with the number one to Expert Group 1, two to Expert Group 2, and three to Expert Group 3.

Distribute Handout 11A: Text Analysis.

Students break out into their Expert Groups, rereading and discussing their assigned questions.

Students return to their squads, discuss their answers from their Expert Group, and take notes from their discussion in their Response Journal.

SYNTHESIZE INCIDENTS ON THE FRONT

10 MIN.

Whole Group

Tell students they will now synthesize these incidents, connecting them with a broad category that could explain the effects of the war on soldiers.

Ask: “How might your incident reveal that helplessness is one effect of the war on soldiers?”

n The bombardment and the gas show the men’s helplessness because it shows how the war, and the endless attacks, take away any power the men might have and leave them helpless. The bombardment “wipes out the sensibilities” and leaves Paul and his friends helpless to do anything (67).

n Paul and Kat’s reaction to the young recruit shows the men’s helplessness because even though they think the right thing to do would be to kill the recruit and “put him out of his misery,” they can not kill him (72). The one thing they are required to do no matter if it is right or wrong—kill—they are helpless to do when it is right.

n The rain shows the men’s helplessness because it shows how they have no control over what happens to them. The rain falls on them whether they are alive or dead, and they have to keep marching forward and following orders no matter what.

Instruct students to reread the passage on page 69 that describes the gas attack.

Ask: “How is the image of the gas attack as a ‘big, soft jellyfish’ that ‘floats into our shell-hole and lolls there obscenely’ effective for conveying the soldiers’ helplessness (69)?”

n The image of the gas as a “big, soft jellyfish” shows the soldier’s helplessness because a jellyfish is not something that would normally seem dangerous, but the gas is extremely dangerous (69). The soldiers are helpless against a thing that seems soft and nonthreatening, but it is extremely threatening.

n The jellyfish “lolls” in the crater with the men and prevents them from moving (69). It is as if the gas is a creature that is sleeping or resting, but even its inaction is a danger to the men. They are helpless to do anything as long as the “jellyfish” is there.

n This is an effective image because it is at once strange and threatening but also seems almost harmless. The combination of soft and floaty descriptions with the sheer danger of the gas makes this an effective image to convey the men’s helplessness.

7 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of the Second Company’s experience on the front reveal?

Instruct students to choose two incidents from chapter 4.

Students complete an Exit Ticket in response to one of the following questions:

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“How do these two incidents affect Kat?”

ƒ “How do these two incidents affect Paul?”

Wrap

1 MIN.

ASSIGN HOMEWORK

Students continue their fluency homework in preparation for performing a fluent reading in the next lesson.

Analyze

Context and Alignment

A major idea in this portion of text is the development of the soldier’s helplessness in the face of modern warfare. Providing this idea for students to work with scaffolds their understanding of broad, thematic categories in the module. Check for the following success criteria:

ƒ Demonstrates a comprehensive understanding of the plot, characters, and events in All Quiet on the Western Front.

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Begins to analyze portions of the text for their connection to broad, thematic categories.

Next Steps

If students have difficulty connecting the incident they looked at during the Jigsaw to the summative question about helplessness, consider having students discuss the question in their groups before sharing with the whole group.

Explore Academic Vocabulary: Sensibilities

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque, pages 65–74

Vocabulary Learning Goal: Use context clues to define sensibilities, and apply understanding of the word to the text (L.8.4.a).

Launch

Direct students back to their Exit Ticket. Instruct students to share their responses with a partner. Using Equity Sticks, call on students to share ideas.

n Kat becomes very matter-of-fact at first in the face of death, resolving to end the young soldier’s misery; however, it must upset him since he seems frustrated, saying “Such a kid …” (73).

n Paul acts without thinking to stay alive. After the shelling, he also sees it as mercy to kill the young men, but lacks the courage to do it.

n Both men react without thinking, diving into coffins. They are both kind to the young, wounded soldier and want to end his suffering. They take on the roles of big brother.

Learn

Tell students to turn to page 67 and reread the paragraph that begins with “But the shelling is stronger than everything.”

Ask students to underline sensibilities (67). Instruct students to Think–Pair–Share, and ask: “What clues are there to help you define the word?”

n Their sensibilities are “wiped out” (67). After this point, they just act on instincts to survive, so sensibilities might mean “thoughts or logic.”

n I see the word senses in sensibilities, so maybe it means “senses or reaction to senses.”

n If the shelling is “stronger than everything” and “wipes” it out, maybe sensibilities means “sense of self or emotions” (67).

Provide the following definitions for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonyms

sensibility (n.)

1. To be able to detect, understand, or feel.

2. The potential to have an emotional response to something.

3. The potential to have an understanding and appreciation for very good art.

perception feeling appreciation

Instruct students to use the word in a sentence in a different context. Call on volunteers to share sentences, and write them on the board. Correct misunderstandings as they arise.

n The mean comments hurt her soft sensibilities.

n The teacher’s odd artistic sensibility made her class a hard one to ace.

n The novel is best known for the intense sensibilities it evokes.

Land

Students complete an Exit Ticket in response to the question: “Which definition of sensibility best fits with the words use in the novel? Why?”

TEACHER NOTE

The first two definitions are the best answers. Students could argue that soldiers stop processing their senses and just hide, or shut down. They could also argue that they no longer have an emotional response. They become like machines.

Lesson 12

QUESTION: LESSONS 6-16 How did the conditions on the front affect soldiers?

Lesson 12: At a Glance

AGENDA

Welcome (5 min.)

Examine a Map Launch (7 min.)

Learn (57 min.)

Perform a Fluent Reading (10 min.)

Encounter Text (15 min.)

Read and Annotate for Details of Trench Warfare (15 min.)

Visualize Aspects of Trench Warfare (17 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore

Academic Vocabulary: Elaborate (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RI.8.1, RI.8.2, RI.8.4

Writing ƒ W.8.10

Speaking and Listening ƒ SL.8.1, SL.8.2

Language ƒ L.8.4.a ƒ L.8.4.a, L.8.4.d

MATERIALS

Handout 7A: Fluency Homework

Handout 12A: “Fighting from the Trenches”

Handout 12B: Fluency Homework

Handout 12C: Multiple Meaning Chart

Chart paper

Markers

Masking tape

Learning Goals

Explain how the physical realities of trench warfare affected soldiers during World War I (RI.8.1, RI.8.2).

Write one or two sentences comparing “Fighting from the Trenches” with a diagram of the trenches.

Use context clues to infer the meaning of elaborate, and verify its definition in a dictionary (L.8.4.a, L.8.4.d).

Complete PART 2 of Handout 12C.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 12

Organize: What’s happening in “Fighting from the Trenches”?

Students begin this lesson examining a map of the Western Front from 1914. This map provides a foundation for their examination of trench warfare, which they read about in an informational article that provides a historical overview of the conditions and effects of trench warfare.

Students develop their understandings through a kinesthetic activity and the creation of a visual diagram of a trench that applies their learning from the main ideas and details presented in “Fighting from the Trenches.”

Welcome

5 MIN.

Display the following map: http://witeng.link/0021.

Display the following questions:

ƒ

What countries can you identify?

ƒ What do you think the lines represent?

ƒ What else do you notice?

Students record their observations in their Response Journal.

Launch

7 MIN.

Students share their observations about the map.

n The countries on the map are France, Germany, Belgium, and England.

n France and Germany are beside each other.

n Water separates England from the other countries.

n The map is dated 1914, and it shows “Northwest Europe.”

n The lines on the map go from the top and continue past the bottom of the map.

n The lines might be the country’s borders.

n The red and blue lines might be where the front lines were located.

n According to the key, the red line represents “German Withdrawal to the Aisne.”

n According to the key, the blue line represents “AND Stabilization of the Front.”

Explain that stabilization means “to be very secure and capable of maintaining form.”

Ask: “What do you think Stabilization of the Front means?”

Guide students to the understanding that the Stabilization of the Front is where the front lines became mostly permanent throughout World War I.

Post the Focusing Question and Content Framing Question.

Have a student read aloud the Content Framing Question.

Ask: “On this map, where do you think the trenches are located?”

Explain that students now read a new informational text to build their understanding of the scope and nature of the trenches. They will learn more about the conditions of the trenches and their effects on the soldiers.

57 MIN. PERFORM A FLUENT READING 10 MIN.

Small Groups

Students take out Handout 7A: Fluency Homework and individually read aloud the text excerpt from All Quiet on the Western Front to their small groups, demonstrating mastery of fluent reading skills, including appropriate pace, tone, expression, emotion, and attention to words and punctuation.

Students self-assess their growth as fluent readers and submit Handout 7A.

ENCOUNTER TEXT 15 MIN.

Whole Group

Distribute Handout 12A: “Fighting from the Trenches.” Read the article aloud, as students follow along in their Student Editions.

Ask: “What do you notice and wonder about life on the front during World War I?”

n I notice the trenches were very elaborate, with all kinds of features.

n I wonder how anyone survived living in those conditions.

n I notice that it was dangerous for soldiers in the trenches.

n I wonder what the symptoms of trench foot, trench mouth, and trench fever are.

n I notice millions and millions of people were killed or injured during the war.

Name Date Class

Handout 12A: “Fighting From the Trenches,” Kathryn M. Horst Directions: Follow along as you listen to a Read Aloud.

Imagine a six-foot ditch weaving from Washington, D.C., to Detroit, Michigan. Men’s heads could not be seen over the top edges. Dugouts would be tunneled for sleeping and eating quarters.

Such a system of trenches was used on a grand scale during World War I. The armies of the Central Powers (Germany and Austria-Hungary) and the Allies (Great Britain, France, Russia, and later the United States) dug rifle pits and foxholes from which to shoot. Soon the men connected these ditches, forming a long, deep fighting line. These trenches crossed rivers, farmland, forests, and mountains.

Two front lines were established. The western front stretched five hundred miles from Belgium to Switzerland. The eastern front, between Germany and Russia, extended about eleven hundred miles from the Baltic Sea to the Black Sea. In the beginning of the war, the Germans and Allies hurried to outdig each other to establish these strongholds.

Many important battles were fought during World War I, but there was constant fighting between Allied and German soldiers in the trenches. In some places, opposing trenches were only a few yards apart, and enemy soldiers could talk to each other. In other places, trenches were separated by as much as a mile.

As World War continued, the German and Allied trenches became more elaborate. Earth was mounded in front as a ridge, or parapet. Men stood on shelves, or steps, dug in the sides for shooting. Some trenches were wide enough for two men to pass or to allow donkeys to walk through carrying packs. Concrete slabs reinforced the walls. Wooden walkways lined the bottom. Men shoveled out cavelike rooms called pillboxes. The Germans dug trenches as deep as forty feet and even wired some with electricity for washing and cooking. Once the Allies even dug a long, deep tunnel to the German front to lay land mines.

Often behind the front lines, soldiers built second and third support trenches for added protection. Underground tunnels connected these lines. There, soldiers carried shells, wire, food, and coal. First-aid stations, soldiers’ quarters, kitchens, and ammunition stores all were underground.

Troops and supplies moved to the front by a zigzag line called a communication trench. Soldiers carrying food to the front lines had to be extremely careful, as they were sure targets for enemy attack. As a result, the art of camouflage, or disguise, was developed. During the war, camouflaged clothing, hide-outs, and trap doors saved lives.

Trench warfare was constant, with day and night artillery firings shaking the ground. Machine guns that automatically fired three hundred shots per minute hurt the men’s ears. Grenades and shell attacks transformed night into day. A continual fear of noise, or shell shock, affected many soldiers. With such enormous bombardments, it was difficult for either side to make headway. The men were bored; no one could advance. Page of 2

READ AND ANNOTATE FOR DETAILS OF TRENCH WARFARE

Small Groups

15 MIN.

Instruct students to number the paragraphs in their copies of Handout 12A: “Fighting from the Trenches.”

Facilitate a brief whole-group discussion after each question in order to ensure student understanding.

Squads reread paragraphs 1–3 aloud and answer the following question.

Tell students that scale means “the size or extent of something especially in comparison to something else.”

1. How does Handout 12A: “Fighting from the Trenches” establish the scale of the front during World War I?

n The article describes the length of the trenches in comparison to the distance between two cities in the USA, “Washington D.C.” and “Detroit, Michigan,” (paragraph 1) to show how long the trenches were and how far they went.

n The article says the trenches were “six-[feet]” (paragraph 1) deep, which shows that the trenches were about as deep as some people are tall.

n The article talks about how many different environments the trenches went through, like “rivers, farmland, forests, and mountains” (paragraph 2) to further develop the idea that the trenches were extremely long and a huge project to complete.

n The article talks about “two front lines” (paragraph 3) that extended across most of Europe to show how much of Europe was overtaken by the system of trenches.

Squads reread paragraphs 4–7 aloud.

2. How were soldiers protected in the trenches?

n Mounded earth, called a “parapet” (paragraph 5), protected the men as they stood on shelves in the trenches to shoot.

n Soldiers put in “concrete slabs” to make their trench stronger (paragraph 5).

n Soldiers built “second and third support trenches” and underground tunnels to protect themselves (paragraph 6).

n Soldiers developed the “art of camouflage” in order to stay safe in the trenches and also made “hideouts, and trap doors” (paragraph 7).

Squads reread paragraphs 8–12 aloud.

3. What were the effects of trench warfare on the soldiers who fought in World War I?

n Trench warfare “hurt the men’s ears” (paragraph 8)—machine guns fired constantly and grenades and shell attacks happened all the time. This developed into a “fear of noise” that is also called shell shock, which affected many soldiers (paragraph 8).

n Trench warfare was sometimes boring, since “no one could advance” (paragraph 8), and there was nothing to do in the trenches.

n Trench warfare forced men to come in contact with all kinds of nasty animals: rats and cockroaches “infested the sleeping quarters,” and men had to worry about getting lice in their hair (paragraph 11).

n Trench warfare exposed men to lots of mud and rainy weather. This weather caused soldiers to become sick with “diseases” and even made new “ailments” like “trench foot, trench mouth, and trench fever” (paragraph 12).

4. What were the features of “no man’s land” (paragraph 10)?

n “No man’s land” was the open space between the “Allied and German” (paragraph 10) trenches. In some places, no man’s land was only “a few yards” (paragraph 4), so it was not very large.

n “No man’s land” had “hundreds of feet of barbed wire” and “land mines” (paragraph 10) all over it, intended to slow down enemy soldiers.

n “No man’s land” was a place where many men died because of “enemy firing” (paragraph 10) and the barbed wire.

n “No man’s land” was ugly, with no “trees and vegetation” (paragraph 10) and holes all over the ground from the constant bombing.

Squads reread paragraphs 13–14 aloud.

Tell students that depleted means “to decrease or make less by an extreme amount.”

5. What were the larger effects of trench warfare? According to the article, was this an effective way to fight a war?

n Trench warfare was expensive because “billions of dollars were spend on ammunition” (paragraph 13) and it reduced the amount of “natural resources” (paragraph 10) in the countries that participated in the war.

n Trench warfare was not an effective way to fight a war because the trenches were difficult to dig, expensive, and did not “advanced more than ten miles” (paragraph 13). Trenches did not help either side gain more ground during the fighting and they resulted in many deaths.

Students record notes from their discussion in their Response Journal.

VISUALIZE ASPECTS OF TRENCH WARFARE

Small Groups

Display the map from the Welcome task.

17 MIN.

Ask: “What details could you add to the map based on your reading?”

n The location of Toul, France, where the soldiers on both sides agreed to stop fighting.

n Add “Washington D.C.” and “Detroit” to either end of the trench line to demonstrate the length of the trenches.

n Zigzag lines, the communication trenches, going back from the main trench line.

n Secondary trenches going the same length of the blue line, only a little further behind. Have one or more volunteers measure three yards on the classroom floor, and create a line with masking tape to indicate two trench lines.

Separate student squads on either side of the classroom so students are arranged on either side of the no man’s land.

Have students imagine what it would be like to have an enemy on the other side of the no man’s land.

Ask: “How would this distance between trenches affect a soldier’s experience at war?”

Guide students to an understanding that trench warfare would have been terrifying for a soldier because its construction endangered their mental and physical health. The realities described in the article explain why there were so many casualties in World War I.

Distribute chart paper.

Instruct squads to create a diagram of a trench based on their reading of Handout 12A: “Fighting from the Trenches.”

Ask: “What are details from the article that will be most important when drawing a diagram of the trenches?”

n Some trenches were close enough that enemies could talk.

n Soldiers burrowed into a trench to stay safe.

n Walls of trenches were muddy and slippery.

n Trenches did not protect men from weather or rain.

n Sometimes there were other underground tunnels or supplies buried in a trench.

n Trenches could be wide or narrow.

n Trenches were mounded on the top.

n There were wooden walkways in some trenches, and others were made stronger with concrete.

n There were land mines and barbed wire in “no man’s land” to protect soldiers.

n Trenches were very long and six-feet deep.

n There were “cavelike rooms” called pillboxes in trenches.

n There were second and third trenches that were connected by underground tunnels.

n There were trapdoors in the trenches.

n There were shelves in the trenches for soldiers to stand on and shoot.

Squads create a diagram of a trench.

TEACHER NOTE See the following site for a possible example of a trench diagram: http://witeng. link/0022

Have students include a one-sentence caption at the bottom of their diagram that captures, in their own words, a central idea about the trenches from the article.

Possible responses:

n The trenches were a dangerous and ineffective way for soldiers to fight each other.

n The trenches created horrible conditions for soldiers fighting in World War I.

n The trenches sacrificed the health and lives of many for little gain.

Have squads post their diagrams in the classroom.

Squads share their diagrams, explaining the relationship between their diagram and the details from the reading.

Facilitate a brief whole-group discussion about similarities and differences between the squads’ trench diagrams.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in “Fighting from the Trenches”?

Students complete an Exit Ticket in response to the following question: “What details from the article are most prominent in your diagram? Why?”

1 MIN.

ASSIGN HOMEWORK

Display and distribute Handout 12B. Students begin their fluency homework with a new passage of text.

Students read pages 75–91 of All Quiet on the Western Front, from “Killing each separate louse” to “Tjaden wins of course, the lucky wretch,” and annotate for the incidents in this portion of text.

Analyze

Context and Alignment

Students give an account of how the physical realities of trench warfare affected soldiers during World War I (RI.8.1, RI.8.2). Students bolster the learning of the trenches in this lesson by reading and analyzing an informational article that explains both the extent of the trenches and particular conditions soldiers faced while they were at war. Check for the following success criteria: ƒ Identifies details students incorporated into their diagrams from the article. ƒ Explains why the details incorporated into the diagram are significant.

Next Steps

If students have difficulty creating a diagram and identify key features of a trench, consider giving them a model of a diagram from a different text that accomplishes the same purpose. For instance, a diagram of a tank or some kind of military base that points out key features. Or, if more scaffolding is required, give students a list they must choose from when creating their diagrams.

Lesson 12 Deep Dive: Style and Conventions

Explore Academic Vocabulary: Elaborate

ƒ

Time: 15 min.

ƒ

ƒ

Text: “Fighting from the Trenches,” Kathryn M. Horst

Vocabulary Learning Goal: Use context clues to infer the meaning of elaborate, and verify its definition in a dictionary (L.8.4.a, L.8.4.d).

Launch

Direct students to paragraph 5 of “Fighting from the Trenches,” and tell them to underline elaborate. Inform students that you will read paragraphs 4 and 5 aloud. Instruct students to circle context clues that can help them define elaborate

Read paragraph 4 and 5 to the class, and ask: “What context clues did you find to help you define elaborate?”

n The trenches become elaborate “[a]s the war continued,” so that may mean that the trenches became better or more sophisticated (Horst 1).

n After saying the trenches became more elaborate, the author details how the trenches allowed for donkeys to pass, had concrete slab walls, and even had electricity. Perhaps elaborate means “advanced or ornate.”

n The author also writes that the Allies dug a tunnel all the way up to the German front to lay land mines, so elaborate must be something impressive.

Learn

Remind students that some words have multiple meanings, so even if they look up an unknown word in the dictionary, they still must choose the correct definition for the context.

Distribute Handout 12C, and instruct students to complete PART 1. Allow students to work in pairs.

Land

Students complete PART 2 of Handout 12C.

Conduct a Whip Around, and ask: “What are some synonyms for the verb form of elaborate?

TEACHER NOTE

Allow students to repeat another students’ words since providing synonyms on the spot can be intimidating. Once the Whip Around is complete, help students see that the verb elaborate can be a useful word when introducing evidence in their essay.

TEXTS WIT & WISDOM®

FOCUSING QUESTION: LESSONS 6-16

37 8 7 9 2 3 5 6 4 1 17 16 18 11 12 14 15 13 10 26 25 27 20 21 23 24 22 19 35 34 36 29 30 32 33 31 28

Lesson 13

Lesson 13: At a Glance

AGENDA

Welcome (5 min.)

View a Painting Launch (5 min.)

Learn (57 min.)

Examine Transitions in Explanatory Writing (10 min.)

Summarize an Understanding of Key Details (9 min.)

Explore Key Phrases and Central Ideas (20 min.)

Analyze Key Phrases and Central Ideas (18 min.)

Land (7 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Academic Vocabulary: Insubordination (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing

ƒ W.8.2.c

Speaking and Listening ƒ

SL.8.1, SL.8.2

Language ƒ L.8.4.a ƒ L.8.5.b

MATERIALS

Handout 13A: Transitions in Writing ƒ

Handout 8A: Broad Category Organization ƒ

Highlighters

Learning Goals

Analyze how a key sentence or phrase reveals the war’s effect on the men in the Second Company (RL.8.3).

Complete a table recording at least three key phrases and analyzing their relationship to central ideas in chapter 5.

Use the relationships among insubordination, tedious, comradeship, bombardment, and wearisome to better understand insubordination (L.8.5.b).

Write about an incident in the novel using vocabulary words.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 13

Distill: What are the central ideas of chapter 5?

CRAFT QUESTION: Lesson 13

Examine: Why are transitions important?

Through analysis of the characters’ conversation and events in chapter 5, students explore the central ideas of loss of innocence, the effect of conditions on the front on the soldiers, and the comradeship that they have already been working with in All Quiet on the Western Front In this lesson, students analyze key phrases from the novel to distill central ideas that are supported by evidence. In Craft instruction, students learn transitions they can use to create clear connections between evidence and ideas in their own writing. Students continue their examination of conditions on the front as they examine John Singer Sargent’s iconic painting Gassed

Welcome

VIEW A PAINTING 5 MIN.

Whole Group

5 MIN.

Display John Singer Sargent’s Gassed without sharing the artist’s name or the artwork’s title.

Have students view the artwork silently.

Have students Stop and Jot, and ask: “What do you notice and wonder about this painting?”

TEACHER NOTE

If possible, leave Gassed displayed throughout the rest of the Focusing Question arc so students can return to the painting and record further observations and questions. Students will continue their work with Gassed in Lesson 14.

5 MIN.

Invite students to share their observations of the painting.

n This painting seems to show a scene from war.

n I wonder why soldiers are wearing blindfolds.

n Soldiers who are sick, wounded, or dead lie on the ground.

n A man helps the row of blindfolded soldiers walk toward a set of ropes, which probably hold down the medical tent. The soldiers form a human chain.

n Tiny figures far to the rear play a ball game.

n Most of the soldiers in the painting are all wearing the same clothes, only a few are wearing white.

n The colors are really dull, and the uniforms are almost the same color as the sky.

Post the Focusing Question and Content Framing Question.

Explain that students will continue to examine the ways the conditions on the front affected the soldiers, but in this lesson, they will especially focus on how the war affected soldiers’ attitudes toward life.

Explain that before students begin their analysis of chapter 5, they will review analysis from earlier chapters and begin to examine a feature of explanatory writing: transitions.

57 MIN.

Explain that there are various words and phrases that demonstrate the different kinds of connections between ideas in writing. Using transitions effectively will provide a reader with a guide to what is coming next in a piece of writing and help them understand how the information fits together.

Have students take out Handout 8A: Broad Category Organization.

Pairs highlight or underline all the transitions used in the examples on Handout 8A.

Instruct students to Think–Pair–Share, and ask: “How do transitions help you understand these informative paragraphs?”

n The use of “for instance” in example 2, paragraph 1, helps me understand the writer is providing an example.

n The use of “however” in example 1, paragraph 1, helps me understand that the writer is showing a difference in ideas.

n The use of “in addition” in example 2, paragraph 2, helps me understand the writer is elaborating on an idea.

Name

Handout

The incidents in chapters and 2 of All Quiet on the Western Front show how comradeship is important to men in the Second Company. The men face many challenges in the military, and, in order to stay safe and healthy, they need to rely on one another. For instance, Kemmerich relies on his friends to bring him his things when he is in the dressing station. Also, the friendship of the soldiers is important to Paul when his friend Kropp stands up to the mean Corporal Himmelstoss and ends the corporal’s “authority” over the men (25). Because of comradeship in the incidents in the novel so far, the soldiers are able to live a little better despite the difficult circumstances.

more effective explanation of comradeship and loss of innocence? Why? © Great Minds PBC G8 M2 Handout 8A WIT WISDOM Page of

Briefly discuss any student observations or questions about Handout 13A. Tell students that throughout the rest of their writing, they should use Handout 13A as a resource to help them incorporate transitions into their writing.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS

9 MIN.

Squads update their status reports, recording characteristics, incidents, and responses for their assigned character.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned characters.

EXPLORE KEY PHRASES AND CENTRAL IDEAS 20 MIN.

Small Groups

Students take out the annotations they did for homework.

Ask: “What happens in chapter 5?”

157 © 2023 Great Minds PBC G8 M2 Lesson 13 WIT & WISDOM®

n The men have an ongoing conversation about life after the war.

n Tjaden insults Himmelstoss and runs away.

n Tjaden is put on trial and gets put into prison.

Tell students that they will now examine the central ideas developed in chapter 5. A novel can have one big central idea and many central ideas that appear from chapter to chapter.

Ask: “Based on your review of Handout 8A, what are some central ideas you have been working with so far in All Quiet on the Western Front?”

n Handout 8A discusses how conditions of war affect Paul and Kemmerich, which connects to our Focusing Question: the effects of conditions on the front on the soldiers.

n Handout 8A discusses the main idea of loss of innocence, which is a big focus throughout the novel so far.

n Handout 8A discusses comradeship. The friendship between the men in the Second Company is an important idea in what we have read.

Ask: “What incidents in chapter 5 connect to other incidents in chapters 1–4?”

n The incident with Tjaden and Himmelstoss is similar to when the men beat up Himmelstoss earlier in the book.

n The men’s conversation about life after the war repeats the idea that Paul has previously expressed about the Iron Youth being young and having a life that is only formed by war.

n The men’s conversation about what they learned in school connects to their conversation about their former teacher, Kantorek, earlier in the novel.

Instruct students to review pages 75–91 of All Quiet on the Western Front, from “Killing each separate louse” to “Tjaden wins of course, the lucky wretch.”

Display the following questions that connect incidents to main ideas, and facilitate a brief wholegroup discussion to ensure student understanding.

1. How does Kropp’s response to Müller on page 77 develop the idea of the soldiers’ loss of innocence on the front?

n Kropp tells Müller all he would like to do is “[g]et drunk” (77) if the war were over. Kropp also asks, “[W]hat else should a man do?” which develops the idea of loss of innocence because Kropp can think of nothing else to do in peacetime except drink alcohol.

2. How does the men’s conversation on pages 84–88 reveal the effects of conditions on the front?

n The men’s conversation reveals the uselessness of what they learned in school. Paul says no one ever taught them what was important to living and surviving on the front, like putting a “bayonet in the belly” instead of the ribs so the blade will not get stuck (85). This shows that conditions on the front have made the men care only about knowledge that will help them survive.

n Kropp says that after two years of being at war, the men will not be able to “peel [their experience] off as easy as a sock” (87). This shows that the effects of war will stay with the men long after the war is over.

n Paul states that conditions on the front, like “the first bomb, the first explosion”, will have a lasting effect on the men (88). Paul says they are “cut off” from any possible future (88).

Direct students to the following passage:

“I have to appear as a witness and explain the reasons for Tjaden’s insubordination” (90).

Tell students to use the Outside-In strategy if they need to discern the meaning of the word insubordination, looking outside the word for context clues and inside the word at word parts.

3. How does Tjaden’s insubordination reveal comradeship in All Quiet on the Western Front (90)?

n While Tjaden is hiding, his friends “shrug [their] shoulders” and do not tell Himmelstoss where to find him (89). This shows how they are all willing to protect each other.

n While Tjaden is on trial, all his friends help and support him. They “appear as a witness” and help explain what happened (90). This shows that they are all in it together.

n After Tjaden and Kropp get put in “open arrest,” the men sneak in to play cards with them, to keep them company while they are in prison (90). This shows how all the men take care of one another, even during hardships.

Students write the definition of insubordination into the New Words section of their Vocabulary Journal.

Word Meaning

insubordination (n.)

Not having a desire to obey authority or listen to orders given by someone with more power, esp. in the military.

ANALYZE KEY PHRASES AND CENTRAL IDEAS 18 MIN.

Small Groups

Squads reread pages 84–88 from “Müller hasn’t finished yet” to “we believe in the war.”

Instruct students to create the following table in their Response Journal:

Central Idea Key Phrase

Supporting Evidence

Inform students that focusing on a key sentence or phrase in a text is one way to identify and distill central ideas in a text.

Explain the process to students: first, they choose a phrase that they think is key in the text. Second, they “test” whether the phrase is key by seeing if they can find additional evidence to support it. Finally, they distill the central idea represented by the key phrase.

Guide students through the following exemplar:

Central Idea Key Phrase

Supporting Evidence

“He didn’t expect this open hostility” (82).

“The Kaiser couldn’t be more insulted” (82).

“Five days clink are five days rest” (83).

TEACHER NOTE

The exemplar is from a portion of text that students do not reread for this activity. This supports students’ understanding of the activity without limiting or previewing potential student understandings from pages 84–88.

Students complete the table in their Response Journal, recording at least three key phrases.

Land7 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Distill: What are the central ideas of chapter 5?

Have students Think–Pair–Share, and ask: “How can examining key sentences and phrases help us distill the central ideas of chapter 5?”

n Key sentences and phrases can help us locate a central idea throughout a longer text.

n Key sentences and phrases can act like a concluding statement in an essay. They synthesize a big idea of chapter 5.

n Key sentences and phrases provide specific vocabulary to articulate the central ideas.

Students write an Exit Ticket that identifies the key sentence or phrase that best exemplifies a central idea in chapter 5.

this open (82). clink are rest” (83). G8 M2 Lesson 13 WIT & WISDOM® 160

1 MIN.

ASSIGN HOMEWORK

Students continue their fluency homework.

Analyze Context and Alignment

Students analyze how a key sentence or phrase reveals the war’s effect on the men in the Second Company (RL.8.3). Students read and discuss this dialogue-heavy portion of the novel and consider how what the soldiers say reflects their attitudes and the way the war has impacted their attitudes toward life. This portion of text also gives students an opportunity to identify and explore different attitudes in each character. Check for the following success criteria: ƒ

Determines three key phrases and corresponding central ideas. ƒ

Collects supporting evidence that relates to the central ideas.

Next Steps

If students have difficulty identifying central ideas and key phrases in this portion of text, consider completing the table as a whole-group and making the Exit Ticket the CFU in this lesson to give students a firm foundation for the central ideas in the text thus far. It may also be helpful to cue students to portions of the text that are not key incidents and review the difference between effective evidence and details that do not support a rich understanding of the text.

Explore Academic Vocabulary: Insubordination

ƒ

Time: 15 min.

ƒ

Text: All Quiet on the Western Front, Erich Maria Remarque, pages 75–91

ƒ Vocabulary Learning Goal: Use the relationships among insubordination, tedious, comradeship, bombardment, and wearisome to better understand insubordination (L.8.5.b).

Launch Display: nationalism ostracized war

patriotism devoted

Explain that students will perform an activity called Categorization in small groups. In this exercise, students sort the words into categories based on either the functions, denotations, or connotations of the words.

Instruct students to Think–Pair–Share, and ask: “The words in this table have already been sorted. What do you think the categories may be?”

n The column on the left all have negative connotations. Nationalism made countries feel that they were superior and wanted to be ostracized from one another. These feelings led to war.

n The column on the right are ideas that are similar to one another and are also positive ideas. Being patriotic means you are proud of your country and devoted to it.

Ask: “Can you sort these words in a different way?”

n You could group nationalism, patriotism, and war together since they are all words that are specifically related to countries. Devoted and ostracized are all ways you can feel about a country but aren’t specific to just that.

n You could put patriotism and nationalism into one category because they are both –isms or sets of beliefs. War, devoted, and ostracized could be grouped together because devotion to one’s country and separation from other countries can lead to war.

Explain that students will apply this technique on a word they used in the lesson.

Learn

Display: tedious (adj.)—very extended and not fun; boring or dull

wearisome (adj.)—causing extreme physical and mental tiredness

Call on students to verbally define comradeship, bombardment, and insubordination, and jot definitions on the board.

Display: tedious, comradeship, bombardment, wearisome, insubordination

Separate students into groups of three, and distribute five sticky notes to each group.

Tell groups to sort the words into categories and be prepared to explain their reasoning. If possible, students display sticky note sorts. Call on groups to share their responses.

Possible student responses include the following:

n We grouped tedious, wearisome, and insubordination together because those seem to be the causes of the insubordination. The soldiers are bored and tired. They feel the routine Himmelstoss imposes is useless. Bombardment and comradeship go together because the intensity of the attacks make the soldiers feel emotionally close to one another.

n We grouped insubordination and comradeship together because the soldiers stick together in the face of Himmelstoss. Wearisome and tedious both deal with the soldiers’ feelings of boredom when they are away from the front. They are in an opposite category from bombardment because bombardments occur at the front and are full of action and terror.

TEACHER NOTE

Land

Students may sort words into different categories based on their understanding of the novel. As long as students show an accurate understanding of the denotations and connotations of the words, their sorts are valid.

Students write an Exit Ticket in response to the following question: “Pretend you are Paul and must explain why Tjaden committed an act of insubordination to Himmelstoss. Use at least two of the words from the categorization exercise in your explanation.”

FOCUSING QUESTION: LESSONS 6-16

How did the conditions on the front affect soldiers? ƒ Gassed, John Singer Sargent (http://witeng.link/0009) ƒ All Quiet on the Western Front, Erich Maria Remarque, pages 99–123 ƒ “Fighting from the Trenches,” Kathryn M. Horst (Handout 12A)

Lesson 14

Lesson 14: At a Glance

AGENDA

Welcome (5 min.)

View a Painting Launch (6 min.)

Learn (58 min.)

Experiment Writing with Transitions (10 min.)

Summarize an Understanding of Key Details (9 min.)

Examine Descriptive and Sensory Details (13 min.)

Compare Descriptive and Sensory Details (16 min.)

Write to Learn (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Examine: Shifts in Verb Mood (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3, RI.8.1

Writing ƒ W.8.10

Speaking and Listening ƒ

SL.8.1, SL.8.2

Language ƒ L.8.5.a ƒ L.8.1.c, L.8.1.d

MATERIALS ƒ Handout 14A: Transitions Experiment ƒ

Handout 14B: Descriptive and Sensory Details ƒ Handout 12A: “Fighting from the Trenches”

Learning Goals

Depict an understanding of conditions of trench warfare in All Quiet on the Western Front (RL.8.1, RL.8.2, RI.8.2, W.8.3.d).

Compose a poem using descriptive and sensory language from multiple texts in this module.

Identify inappropriate shifts in indicative, imperative, and interrogative verb moods (L.8.1.c, L.8.1.d).

Respond to a question about inappropriate shifts in verb mood.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 14

Organize: What’s happening in chapter 6?

CRAFT QUESTION: Lesson 14

Experiment: How does using transitions to create cohesion work?

The goal of this lesson is for students to gain a deeper understanding of the physical conditions on the front in order to prepare them to discuss how these conditions affected the soldiers in the following lesson. They begin by creating a timeline of events in chapter 6 using descriptions that most effectively describe what it’s like to be on the front. After demonstrating an understanding of the events on the front in chapter 6, students collect evidence from the novel and “Fighting from the Trenches” to understand how literary and informational texts use descriptive and sensory details to convey an impression of the front. Finally, students elaborate on their evidence to compose a poem that vividly depicts conditions on the front. Students begin this lesson by viewing John Singer Sargent’s painting Gassed for the second time and continue their work with transitions in activities that support the focus on conditions at the front.

Welcome

VIEW A PAINTING

5 MIN.

Display John Singer Sargent’s Gassed without sharing the artist’s name or the painting’s title. Have students view the painting silently, considering what catches their attention.

Have students brainstorm with a partner, and ask: “What do you see happening in the painting?”

Partners record observations in their Response Journal.

Launch

6 MIN.

Post the Focusing Question and Content Framing Question.

Ask students how their observations about the painting might relate to the Focusing Question.

Possible responses may include:

n This painting might be showing soldiers who have been to the front.

n We see many soldiers, some lying on the ground and some standing in a line.

n There are two lines of soldiers, one closer and one farther away. They seem to be walking somewhere.

n All the soldiers are touching one another, either laying on top of each other or with a hand on the back of the soldier in front of them in line, maybe to stay together.

n All the soldiers are dressed in the same colors, except for one figure in overalls who seems to be helping the line of soldiers in front and two figures in white in the background who might be doctors.

n Some of the soldiers look very tired; some might be dead. Some are just laying down but alive, for example, the man in the front who is half-sitting to drink water from his canteen.

n Since all of the soldiers’ eyes are covered, it seems like they have all been injured in a similar way.

n The men seem tired but not frightened. It does not look like they are on the front. Maybe they are lying down at the camp after a battle, resting, or maybe they are waiting to go to the hospital.

Tell students they will return to this painting in subsequent lessons to think more about how it might connect to the conditions on the front and their effects on soldiers.

In this lesson, they focus on the novel’s depictions of the conditions on the front.

58 MIN.

EXPERIMENT WRITING WITH TRANSITIONS

Pairs

Inform students that, first, they continue their work with transitions, as they examine a paragraph about experiences at the front.

Display and distribute Handout 14A: Transitions Experiment.

Students complete Handout 14A.

Instruct pairs to briefly share their transitions.

Have students Stop and Jot, and ask: “How did your partner’s use of transitions compare with your own?”

10 MIN.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS 9 MIN.

Small Groups

Squads update their status reports, recording characteristics, incidents and responses for their assigned character.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned characters.

EXAMINE DESCRIPTIVE AND SENSORY DETAILS 13 MIN.

Small Groups

Have students review their homework annotations. Provide the following definitions to support student analysis:

Word Meaning Synonym(s) minute (adj.) Extremely little in total size or the entire amount. tiny, wee ferocity (n.) The quality of being violent, brutal, vicious or savage. fury, violence unbearable (adj.) Very hard to maintain or understand. intolerable

Ask: “Which of your annotations provide descriptive and sensory details that most effectively describe what it is like to be on the front?”

Possible responses may include the following:

n “[A] high double wall of yellow, unpolished, brand-new coffins” (99).

n “[T]he front is a cage in which we must await fearfully” (101).

n “[T]he everlasting, nerve-wracking roll behind enemy lines” (104).

n “[W]hen a shell lands in the trench we note how the hollow, furious black is like a blow from the paw of a raging beast of prey” (106).

n “[A]s far as one can see spout fountains of mud and iron” (106–107).

n “[I]t howls and flashes terrifically, the dug-out cracks in all its joints under a direct hit … it rings metallically, the walls reel, rifles, helmets, earth, mud and dust fly everywhere” (110).

n “Are they still trenches? They are blown to pieces, annihilated—there are only broken bits of trenches, holes lined by cracks, nests of craters, that is all” (114).

n “[T]he earth shudders, it crashes, smokes and groans, we stumble over slippery lumps of flesh, over yielding bodies” (117).

n “[N]ight comes, out of the craters rise the mists. It looks as though the holes were full of ghostly secrets” (118).

Tell students they will now collaboratively create a timeline of incidents in chapter 6, and then work in their squads to collect evidence that describes the conditions on the front during each of those incidents.

Create a timeline on the board, soliciting points to include on the timeline from students.

Possible timeline entries include the following:

n The men arrive at the front “two days earlier” than they expected to (99).

n The men fight rats in the trenches (101–103).

n The men “lie with [their] masks on” during gas attacks (104).

n The men sit through a bombardment and gunfire, “the most dementing convulsion of all” (106).

n The men try to help the new recruits handle the bombardment, since one of the new recruits “seems actually to have gone insane” during the bombardment (111).

n The men go over enemy lines and “fling [their] bombs” at the French (113).

n The men walk through fields of dying men “who cry and clutch at [their] legs” (116).

n The men “smash to a pulp” and “bayonet” some of the French (116).

n The men take food, like “corned beef and butter” from the French trenches (117).

Assign each group one point on the timeline.

Tell students that for their assigned point, they will collect evidence from the novel to describe how the men experience the conditions on the front during that incident.

After groups collect evidence, have one student from each group add their evidence to the timeline on the board using phrases or even illustrations.

Possible responses include the following:

n On the front, the men must stay in the trenches, which are “like a cage,” and they feel trapped (101).

n There are more rats at the front than usual “because the trenches are no longer in good condition” (102). The men sacrifice some of their food to catch and kill the rats.

n Lying in the trench means they cannot always tell what is going on, and often they rely on their sense of hearing to be able to tell what is happening.

n When a shell lands too close, the men are “buried and must dig [them]selves out” from underneath the mud of the trench (107).

n Being in the trench contributes to the feeling of “suffocating” and causes new recruits to go crazy and try to leave that “sticky, close atmosphere” (110).

Now, ask: “What is the overall effect of conditions on the front on the men?”

n The overall effect is that the men feel crazy.

n The overall effect is that the men feel bored.

n The overall effect is that the men feel frightened.

n The overall effect is that the men feel trapped.

Instruct students to silently reread pages 118–122.

1. How does the “picture” Paul describes compare to his descriptions of conditions on the front (119)?

n The “picture” Paul describes is of a beautiful “summer evening,” which is nothing like the horrible, terrifying front (119).

n Paul’s “picture” is the exact opposite of the front.

n In his vision, Paul is alone and “a great quietness rules” (119). On the front, Paul is never alone and “there is no quietness” (121).

n The vision is “completely calm,” but on the front, Paul is never able to rest (120).

n In the vision, Paul wonders if he might ever experience “emotions of love” (119). However, on the front, Paul is sure any emotions like love “belong to another world that is gone” (121).

2. What’s the effect of including this “picture” in this chapter?

n The “picture” provides a contrast to conditions on the front.

n It shows how Paul has grown used to the horrible conditions on the front and the front has made him “indifferent” and unable to go back to his past (123).

n It makes Paul feel “sorrow” because the picture is “completely lost” to him (121). He only knows how to exist on the front

Students record notes from their discussion in their Response Journal. COMPARE DESCRIPTIVE AND SENSORY

DETAILS

Small Groups

Distribute Handout 14B: Descriptive and Sensory Details.

Inform students they will now collect evidence of descriptive and sensory details to see how the novel creates an impression of the effects of conditions on the front on the men. They will compare the novel’s depiction with that of the informational text on trenches they read earlier in the module.

16 MIN.

Instruct students to take out “Fighting from the Trenches” by Kathryn M. Horst (Handout 12A).

Students complete Handout 14B.

WRITE TO LEARN 10 MIN.

Individuals

Inform students that they will now compose a poem depicting conditions on the front using the details they identified on Handout 14B.

Facilitate a brief discussion of responses to the shortanswer questions on Handout 14B.

Ask: “How do details in the novel and the article differ?”

Name Date Class

Handout 12A: “Fighting From the Trenches,” Kathryn M. Horst Directions: Follow along as you listen to a Read Aloud.

Imagine a six-foot ditch weaving from Washington, D.C., to Detroit, Michigan. Men’s heads could not be seen over the top edges. Dugouts would be tunneled for sleeping and eating quarters.

Such a system of trenches was used on a grand scale during World War I. The armies of the Central Powers (Germany and Austria-Hungary) and the Allies (Great Britain, France, Russia, and later the United States) dug rifle pits and foxholes from which to shoot. Soon the men connected these ditches, forming a long, deep fighting line. These trenches crossed rivers, farmland, forests, and mountains.

Two front lines were established. The western front stretched five hundred miles from Belgium to Switzerland. The eastern front, between Germany and Russia, extended about eleven hundred miles from the Baltic Sea to the Black Sea. In the beginning of the war, the Germans and Allies hurried to outdig each other to establish these strongholds.

Many important battles were fought during World War I, but there was constant fighting between Allied and German soldiers in the trenches. In some places, opposing trenches were only a few yards apart, and enemy soldiers could talk to each other. In other places, trenches were separated by as much as a mile.

As World War continued, the German and Allied trenches became more elaborate. Earth was mounded in front as a ridge, or parapet. Men stood on shelves, or steps, dug in the sides for shooting. Some trenches were wide enough for two men to pass or to allow donkeys to walk through carrying packs. Concrete slabs reinforced the walls. Wooden walkways lined the bottom. Men shoveled out cavelike rooms called pillboxes. The Germans dug trenches as deep as forty feet and even wired some with electricity for washing and cooking. Once the Allies even dug a long, deep tunnel to the German front to lay land mines.

Often behind the front lines, soldiers built second and third support trenches for added protection. Underground tunnels connected these lines. There, soldiers carried shells, wire, food, and coal. First-aid stations, soldiers’ quarters, kitchens, and ammunition stores all were underground.

Troops and supplies moved to the front by a zigzag line called a communication trench. Soldiers carrying food to the front lines had to be extremely careful, as they were sure targets for enemy attack. As a result, the art of camouflage, or disguise, was developed. During the war, camouflaged clothing, hide-outs, and trap doors saved lives.

Trench warfare was constant, with day and night artillery firings shaking the ground. Machine guns that automatically fired three hundred shots per minute hurt the men’s ears. Grenades and shell attacks transformed night into day. A continual fear of noise, or shell shock, affected many soldiers. With such enormous bombardments, it was difficult for either side to make headway. The men were bored; no one could advance.

Page of

n Details in the novel are emotional. They are given from an individual soldier’s perspective on the ground. The novel uses figurative language and lots of descriptions and sensory details to convey what it felt like to be on the front. It is from Paul’s experience, so we don’t know anything about the experience of soldiers in other parts of the trench.

n Details in the article are factual and given from an outside perspective. They give an overall sense of what the front was physically like and the scale of the front. These details describe all the different sides of the war, and soldiers’ shared experience of the trenches, but they illuminate less about the soldiers’ impressions or responses.

Explain the following steps:

First, choose four details—two from the book and two from the article—from Handout 14B about conditions on the front.

Then, write a list of adjectives describing life on the front, using all your notes.

Now, create an image for each adjective.

Finally, write a poem that incorporates your images, adjectives, and details from the novel and article. Your job is to use imagery and sensory detail to make the front come alive for the reader.

Students compose a poem about on conditions on the front, using details from both the novel and the article.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in chapter 6?

Conduct a Whip Around, and ask: “What one key detail from your poem best describes the soldiers’ experiences in this portion of chapter 6?”

Wrap

1 MIN.

ASSIGN HOMEWORK

Students read pages 123–136 of All Quiet on the Western Front, from “My hands grow cold and my flesh creeps” to “Thirty-two men,” and annotate for incidents and the corresponding emotional responses (or lack of responses) of men in the Second Company. Students also continue their fluency homework.

Analyze

Context and Alignment

Students depict an understanding of conditions of trench warfare in All Quiet on the Western Front by composing a poem using details from multiple texts (RL.8.1, RL.8.2, RI.8.2, W.8.3.d).

Through creative composition, students demonstrate an understanding of key ideas and details about conditions on the front. Students will synthesize conditions, details, and key ideas in narrative writing in the Focusing Question Task. Check for the following success criteria:

ƒ

Includes images that are drawn from All Quiet on the Western Front and “Fighting from the Trenches.”

ƒ Demonstrates an understanding of key ideas about trench warfare (e.g., that it was a difficult, boring, and horrifying form of warfare).

Next Steps

If students have difficulty composing a poem, consider modeling the steps involved in creating evocative images: identifying a detail, listing adjectives, and creating an image. Additionally, consider directing students back to their work with creating images and drafting poems in Module 1.

Lesson 14 Deep Dive: Style and Coventions

Examine: Shifts in Verb Mood

ƒ

Time: 15 min.

ƒ

Text: All Quiet on the Western Front, Erich Maria Remarque, pages 66–82

ƒ Style and Conventions Learning Goal: Identify inappropriate shifts in indicative, imperative, and interrogative verb moods (L.8.1.c, L.8.1.d).

Launch

Display: Imagine that Paul also confronts Himmelstoss. With a partner, create three remarks Paul might make to Himmelstoss: one in imperative, one in indicative, and one in interrogative moods. Scaffold

Students were introduced to the indicative, imperative, and interrogative verb moods in Module 1. However, if students struggle with identifying verb moods in this paragraph, write the three verb moods they have explored on the board. Then, ask students to define each one, writing their notes as a review for the whole class.

If students require additional support, provide the following sentence stems: Don’t ! (imperative)

I think . (indicative)

Why ? (interrogative)

Using Equity Sticks, call on students.

n Don’t speak to us like that ever again. (imperative)

n You are a miserable shell of a man. (indicative)

n Why do you treat us like wild animals? (interrogative)

Inform students that in this lesson they will begin to explore appropriate and inappropriate shifts in verb mood. Remind students that appropriate means “fitting the requirements of a situation,” whereas inappropriate means “not suitable or fitting.” To determine what is appropriate or inappropriate, students must consider the purpose or message, audience, and context.

Learn

Direct students to the last paragraph on page 66 of All Quiet on the Western Front. Tell students to reread the last paragraph and identify a shift in verb mood, which is simply a place in the text where the verb mood changes from one to another. Call on student volunteers.

n There is a shift to imperative voice from indicative voice: “Don’t faint!” (66).

Instruct students to Think–Pair–Share, and ask: “Is this shift in verb mood appropriate or inappropriate for the context and audience? Why or why not?”

n It is an appropriate shift because the imperative verb mood is set off with “Like lightning the thought comes to me” (66). This sentence shows readers that what follows is the thought. Paul is thinking to himself in a difficult situation; the command is a way to stay alive.

n This shift seems appropriate because this is a battle scene and the action is happening very fast. It makes sense that someone would use the imperative voice.

n Since this is a novel and the speaker is Paul, a shift in verb mood is appropriate because the novel reads as though Paul is speaking to the audience.

Display: Cover his ears, but the noise is too overwhelming.

Instruct students to Think–Pair–Share, and ask: “What verb moods do you see here? Is the shift appropriate or inappropriate?”

n The verb moods shift from imperative to indicative.

n Even without knowing the context or audience, the shift seems inappropriate because the sentence is unclear.

n This is an inappropriate shift because the shift occurs within a compound sentence. I don’t think you should shift a verb mood within a sentence.

n The first part of the sentence makes me wonder who “his” refers to.

Land

This passage is a summary of pages 66–67:

Paul and his friends must face the enemy in a cemetery. Why does that seem strangely appropriate? Paul is forced to crawl into a shell hole. Use the cover of a coffin for a shield so he can escape the shells. Paul manages to dodge death again.

Students identify any inappropriate shifts in verb mood and explain why the shift is inappropriate.

n The second sentence is a shift to interrogative mood. I think that it’s inappropriate because you shouldn’t ask your reader a question when you are writing a summary.

n The second sentence is a shift to the interrogative mood. I don’t think it’s inappropriate because it doesn’t confuse the reader.

n “Use the cover of the coffin for a shield” is written in imperative verb mood, which is a shift from indicative verb mood. This is inappropriate because we don’t know who used the cover for a shield. Also, the reader is addressing “you,” and you shouldn’t use second person in a summary.

TEACHER NOTE

Some students may think that the shift to the interrogative verb mood is appropriate. Emphasize that even though the shift may not cause any major misunderstandings for the audience and context, it is inappropriate. We usually do not directly or indirectly address the reader in a summary. In addition, the change from a command to a simple statement is confusing because we do not have a clear subject in the imperative mood.

FOCUSING QUESTION: LESSONS 6-16

How did the conditions on the front affect soldiers? ƒ All Quiet on the Western Front, Erich Maria Remarque, pages 123–136 ƒ Gassed, John Singer Sargent (http://witeng.link/0009)

Lesson 15

Lesson 15: At a Glance

AGENDA

Welcome (5 min.)

Notice and Wonder about Erich Maria Remarque

Launch (7 min.)

Learn (58 min.)

Summarize an Understanding of Key Details (9 min.)

Analyze a Character’s Reactions to the Front (15 min.)

Participate in a Collaborative Discussion (12 min.)

Execute an Explanatory Paragraph (8 min.)

Examine a Painting (14 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Experiment: Recognize and Correct Inappropriate Shifts in Verb Moods (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3

Writing ƒ

W.8.2.a, W.8.2.c

Speaking and Listening ƒ SL.8.1, SL.8.2

Language ƒ

L.8.1.d, L.8.5.a, L.8.5.c ƒ L.8.1.c, L.8.1.d

MATERIALS

Index cards ƒ

Handout 13A: Transitions in Writing

Learning Goals

Analyze the effect of an incident of trench warfare on the men in the Second Company using effective descriptive details (RL.8.1, RL.8.3).

Write an explanatory paragraph about how conditions on the front affect the soldiers.

Execute an explanatory paragraph using transitions (W.8.2.c).

Use at least three transitions to improve cohesion and clarity in an explanatory paragraph.

Recognize and correct inappropriate shifts in verb moods (L.8.1.c, L.8.1.d).

Revise a passage of text in order to eliminate inappropriate shifts in verb mood.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 15

Reveal: What does a deeper exploration of trench warfare in All Quiet on the Western Front reveal?

CRAFT QUESTION: Lesson 15

Execute: How do I use transitions to create cohesion in an explanatory paragraph?

Students begin the lesson by reading brief background knowledge about Erich Maria Remarque and A. W. Wheen, who translated All Quiet on the Western Front into English, and consider the significance of their experiences. Then students continue their examination of trench warfare from the previous lesson by discerning how the conditions on the front affected the soldiers. In preparation for writing their Focusing Question Task in the next lesson, students synthesize their understanding in a paragraph that also requires them to use transitions purposefully. Students then discuss the painting Gassed for the third time, considering what color, shape, and figures in the painting reveal about the conditions on the front.

NOTICE AND WONDER ABOUT ERICH MARIA REMARQUE

Students read the “About the Author” page at the end of All Quiet on the Western Front.

Have students brainstorm with a partner, and ask: “What do you notice about the author of All Quiet on the Western Front?”

Partners record observations in their Response Journal.

Launch

7 MIN.

Students share their observations about Erich Maria Remarque.

n He fought in World War I.

n He was injured five times during the war, “the last time very severely” (297).

n All Quiet on the Western Front made him “rich and world-famous” when he was thirty-three years old (297).

n After the war, he lived in the town he was born (Osnabruck) and in the United States. I wonder where Osnabruck is.

n He wrote nine more novels.

n He wanted his novels to show people how horrible war is.

Inform students that All Quiet on the Western Front was originally written in another language and then translated into English. Ask students if they can determine who translated the novel and what language it was originally written in.

n A. W. Wheen.

n The novel was originally written in German.

Inform students that A. W. Wheen also fought in World War I but for the British army.

Ask: “Why might it be significant to know these biographical facts about the author and translator?”

n The details in the novel could be drawn from real experience, which adds depth to the descriptions and feelings developed in the novel.

n The popularity of the novel suggests that it was important to the people who actually lived through the war.

n Even though the author and the translator fought on different sides during World War I, they had similar enough experiences to share them through writing and translating.

Remind students these biographical details do not mean that they read the novel as an informational text. Tell them that the information can be a reminder of the connection between literature and realworld events, and it can suggest the inspiration for the novel’s depiction of different aspects of the war, like the front.

Tell students that in this lesson, they will consider the ways in which All Quiet on the Western Front and a painting both depict effects of war and consider how those depictions connect to their overall sense of the effects of war.

Post the Focusing Question and Content Framing Question.

58 MIN.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS 9 MIN.

Small Groups

Squads update their status reports, recording characteristics, incidents, and responses for their assigned character.

Circulate to ensure student understanding of this portion of text.

Squads share their status report updates with the whole group and rotate their assigned characters.

ANALYZE A CHARACTER’S REACTIONS TO THE FRONT

Whole Group

15 MIN.

Have students share their homework annotations, and record their annotations on the board.

Possible annotations may include the following:

n Incident: “For one of them [wounded soldiers] we search two days in vain” (124).

n Emotional response: “we would do all that is possible [to get the wounded soldier back from no-man’s land] without that [powerful inducement] for his cry is terrible” (125).

n Incident: “one morning two butterflies play in front of our trench” (127).

n Emotional response: none.

n Incident: “the recruits give us almost more trouble than they are worth” (129).

n Emotional response: “it brings a lump in the throat to see how [the new recruits] go over, and run and fall” (130).

n Incident: “Quickly I jump back into the dug-out and find him [Himmelstoss] with a small scratch lying in a corner pretending to be wounded” (131).

n Emotional response: “it makes me mad that the young recruits should be out there and he [Himmelstoss] here” (131).

n Incident: “Haie Westhus drags off with a great wound in his back” (134).

n Emotional response: none; “I can only press his hand” (134).

n Incident: “we see men without mouths, without jaws, without faces” (134).

n Emotional response: none.

n Incident: “we have yielded no more than a few hundred yards of it as a prize to the enemy. But on every yard there lies a dead man” (135).

n Emotional response: none.

n Incident: “Now we freeze, it is autumn, the leaves rustle, the voices flutter out wearily … and cease at thirty-two” (136).

n Emotional response: none.

Ask: “What can you infer from incidents that do not have a corresponding emotional response in the text?”

n The incidents that do not have a response are too upsetting for Paul to put into words.

n The incidents that do not have a response are so extreme that we can assume the emotional response is sadness.

n The incidents that do not have a response may be trying to force the reader to react to the incident rather than explaining how the characters react.

n A lack of response can be a sign that there is something deeper going on—it is more shocking that the men do not respond to the violence than it is when they do respond.

Have students silently reread pages 123–136, from “My hands grow cold and my flesh creeps” to “Thirty-two men.”

Discuss each of the following questions with the whole group before moving on to the next question, to ensure student understanding.

1. How does Paul’s emotional response to his encounter with Himmelstoss reveal the way the front is affecting Paul?

n After seeing Himmelstoss hiding from the fight with just “a small scratch,” Paul becomes enraged and beats Himmelstoss (131). Paul “grab[s] him by the neck and shake[s] him like a sack,” kicks, punches and “shoves” Himmelstoss back into the fight (132).

n Paul’s emotional response to Himmelstoss is the strongest response in this section of text. He does not react this strongly to any of the other violence.

n Paul’s response to Himmelstoss shows how much anger he has about the war and how helpless he feels to help the new recruits. He is angered by the fact that “the young recruits should be there” in the fight, but Himmelstoss is hiding.

2. How much land have the soldiers been fighting over, and what does Paul’s statement “on every yard there lies a dead man” on page 135 mean?

n The men have been fighting over a “little piece of convulsed earth” that is not very big at all (135).

n The land itself is not significant, but keeping the enemy from taking it as a “prize” seems to be a point of pride for Paul (135).

n The cost of protecting this little piece of land is a “dead man” for every “yard” (135).

n Paul is literally describing that there are dead men all over the ground.

n Paul is figuratively describing the cost of the fight, saying that every yard cost them one soldier.

3. How is the changing season a symbol for the ways conditions on the front affect the men in the Second Company?

n Paul states twice at the end of the chapter that “it was summer when we came up” and “now it is autumn” (135).

n The summer of the opening of the novel, when the men played cards in relative safety, is long gone. They are heading into a harsher, colder season that will only grow worse as time passes.

n Summer is when things grow, and winter is when they die. The changing season symbolizes the increasing amount of death that Paul and the other men are witnessing on the front.

Have students put an asterisk by the paragraph that includes the most powerful description in this section.

Have students Stop and Jot in their Response Journal, and ask: “Why is this paragraph’s description so powerful to you?”

PARTICIPATE IN A COLLABORATIVE DISCUSSION 12 MIN.

Small Groups

Distribute index cards, and have students in each group count off by the number in the group.

Now have students choose the piece of evidence from their chosen paragraph that best conveys how trench warfare affects the men of the Second Company.

Have small groups conduct a Save the Last Word activity by following these steps:

1. Group members write their chosen evidence on the front of an index card.

2. Using their Stop and Jot, group members write their thinking about their evidence on the back of the index card.

3. Group member 1 shares their quote, including the page number. The other members of the group find the quote in the text and discuss their thoughts about the quote.

4. Then student 1 turns over the quote and shares their thinking.

5. The groups repeat each step until each group member has shared their piece of evidence.

Facilitate a brief whole-group reflection with the following questions:

ƒ How did the evidence of your group members connect or differ?

ƒ How did your thinking develop as a result of your group discussion?

ƒ Did your thoughts and opinions about your evidence change after listening to your peers’ discussion?

Students record notes from their discussion in their Response Journal.

EXECUTE AN EXPLANATORY PARAGRAPH 8 MIN.

Individuals

Display the following question: “How does a key incident of trench warfare affect the men of the Second Company?”

Instruct students to review the incident that corresponds to their key detail from the Save the Last Word activity.

Tell students they will use this incident and the evidence they collected during the activity to write an explanatory paragraph.

Display the Craft Question: Execute: How do I use transitions to create cohesion in an explanatory paragraph?

Remind students that part of their work with explanatory writing has been to incorporate transitions. Tell students they will need to use at least three transitions in their explanatory paragraph. Remind students to refer to Handout 13A for help with choosing transitions.

Students write an explanatory paragraph.

EXAMINE A PAINTING 14 MIN.

Whole Group

Display John Singer Sargent’s Gassed. Share the artist’s name but not the painting’s title. As in previous lessons, have students view the painting silently, considering what catches their attention.

Discuss the following questions as students record notes in their Response Journal.

4. How would you describe the use of color in the painting?

n The artist only uses a few colors. There is a lot of beige, or khaki, in the army uniforms, dust, soldiers, and sky.

n The sun is setting, and the colors convey a golden glow. The golden light seems ironic because the scene is so grim.

n Tiny figures in the background play ball and wear red and blue. These are the brightest colors in the painting, and they stand out from the soldiers who are all wearing neutral colors. The men in the bright colors are playing a game, and the soldiers in neutral colors are suffering. It is like they are from two different worlds.

5. How does Sargent use shape in the painting?

n The men form a long line that is like a rectangle. This shape draws the eye in a horizontal movement across the painting. Even the men on the ground form a horizontal line.

n The shape of the canvas emphasizes the horizontal movement.

n The soldiers stretch from one end to the other. It’s all you can see. They form a shape across the painting like a landscape.

Display the title of the work, and provide the following definitions of the word gassed:

1. (v.) To poison with gas.

2. (adj.) Drained of energy, exhausted.

Have students Think–Pair–Share, and ask: “How do these different definitions inform your understanding of the painting?”

n The soldiers have been gassed. That’s why they are blindfolded.

n The men lean on one another in a way that suggests the second definition. They are completely drained. The war has broken and exhausted them.

Direct students back to pages 65–70.

Have students Think–Pair–Share, and ask: “How does the depiction of a gas attack in All Quiet on the Western Front compare to your understanding of Gassed?”

n The gas attack in the novel is messy, violent, loud, and dirty, but in the painting, everything seems calm. The painting depicts men after the attack.

n In the novel, the gas “creeps over the ground” as if it is “a big, soft jellyfish” (69). This makes me wonder if the yellow-tan color of the sky is gas.

n In the novel, there is “dirty twilight” (70). The painting seems to capture that as well.

4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of trench warfare in All Quiet on the Western Front reveal?

Students write a 3–2–1 Exit Ticket using evidence from All Quiet on the Western Front: ƒ

Three descriptive or sensory details about conditions on the front. ƒ

Two incidents that impact the men during their time on the front. ƒ

One significant effect of conditions on the front on the men.

Wrap

1 MIN.

ASSIGN HOMEWORK

Students review their notes and annotations in preparation for their second Focusing Question Task and continue their fluency homework.

Analyze Context and Alignment

Students analyze the effect of an incident of trench warfare on the men in the Second Company (RL.8.1, RL.8.3). This lesson culminates in one of the most vivid depictions of trench warfare in the novel and gives students ample opportunity to develop their understanding of how the brutality of modern warfare affected soldiers. Check for the following success criteria: ƒ Identifies an incident in chapter 6 that illustrates the conditions on the front. ƒ Explains how the soldiers in the Second Company were affected by the incident.

Next Steps

If students have difficulty with identifying a key incident or collecting evidence, consider leading a more detailed debrief of the Save the Last Word activity and charting key incidents on the board. Additionally, guide students to their annotations for homework to ensure they have a clear understanding of the discrete incidents in this portion of text.

Experiment: Recognize and Correct Inappropriate Shifts in Verb Moods

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Time: 15 min.

ƒ

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Text: Gassed, John Singer Sargent; All Quiet on the Western Front, Erich Maria Remarque

Style and Conventions Learning Goal: Recognize and correct inappropriate shifts in verb moods (L.8.1.c, L.8.1.d).

Launch

Display: Remember the past, but it ignites unbearable homesickness.

Ask: “What verb moods are used in this sentence?”

n The first part of the sentence is in imperative mood because it gives a command.

n The second part of the sentence is in indicative verb mood because it just states a fact.

Instruct students to Think–Pair–Share, and ask: “How does the shifting mood impact the clarity of the sentence?”

n The two sentences just don’t seem to go together. The command is addressed to “you,” but the second portion is just a general observation to anyone.

n The reader can’t tell if this is a prediction or a fact; it’s unclear how the speaker knows this or if it’s an opinion.

Student pairs revise the sentence to include only one mood, labeling the type of mood used. Display several revised versions.

n Paul remembers his past, but it ignites unbearable homesickness. (indicative mood)

n Remember the past, and ignite unbearable homesickness. (imperative mood)

n Why would you remember the past and ignite unbearable homesickness? (interrogative mood)

Reveal that shifts in verb moods within a compound sentence is often inappropriate. The shift causes confusion for readers and interrupts the flow of their writing.

Learn Display: beckons

annihilation

perpetual protrudes

Assign students a number one through four. Students then form groups based on the number they were assigned. Instruct the small groups to each form one sentence about Gassed that contains a shift in verb mood and correctly uses the vocabulary word assigned to their groups. Allow students to use their Vocabulary Journal and dictionary. Circulate as students collaborate and correct any misunderstandings that may arise.

Tell the groups to pass their sentences to the group on their right. Each group should end up with a new sentence. Ask students to determine the shift in verb mood and correct the shift in verb mood.

Call on each group to share their responses, and correct any misunderstanding as they arise. Land

Display: Soldiers fighting in the trenches suffered unimaginable horrors. Remain alert at all times, and they went without decent food for extended periods of time. Not only was the constant artillery a threat, they even had to fight illness. Why did they even bother trying to stay dry and healthy? All of this waiting was for one order: Go over the top. Millions of soldiers died from combat and disease.

Instruct students to read the passage and find the inappropriate shifts in verb mood.

Students revise the passage to eliminate the inappropriate shifts.

TEACHER NOTE

Some students may not choose to change the interrogative verb mood in this passage since it is not part of a compound sentence. However, it is worth noting to students that asking a question here does not have a strong rhetorical effect on the audience. In an explanatory piece like this one, the question seems like an abrupt shift in mood and the audience for the question is unclear. Students should not revise the imperative voice, since the author is providing an example of the command soldiers waited to hear. The author is not issuing a command to the reader.

QUESTION: LESSONS 6-16

How did the conditions on the front affect soldiers?

Lesson 16

All Quiet on the Western Front, Erich Maria Remarque, Chapters 1–6

“Fighting from the Trenches,” Kathryn M. Horst (Handout 12A)

Lesson 16: At a Glance

AGENDA

Welcome (5 min.)

Choose a Sentence that Represents a Character

Launch (5 min.)

Learn (58 min.)

Collect Evidence (16 min.)

Create: Focusing Question Task (34 min.)

Write about Perspectives (8 min.)

Land (6 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Execute: Recognize and Correct Inappropriate Shifts in Verb Moods (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RL.8.1, RL.8.2, RL.8.3

Writing

ƒ

W.8.3.a, W.8.3.b, W.8.3.d, W.8.4, W.8.9

Speaking and Listening

ƒ

SL.8.1

Language

Learning Goals

Identify and explain how conditions on the front affected the soldiers in the Second Company, using effective evidence from All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.3).

Complete Handout 16A.

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L.8.1.b, L.8.1.d ƒ

L.8.1.c, L.8.1.d

MATERIALS ƒ

Handout 12A: “Fighting from the Trenches” ƒ

Handout 16A: Collect Evidence— Conditions on the Front ƒ

Assessment 16A: Focusing Question Task 2

Write a narrative that describes and reflects on the conditions on the front and their effects on a soldier in the Second Company (RL.8.3, W.8.3.a, W.8.3.b, W.8.3.d, W.8.4, W.8.9, L.8.1.b, L.8.1.d).

Complete Assessment 16A.

Recognize and correct inappropriate shifts in indicative, imperative, and interrogative verb moods (L.8.1.c, L.8.1.d).

Revise Focusing Question Task 2 based on peer feedback about verb moods.

Prepare

FOCUSING QUESTION: Lessons 6–16

How did the conditions on the front affect soldiers?

CONTENT FRAMING QUESTION: Lesson 16

Know: How do literary and informational texts build my knowledge of conditions on the front?

Students complete their second Focusing Question Task, in which they synthesize their understanding of the conditions on the front and their effects on soldiers. Their synthesis takes the form of a written letter from the perspective of one of men in the Second Company. This narrative writing allows students to apply their understanding of All Quiet on the Western Front as well as the ways descriptive details capture and convey the atmosphere of the front.

Welcome

5 MIN.

CHOOSE A SENTENCE THAT REPRESENTS A CHARACTER

Have half of the class choose a line from the novel that best represents Müller and the other half choose a sentence that best represents Kropp.

Students write their sentences in their Response Journal.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Tell students that, for their second Focusing Question Task, they will draw on their work tracking the characters of the Second Company and analyzing those soldiers’ experiences on the front by writing a letter from the perspective of either Kropp or Müller that conveys how the front affects the men in the Second Company.

To set the scene for students’ writing, conduct a Whip Around with all students who wrote about Kropp reading their sentences, followed by students reading the Müller sentences.

58 MIN.

COLLECT EVIDENCE 16 MIN.

Small Groups

Tell students to choose which character, Kropp or Müller, they will write about for their Focusing Question Task.

Organize students into groups with peers who chose the same character.

Display and distribute Handout 16A: Collect Evidence— Conditions on the Front.

Students collaborate to complete Handout 16A.

CREATE: FOCUSING QUESTION TASK 34 MIN.

Individuals

Distribute and review Assessment 16A.

Have students use the evidence they collected in Handout 16A to formulate their response.

Students complete the Focusing Question Task.

WRITE ABOUT PERSPECTIVES 8 MIN.

Small Groups

In their Response Journal, students write two ways the character they wrote about is distinct from the other men in the Second Company and two ways that character is similar. Students write each item in the form of a bullet point.

6 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Know: How do literary and informational texts build my knowledge of conditions on the front?

Have students respond to the Content Framing Question in the Knowledge of the World section of their Knowledge Journal.

Wrap1 MIN.

ASSIGN HOMEWORK

Students read pages 151–162 of All Quiet on the Western Front, from “I am called to the Orderly Room” to “One of them said it is probably cancer again,” and annotate for every time Paul expresses an emotional connection C and every time he expresses an emotional disconnection D.

Analyze

Context and Alignment

Students write a narrative that describes and reflects on the conditions on the front and their effects on a soldier in the Second Company as they complete their Focusing Question Task (RL.8.3, W.8.3.a, W.8.3.b, W.8.3.d, W.8.4, W.8.9, L.8.1.b, L.8.1.d). Refer to Appendix C for a student response that effectively meets the task criteria. Check for the following success criteria: ƒ

Responses to all parts of the Focusing Question Task prompt. ƒ Communicates details from the text in an imaginative narrative. ƒ Unpacks an incident from the text from the perspective of Kropp or Müller.

Next Steps

If students have difficulty identifying an incident for their narrative writing, consider modeling an imagined incident from a different character from the book (for instance, from Himmelstoss’s perspective) in order to give students a strong understanding of what is required for the task. Additionally, consider brainstorming additional details from the texts as a whole group.

Group students with similar needs, and plan small group support for these skills to set students up for success with their next Focusing Question Task.

Execute: Recognize and Correct Inappropriate Shifts in Verb Moods

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque, pages 99–123; Student-generated responses, Focusing Question Task 2

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Style and Conventions Learning Goal: Style and Conventions Learning Goal: Recognize and correct inappropriate shifts in indicative, imperative, and interrogative verb moods (L.8.1.c, L.8.1.d).

Launch

Display a portion of a sample student response to Focusing Question Task 2, and ask students to read silently:

n I tell you, it’s pretty lousy up here at the front. Why did I ever listen to my stupid school teacher? What does he really know of nights exploding with artillery and burning lungs? All I am now is a moving target for the enemy—a rat stuck in a trap. Be careful what you wish for, comrade. It’s not always as glamorous and noble as it seems.

Instruct students to Think–Pair–Share, and ask: “What verb moods does the author use in this paragraph?”

n The author uses the indicative mood when he writes, “it’s pretty lousy up here at the front.” It’s just his opinion.

n The author also uses the interrogative verb mood in the second and third sentences.

n I see the imperative verb mood as well when he warns his friend: “Be careful what you wish for.”

Instruct student to reread the paragraph aloud to their partners. Each student should take a turn to read the paragraph aloud. Ask: “Why does the author use three different verb moods in one paragraph?” Call on student pairs.

Possible responses include the following:

n The verb moods relate to the attitude and ideas he wants to convey to his audience. The sentences in indicative mood reveal what is happening to him at the front, whereas the imperative mood sentence shows that the speaker is in a position of experience. He can tell his friend what to do, and the command lets us know that he hates life as a soldier and regrets his foolish decisions.

n The multiple verb moods emphasize his ideas. He poses two questions. The first shows his frustration with his former self, and the second one shows his disdain for his old teacher. The interrogative mood highlights his resentment for himself and the teacher.

n The imperative verb mood shows readers that the speaker feels like he’s in a position of authority on this topic, and the cautionary tone reflects his feelings about life as a soldier.

Reveal that using multiple verb moods can be an effective way to convey ideas and attitudes to a specific audience.

Learn

Assign students partners for a peer review.

TEACHER NOTE

Determine partners in advance based on the CFUs from the previous two lessons. Since this peer review will revolve around assessing use of verb moods, it may be most beneficial to pair students heterogeneously. Those students who have mastered using verb moods and correcting inappropriate shifts in verb moods can provide additional support to students who may still be struggling with the concept.

Instruct students to swap Focusing Question Task 2 responses, and tell students to underline the shifts in verb moods. Students write an A next to a shift if it’s appropriate and an I next to a shift if it’s inappropriate. If inappropriate, students briefly write why in the margins. If there are no shifts in verb moods, students circle a portion of the response that might benefit from a shift in verb mood to better express an idea or feeling.

TEACHER NOTE

During this time, circulate through the classroom and monitor students’ work to ensure all students get quality feedback.

Request that students return their partner’s paper and read annotations and comments. Allow students to ask clarifying questions to their partner.

Land

Students revise their Focusing Question Task 2 responses based on their partner’s feedback.

Remind students that their revisions are always up to their own discretion: if they do not agree with a peer’s comment, they are not required to make the change.

Soldiers Playing Cards, Fernand Léger (http://witeng.link/0010)

All Quiet on the Western Front, Erich Maria Remarque, pages 151–169

Lesson 17: At a Glance

AGENDA

Welcome (5 min.)

View a Painting Launch (10 min.)

Learn (54 min.)

Analyze Depiction of Paul’s Homecoming (10 min.)

Complete New-Read Assessment (40 min.)

Determine Importance of Setting (4 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Vocabulary Assessment (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing ƒ W.8.10

Speaking

ƒ

and Listening

SL.8.1, SL.8.2

Language ƒ

L.8.4.a, L.8.5.b ƒ L.8.6

MATERIALS

Learning Goals

Explain how Paul’s encounters with civilians in his hometown reveal conflicting attitudes toward the war (RL.8.1, RL.8.2, RL.8.3, RL.8.4, L.8.4.a, L.8.5.b).

Complete Assessment 17A on All Quiet on the Western Front

Demonstrate acquisition of grade-appropriate academic and domain-specific words (L.8.6).

Create accurate definitions for vocabulary words in context.

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Assessment 17A: New-Read Assessment 2 ƒ

Assessment 17B: Vocabulary Assessment 1

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 17

Reveal: What does a deeper exploration of Paul’s encounters with others during his return home reveal?

In this Focusing Question arc, students explore the ways that a devastating war can also inspire powerful aesthetic responses and even artistic movements. The learning in this sequence emphasizes an understanding of literary and artistic texts as entrenched in the events of the real world. Far from representing forms of escapism, novels, poetry, painting, and film represent rich and varied responses that interpret and express the effects of world-changing events on humanity. Students examine literary and artistic texts’ attitudes towards the war, paying attention to the effects of the techniques used in various genres. Students begin this work by noting their observations about Fernand Léger’s Cubist masterpiece Soldiers Playing Cards, which they will return to in subsequent lessons. Then they dive deeply into uncovering the attitudes to the war portrayed in chapter 7 of All Quiet of the Western Front. First, they analyze the war’s effects on Paul’s return home, and then they complete a New-Read Assessment about the conflict between Paul’s and civilians’ attitudes toward the war. This poignant section reveals Paul’s turmoil and separation, as well as the ignorance of civilians about the realities of war. Students conclude their analysis by considering why this conflict takes place in Paul’s hometown to deepen their understanding of the effects of the war on Paul.

VIEW A PAINTING 5 MIN.

Whole Group

Display the painting Soldiers Playing Cards without revealing the title or artist’s name.

Students silently view the painting and jot any observations in their Response Journal.

Launch

10 MIN.

Facilitate a brief discussion of observations about the painting.

Ask: “What do you notice and wonder about this painting?”

Possible response may include the following:

n The painting looks like a group of shapes. They look similar to each other, but they also don’t seem to be connected to each other.

n Some shapes look like tubes or cylinders. They also look like fingers or arms. But they don’t look human. They look like robot parts.

n The yellow shapes create a pattern that looks like a path, a turtle shell, or a snakeskin.

n I see a deck of playing cards, pipes, a helmet, and a hat, so it makes me wonder if the shapes are supposed to be people.

n The shapes fill the painting. It’s difficult to tell setting, but the shapes in the back are different, so they look like a background.

n I wonder why an artist would make a painting of shapes.

n I wonder why the artist makes it so difficult to tell what’s happening in the painting.

Explain that students will return to this painting in the following lesson.

Post the Focusing Question and Content Framing Question.

Have a student read aloud the Focusing Question.

Tell students that in this Focusing Question arc, they explore the ways that the devastation of World War I also inspired a wealth of powerful and innovative literature and art. Inform them that each writer, painter, and filmmaker they study in this sequence served in World War I. Point out that novels, poetry, film, and paintings are often perceived as forms of pleasure and escape from the real world. But in this module, and especially in this Focusing Question arc, students examine how literature and art interpret and express world-changing events and their effects.

Now, ask: “What are you examining when you examine a text’s attitude?”

n An attitude is a view or feeling toward something or someone.

n When you examine a text’s attitude, you examine how a text reveals a feeling or view toward something in particular.

Remind students that examining an attitude about a topic is different from examining the topic itself. Tell students that, with World War I as the topic, they will focus, first, on identifying different texts’ attitudes toward World War I. Then they will use that information to identify texts’ themes about war and its effects. Remind students that a theme is not text-specific in terms of plot or character. Rather, a theme is a bigger idea or statement that illuminates some aspect of the world or the human condition.

Have students look at the painting one more time, and tell them their task in upcoming lessons will be to discern the painting’s attitude toward the war and its effects.

Now, they explore how Paul’s encounters with others on leave reveal different attitudes toward the war.

54 MIN.

ANALYZE DEPICTION OF PAUL’S HOMECOMING 10 MIN.

Pairs

Have partners share annotations from the homework reading, in which they annotated every time Paul expressed an emotional connection with his surroundings (C) and every time he expressed an emotional disconnection (D).

Have students Think–Pair–Share, and ask: “What is significant about the pattern your annotations create?”

n Paul goes back and forth between feeling emotionally connected and disconnected.

n Before he leaves, he goes out with his friends and reflects on how close they are, but then he says he is impatient to be gone (154).

n Traveling home, he notes details of his surroundings that are familiar and “take on meaning” (154). He says his hometown is like his mother, and he remembers places he spent time with his friends in his youth (155).

n His “heart trembles” (154), so he seems nervous and excited.

n Paul experiences more disconnection the closer he gets to home. He “knows no one” at the train station, and he seems mad that the Red Cross sister calls him “comrade” (155).

n When Paul opens to the door to his family’s home, he is met with a “strange coolness.” He doesn’t describe it as warm and welcoming.

n Even though Paul seems glad to see familiar things in his hometown, the closer he gets to his family, the more anxious and disconnected he feels.

n The pattern suggests that Paul will not be able to experience his home the same way he did before the war.

Have pairs reread the following passage from page 160 when Paul sits by his mother’s bed:

“I breathe deeply and say over to myself: ‘You are at home, you are at home.’ But a sense of strangeness will not leave me. I cannot feel at home amongst these things. There is my mother, there is my sister, there my case of butterflies, and there the mahogany piano–but I am not myself there. There is a distance, a veil between us.”

Have students Think–Pair–Share, and ask: “How do the words strangeness and veil reveal the novel’s attitude about the effects of the war on Paul?”

n The word strangeness means a feeling of the unknown or unfamiliar. Even though Paul keeps telling himself he is at home, the war has made his home unfamiliar to him.

n A veil is a piece of clothing that people wear, but it also refers to something that serves to conceal or separate. Paul is saying that the war has caused a separation between himself and his home. He can no longer find himself at home. What was once so familiar is now hidden from him.

n This characterization of Paul suggests that the war affects soldiers by making it impossible for them to return to their lives before the war. The war destroys soldiers’ ability to connect to anything that was once familiar. Most importantly, Paul says he is not himself at home, so the war has caused him to lose his sense of self, or identity.

COMPLETE NEW-READ ASSESSMENT 40 MIN.

Individuals

Provide students with the following definitions for their reading: detain (v.)—to stop or block from continuing further latter (adj.) —referring to the second thing if more than one thing is mentioned

Distribute Assessment 17A: New-Read Assessment.

Students complete New-Read Assessment 2.

DETERMINE IMPORTANCE OF SETTING

Small Groups

4 MIN.

Small groups continue the analysis of the conflict in attitudes toward World War I.

Have students review their notes, and ask: “What is the significance of the setting in this chapter? Why does the conflict of attitudes toward the war between Paul and the civilians take place during Paul’s return to his hometown and not in a town unfamiliar to him?”

Small groups jot their responses.

1. What does Paul’s change in wardrobe, from his uniform into his civilian clothes, reveal?

a. Paul’s change from his uniform into his civilian clothes reveals his comfort with his hometown. b. Paul’s change from his uniform into his civilian clothes reveals his physical growth as a man on the front lines. c. Paul’s change from his uniform into his civilian clothes reveals his sense of disconnection from his old life. d. Paul’s change from his uniform into his civilian clothes reveals his irritation with the people in his hometown.

2. How does Paul react to his father’s questions about the war? a. Paul is annoyed that his father wants to know about his friends on the front. b. Paul is irritated that his father wants to know if he has been to visit women. c. Paul is upset that his father wants to know if he has been injured. d. Paul is angry that his father wants him to discuss the horrors of the front.

3. Why does Paul enjoy sitting in the beer garden at home? a. Paul enjoys sitting in the beer garden because of the scenery. b. Paul enjoys sitting in the beer garden because he can get drunk. c. Paul enjoys sitting in the beer garden because it is quiet. d. Paul enjoys sitting in the beer garden because everyone is enjoying themselves.

4. What do the incidents with the commandant and the German-master have in common?

a. The commandant and the German-master are pleasant when they talk with Paul about the war. b. The commandant and the German-master present attitudes about World War that are different from Paul’s. c. The commandant and German-master are mean to Paul because he is a young soldier. d. The commandant and German-master remind Paul of his father.

5. What does Paul mean when he tells the people at home “this is really the only thing: just to sit quietly, like this” (168)?

a. Paul means that he believes peace and safety are valuable.

b. Paul means that he believes strength, courage, and resourcefulness are valuable.

c. Paul means that he believes stability, kindness, and happiness are valuable.

d. Paul means that he believes family, friends, and country are valuable.

6. Why does Paul “envy and despise” the men at home (169)?

a. Because they have boring, peaceful lives.

b. Because he does not enjoy sitting in the beer garden with them.

c. Because they do not ask him about life on the front.

d. Because they remind him of the life he has lost.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of Paul’s encounters with others during his return home reveal?

Small groups share their responses about the significance of the setting.

Wrap1 MIN.

ASSIGN HOMEWORK

Students continue their fluency homework in preparation for performing a fluent reading in the next lesson.

Analyze Context and Alignment

Students complete their second New-Read Assessment, considering how Paul’s encounters with civilians in his hometown reveal conflicting attitudes toward the war (RL.8.1, RL.8.3,RL.8.4, L.8.4.a, L.8.5.b). Refer to Appendix C for the answer key and success criteria.

Next Steps

If students have difficulty identifying the significance of the setting in this passage, consider reviewing the passages in which Paul responds so strongly to his new discomfort and unease at being home. It may be true that Paul cannot connect with anyone who has not experienced the war, but the setting of Paul’s hometown amplifies his realization that the war creates a rift between Paul and what was once so deeply familiar to him. That’s the disconnection that the novel emphasizes.

Lesson 17 Deep Dive: Vocabulary

Vocabulary Assessment

ƒ Time: 15 min.

ƒ Vocabulary Learning Goal: Demonstrate acquisition of grade-appropriate academic and domain-specific words (L.8.6).

Launch

You will now take the first vocabulary assessment. All the words on the assessment have been discussed in class. This handout is not a test of your reading, writing, or spelling ability. Its purpose is to measure your understanding of the words we studied. If you need me to pronounce a word for you or you need help with spelling, raise your hand.

For each sentence, consider the word in bold and the context around it. Write a definition for the word. It doesn’t have to be in complete sentences or spelled perfectly. I won’t be grading your writing skills or punctuation, just whether you can prove, through your definition, that you know what each word means.

The words for this unit have been split into two tests; you’ll take half now and half later in the module.

Students create accurate definitions for vocabulary words in context.

Pass out Assessment 17B: Vocabulary Assessment 1, circulating to answer questions, pronounce words, or give spelling support.

ƒ Soldiers Playing Cards, Fernand Léger (http://witeng.link/0010) ƒ

“In Flanders Fields,” John McCrae (http://witeng.link/0013) ƒ “Dulce et Decorum Est,” Wilfred Owen (http://witeng.link/0012)

Lesson 18: At a Glance

AGENDA

Welcome (5 min.)

Observe a Painting Launch (5 min.)

Learn (59 min.)

Perform an Echo Reading of World War I Poetry (12 min.)

Examine World War I Poetry (25 min.)

Identify the Subject of an Abstract Painting (12 min.)

Perform a Fluent Reading (10 min.)

Land (5 min.)

Answer the Content Framing Question Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore

Academic Vocabulary: Ardent, zest (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.4

Writing

W.8.2.a

Speaking and Listening

ƒ

SL.8.1, SL.8.2, SL.8.6

Language ƒ

L.8.4.a, L.8.5.a ƒ L.8.4.a, L.8.5.b

MATERIALS

Handout 18A: Fluency Homework ƒ Handout 18B: Fluency Homework ƒ Handout 12B: Fluency Homework

Learning Goals

Summarize the main ideas in “In Flanders Fields” and “Dulce et Decorum Est” (RL.8.2).

Write a two-sentence summary of each poem.

Use the relationships between ardent and zest to better understand the words in context (L.8.4.a, L.8.5.b).

Complete an Exit Ticket about the nuances of ardent and zest

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 18

Organize: What’s happening in poetry from World War I?

Students begin to work with multiple genres in this lesson and what these genres reveal about attitudes toward the war and its effects. Through oral reading and discussion students encounter two seminal World War I poems, “In Flanders Fields” and “Dulce et Decorum Est,” and a masterpiece of Cubist art, Soldiers Playing Cards. Each one of these works has rich ideas and students organize their thinking with all these texts in this lesson to lay the groundwork for their continued analysis in subsequent lessons. Students write a brief summary of the poems and participate in a tableau to capture their initial thoughts and understandings about the literature and art in this lesson.

Welcome

OBSERVE A PAINTING

5 MIN.

Display Soldiers Playing Cards without sharing the title or author’s name.

Have students jot observations in their Response Journal, and say: “Look again at this painting, and make a list of everything you see.”

Tell students they will return to the painting later in the lesson.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Have a student read aloud the Content Framing Question.

Explain that in this lesson, students examine two poems written during World War I to understand how they depict attitudes toward the war.

Explain that the poems were written by two soldiers serving in World War I, Wilfred Owen and John McCrae. Remind students that Erich Maria Remarque and A., H. Wheen, the author and translator of All Quiet on the Western Front, also served in the army.

Also remind students that even though these poets served in the war, it does not mean that the speakers of the poems are the poets themselves.

59 MIN.

PERFORM AN ECHO READING OF WORLD WAR I POETRY 12 MIN.

Whole Group

Display and distribute “In Flanders Fields.”

Explain that students will do an Echo Reading for this poem.

Read aloud “In Flanders Fields,” pausing after each stanza.

Students follow along and repeat the stanza.

Have students Think–Pair–Share, and ask: “What do you notice and wonder about this poem?”

Facilitate a whole-group discussion.

Possible responses:

n I notice this poem has three stanzas.

n I wonder if Flanders Fields is a real place.

n I notice there are images of sunsets and birds in the poem.

n I wonder what poppies are and if they have anything to do with World War I.

n I notice the poem mentions crosses and the dead.

n I wonder why the poem doesn’t mention anything about the front or the fighting.

Display and distribute “Dulce et Decorum Est.”

Provide the following definitions for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonyms/Examples

ardent (adj.) Marked or possessing overwhelming feeling of loyalty, eagerness, a fiery spirit or strong desire.

zest (n.) zestful (adj.)

devoted, passionate, burning

Something that is very pleasurable and causes great enjoyment. excitement, relish

Read aloud “Dulce et Decorum Est,” pausing after each line.

Students follow along and repeat each line.

Have students Think–Pair–Share, and ask: “What do you notice and wonder about this poem?”

Facilitate a whole-group discussion.

Possible responses include the following:

n I notice that this poem uses different kinds of punctuation.

n I wonder why this poem uses different capitalization.

n I notice that this poem mentions soldiers and gas.

n I notice that this poem has some repeating rhymes (sacks/backs, sludge/trudge, boots/hoots, stumbling/fumbling).

n I notice that this poem has four stanzas.

n I wonder what the title and last line of the poem mean.

n I wonder if the speaker of the poem is on the front lines.

n I wonder if the poem is about young men like Paul in All Quiet on the Western Front

Students record notes from their discussion in their Response Journal.

EXAMINE WORLD WAR I POETRY 25 MIN.

Small Groups

Organize students into their squads.

Tell students that Flanders is a region of Belgium where some of the worst fighting on the Western Front took place.

Instruct students to read aloud “In Flanders Fields” in their squads, each student reading two lines of the poem while other members follow along in their texts.

Squads read the poem aloud.

Display the following questions for squads to discuss. After each question, have one squad share their response with the whole group. Have other squads elaborate as needed. Rotate squads for each question.

Students take notes in their Response Journal.

1. Who is the speaker of “In Flanders Fields”?

n The speaker in the poem is everyone who has died in Flanders Fields, “We are the Dead” (6); “with us who die” (13).

n The speaker of the poem is multiple soldiers who have died.

2. How does the speaker describe the setting of Flanders Fields?

n Flanders Fields is a place where “poppies blow” and there are many crosses (3–4).

n There are “larks” flying and singing above Flanders Fields, but the guns are louder than the birds (4).

n Flanders Fields is a place where those who died saw “dawn” and enjoyed “sunset glow” (7).

n The speaker of the poem makes Flanders Fields sound like a special place where there are beautiful things to see in nature like sunsets, but there are also reminders of war like guns and crosses.

3. What actions does the speaker instruct in the third stanza?

n The speaker wants “you” to fight their “foe” (11, 10).

n The speaker wants “you” to catch “[t]he torch” they throw and “hold it high” (11, 12).

n The speaker wants “you” to not “break faith” with them (11, 13).

4. What will happen if the speaker’s “quarrel” is not continued (10)?

n The speaker “shall not sleep” even though they are dead. This means they will never have rest if the fight is not continued (14).

5. Why does the speaker have “failing hands” (11)?

n The speaker has “failing hands” because they have not won the fight and must give up their “quarrel” (11, 10).

n The speaker has “failing hands” because they have died and can no longer fight their “foe” (11, 10).

n The speaker has “failing hands” because they lie in Flanders fields and can longer participate in life (11).

Instruct students to read aloud “Dulce et Decorum Est” in their squads, each student reading two lines of the poem while other members follow along in their text.

Tell students that final words of “Dulce et Decorum Est,” “Dulce et decorum est / Pro patria mori” are Latin and mean, “It is a sweet and proper thing to die for one’s country” (27–28).

Display the following questions for squads to discuss. After each question, have one squad share their response with the whole group. Have other squads elaborate as needed. Rotate squads for each question.

Students take notes in their Response Journal.

1. How does the first stanza of the poem describe the men and their situation?

n The men are like “old beggars” (1) who are barely wearing clothes and who have “lost their boots” (5).

n The men are “[k]nock-kneed, coughing” and “cursing” so they are tired and upset (2).

n The men are marching slowly and “asleep” (5).

n The men are injured in a number of different wars, “limped on,” “lame,” “blind” (6).

n The men are so tired, “drunk with fatigue”, they cannot stay alert to danger around them (7).

n The men’s situation is dirty and tiresome. They are injured and moving through “sludge” while “haunting flares” make a weird and strange scene (2, 3).

n The men are in a dangerous situation because of the “gas-shells” they fail to hear (8).

2. Who is the speaker of this poem?

n The speaker of the poem is one person in a group of the men because the poem says, “I saw him drowning” (14).

n The speaker in the poem is a soldier.

3. How does the gas attack affect the speaker of the poem?

n The speaker sees the victim of the attack “[i]n all [their] dreams” (15). The attack haunts the speaker. It never leaves him.

n The speaker is “helpless” to save the man who is “choking” on gas (15, 16).

n The speaker’s dreams are “smothering” after the gas attack, which means he is still hurt by what they experienced (17).

n The gas attack causes the speaker to see the injured man’s “hanging face” and hear the “gargling” of burnt lungs in his dreams, too (20, 21).

4. What is happening in each stanza of the poem?

n The first stanza describes the state of soldiers who are injured and marching.

n The second stanza is a response to gas shells. One soldier does not get his mask on in time.

n In the third stanza, the speaker says they cannot stop dreaming about this man who could not get his mask on.

n The fourth stanza describes the man who was injured in gruesome detail and also says that it is a lie to claim that dying for one’s country is good.

5. Why does the speaker say it is an “old Lie” to tell children “It is a sweet and proper thing to die for one’s country”(27)?

n The speaker says that this phrase is a lie because the horrors soldiers experience and witness during the war, like the sound of “forth-corrupted lungs”, do not result in a “sweet and proper” death (22).

n The speaker says that this phrase is a lie because these children will become soldiers whose participation in the war will make them weak, injured, “blind” and “lame” (6).

n The speaker says that this phrase is a lie because soldiers have not seen “glory”, only death and destruction (26).

IDENTIFY THE SUBJECT OF AN ABSTRACT PAINTING

Small Groups

12 MIN.

Display the painting Soldiers Playing Cards without revealing its title or artist.

Give students a few minutes to look at the painting.

Have a few volunteers come to the image, and ask the whole group: “What parts of the painting can you identify as a recognizable object?”

As students call out responses, have volunteers point out the objects in the image.

Possible responses:

n Hats and helmet.

n Playing cards.

n Pipes.

n A hand with fingers.

n A military medal.

Now, ask: “How can you combine these objects with other shapes in the image to create something identifiable?”

Encourage students to speculate what the other shapes might be.

As students call out responses, have volunteers point to and trace the shapes in the image.

Guide students to notice heads, faces, eyes, noses, shoulders, elbows, hands, even a red spine.

Then, ask: “Now that we have identified shapes that look like human figures, how many figures do you see?”

Tell students the name of the painting is Soldiers Playing Cards.

Have each small group create a tableau of the painting. Tell groups they need to figure out how many figures there are and where they see the hands of cards held by each player.

Each group creates a tableaux and mimics soldiers playing cards as represented in the painting.

After groups create their tableau, ask: “What was challenging about creating a tableau?”

n Sometimes we couldn’t tell which arm belonged to which hand. Some hands or arms seem to be detached from the rest of the body.

n Sometimes it was hard to hold your arms at the same angles as those in the painting. I couldn’t bend my elbow that way!

Have students Think–Pair–Share, and ask: “How does the artist, whose name is Fernand Léger, portray the human body in this painting?”

n He portrays the human body as more like a robot or machine than a person. One figure reminds me of the Tin Man in The Wizard of Oz!

n He portrays the human body as tubes that look like an extension of machinery. He has human limbs bend in ways that don’t seem natural.

n He portrays the human body as separate body parts rather than one connected figure.

n Some body parts are out of proportion. Arms are bigger than heads.

n He also mixes up the human bodies with each other. It’s hard to identify where one figure ends and another begins.

Tell students that when they view this painting again in an upcoming lesson, they will explore what the artist’s use of shapes to portray the human body might mean.

PERFORM A FLUENT READING

Small Groups

10 MIN.

Students take out Handout 12B: Fluency Homework and individually read aloud from “From the earth, from the air” to “receives him again and often for ever” to their small groups, demonstrating mastery of fluent reading skills, including appropriate pace, tone, expression, emotion, and attention to words and punctuation (55).

Students self-assess their growth as fluent readers and submit Handout 12B.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in poetry from World War I?

Instruct students to write a two-sentence summary for each poem, identifying the main idea and the speaker of each poem in their summaries.

Individuals complete a summary.

1 MIN.

ASSIGN HOMEWORK

Students circle the pronouns in both poems.

Differentiation

Remind students that pronouns are words that can take the place of a noun or noun phrase. In the sentence, “He gave it to someone,” he, it, and someone are examples of pronouns.

Display and distribute Handout 18A and Handout 18B. Students choose either “Dulce et Decorum Est” or “In Flanders Fields” for a fluency exercise.

G8 M2 Handout 18A WIT & WISDOM

Handout 18A: Fluency Homework

Directions:

1. Day 1: Read the text carefully, and annotate to help you read fluently.

2. Each day: a. Practice reading the text aloud three to five times. b. Evaluate your progress by placing a √+, √, or √- in the appropriate, unshaded box. c. Ask someone (adult or peer) to listen and evaluate you as well.

3. Last day: Answer the self-reflection question at the end.

“Dulce et Decorum Est” Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling Fitting the clumsy helmets just in time, But someone still was yelling out and stumbling And flound’ring like a man in fire or lime.— Dim through the misty panes and thick green light, As under a green sea, I saw him drowning.

In all my dreams before my helpless sight, He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil’s sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,— My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori. Owen, Wilfred. Poetry Foundation

© Great Minds PBC

WISDOM

Analyze

Context and Alignment

Students summarize the main ideas in “In Flanders Fields” and “Dulce et Decorum Est” (RL.8.2). Each student should be able to understand the main ideas of the poems: “In Flanders Fields” being about war as a noble, necessary act, and in “Dulce et Decorum Est,” the destructive reality of warfare at the time. Check for the following success criteria:

ƒ Identifies the speaker of the poem.

ƒ Summarizes an understanding of the poem’s main idea.

Next Steps

If students have difficulty summarizing the two poems, consider providing sentence stems for their summaries.

Lesson 18 Deep Dive: Vocabulary

Explore Academic Vocabulary: Ardent, zest

ƒ

Time: 15 min.

ƒ

Text: “Dulce et Decorum Est,” Wilfred Owen (http://witeng.link/0012)

ƒ Vocabulary Learning Goal: Use the relationships between ardent and zest to better understand the words in context (L.8.4.a, L.8.5.b).

Launch Display: sludge (n.): thick, sticky, wet mud or ooze sludge, clean water, slime, mud, filth.

Instruct student pairs to discuss and sort words onto a word line with clean water on one end and sludge on the other.

Display several student word lines, and ask students to explain rationale for word order. Ask students to replace sludge with a synonym. Then, discuss how the image the author presents of the soldier’s circumstances changes with the nuances of each word.

n Mud doesn’t sound as disgusting or difficult to maneuver as sludge.

n The word filth doesn’t have any sense of movement or thickness, so we can’t understand the effort it takes soldiers to move through the mess.

n Slime sounds gross, but it is usually thin and runny. It wouldn’t be hard to walk through.

Scaffold

Alternate questions: How is walking through sludge different than walking through clean water or slime? How would this affect the soldiers walking through it?

Learn

The word sludge has a specific nuance that best captures the struggle and horror of the soldier’s struggle. Nuance means “shades of meaning;” it’s from a French word that means “to shade or cloud.” Just as a painter might choose light orange over dark yellow, authors purposefully choose words based on their nuances. By considering the word nuance, readers can better understand the author’s message.

Display: ardent, zestful, interested, excited, intense.

Divide students into groups of three, and say: “Sort these words into a word line from most powerful feeling to least powerful feeling. Be prepared to explain your responses.”

Call on groups to share.

TEACHER NOTE

Land

Students should choose ardent or zest as the most powerful feeling. From there, students should choose intense, excited, and then interested. Explain to students that all these adjectives indicate a level of interest, but ardent indicates extreme, burning devotion.

Direct students to “Dulce et Decorum Est.”

Students complete an Exit Ticket in which they consider the nuances of ardent and zest by finishing the two statements:

ƒ

If I replace zest with excitement, then

ƒ

If I replace ardent with strong, then

Remind students to note interesting words and comparisons as they read the novel so they can better understand the nuances of the author’s descriptions.

“In Flanders Fields,” John McCrae (http://witeng.link/0013) ƒ “Dulce et Decorum Est,” Wilfred Owen (http://witeng.link/0012)

Lesson 19: At a Glance

AGENDA

Welcome (5 min.)

Analyze Use of Pronouns Launch (10 min.)

Learn (55 min.)

Identify Attitudes Toward the War (15 min.)

Explore Modes of Address in Poetry (17 min.)

Analyze Modes of Address in Poetry (23 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.4, RL.8.5

Writing

ƒ W.8.10

Speaking and Listening

ƒ SL.8.1, SL.8.2, SL.8.6

Language

ƒ

L.8.4.a, L.8.5.a, L.8.5.c

Learning Goals

Compare how modes of address depict attitudes toward the war and its effects in “Dulce et Decorum Est” and “In Flanders Fields” (RL.8.2, RL.8.5).

Write a response explaining how the modes of address in each poem develop their depictions of attitudes toward the war.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 19

Reveal: What does a deeper exploration of modes of address reveal?

Students continue their analysis of World War I poetry by exploring how the mode of address in “In Flanders Fields” and “Dulce et Decorum Est” reveals each poem’s attitudes toward the war. Students begin by reviewing their annotations because the identification of pronoun use primes them for discussing modes of address. Students continue their interpretations by annotating descriptions that represent attitudes toward war. Then they compare the poems’ attitudes and use this understanding in tandem with the idea of modes of address in a speaking and listening activity to discern tone and emphasis within each poem. Finally, students analyze and discuss questions about how modes of address reveal conflicting attitudes toward war.

Welcome

5 MIN.

ANALYZE USE OF PRONOUNS

Have students share the pronouns they annotated for homework with a partner.

Have pairs brainstorm, and ask: “What do you notice about the emphasis and repetition of pronouns in each poem?”

Launch

10 MIN.

Pairs share their observations from the Welcome task.

ƒ

In “In Flanders Fields,” the pronouns we and our repeat. The poem includes you and other forms like your and ye. ƒ

In “Dulce et Decorum Est,” the pronouns you, we, and his all repeat, and I is only used once.

Ask: “When the poems include the word you, to whom might the speaker be referring?”

ƒ

The word you refers to the reader of the poem.

Have students Think–Pair–Share, and ask: “Remembering that these poems were written during World War I, why do you think the speaker refers to the reader directly as ‘you’?”

Possible responses include the following:

ƒ

Because these poems were written while the war was still going on, the use of “you” creates a sense that the speaker is sharing experiences or thoughts as they happen.

ƒ

The speaker might be directing comments at a reader who is not directly familiar with the war. The speaker may want to be sure the reader listens to his opinions about the war.

Post the Focusing Question and Content Framing Question.

Have a student read aloud the Content Framing Question.

Remind students of the definition of the word address: “to speak or write to.”

Ask: “What different modes, or styles, can you use to address another person?

ƒ

ƒ

You can use a formal style.

You can use an informal or casual style.

Explain to students that mode of address is a literary term that refers to the relationship constructed between the addresser and the addressee in a text.

Provide students with a definition like the following to add to the Literary Terminology section of their Vocabulary Journal.

Word Meaning mode of address (n.) 1. The relationship constructed between the addresser and the addressee in a text.

2. The style a text’s speaker uses to speak to the audience and involve them in the text.

Provide an example. Ask students: “What is the difference between addressing an email ‘Dear Ms. Gonzalez’ and addressing it ‘Hey, teacher!’?”

Facilitate a brief discussion about what each mode of address would convey about the addresser how it would affect the addressee’s reading of the email.

Explain to students that in this lesson, they examine how a poem’s mode of address can convey its attitudes toward war and affect the reader’s understanding of the war and its effects.

IDENTIFY

ATTITUDES TOWARD

Small Groups

THE WAR 15 MIN.

Tell students that we cannot speculate on the attitude each poet had about the war. However, it is clear that the speakers in each poem convey a specific attitude toward the war.

Instruct students to reread both poems and annotate each for lines or words that convey an attitude toward war.

Possible annotations: ƒ “In Flanders Fields”: n “[B]ravely singing” (4). n “[S]unset glow” (7). n “[L]oved and were loved” (8). n “[O]ur quarrel,” “foe” (10). n “[F]ailing hands we throw” (11). n “[B]e yours to hold it high” (12). n “[B]reak faith” (13). n “We shall not sleep” (14). ƒ “Dulce et Decorum Est” n “[O]ld beggars” (1). n “[W]e cursed” (2). n “[H]aunting flares” (3). n “Men marched asleep” (5).

n “All went lame; all blind” (6). n “Drunk with fatigue” (7). n “I saw him drowning” (14). n “[H]elpless sight” (15). n “[G]uttering, choking, drowning” (16). n “[S]mothering dreams” (17).

n “Obscene as cancer” (23).

n “[V]ile, incurable sores” (24). n “[T]he old Lie” (27).

Have small groups share their annotations, and ask: “What connotations do the examples from ‘In Flanders Fields’ share? What connotations do the examples in ‘Dulce et Decorum Est’ share?”

ƒ The examples from “In Flanders Fields” all connote a fullness to life and a glory to participating in warfare.

ƒ The examples from “Dulce et Decorum Est” all suggest the permanent and horrifying experiences of warfare.

Ask: “What adjectives would you use to describe each connotation?”

ƒ

“In Flanders Fields”: n Patriotic. n Noble. n Brave. n Serious. n Strong. n Bold.

ƒ “Dulce et Decorum Est”: n Cynical. n Angry. n Disturbed. n Tortured. n Scarred. n Upset.

Have students create a T-chart in their Response Journal, with “In Flanders Fields” as the heading for the left column and “Dulce et Decorum Est” as the heading for the right column.

Tell students they will elaborate on their annotations to identify and record evidence and attitudes about the war in each poem.

Collaboratively, complete the entry on “In Flanders Fields.”

“In Flanders Fields”

Fighting in war is brave, like the “larks” who fly above the guns (4).

Soldiers at war have life before they died, they “[loved and were loved” (8). War does not have horrific consequences.

Dying at war is a “failing,” but it’s only bad if those who are alive do not join the fight (11).

“Dulce et Decorum Est”

Using their annotations, each small group completes the column of the T-chart for “Dulce et Decorum Est.”

Have small groups share their findings with the whole group.

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The war is destructive; it turns the soldiers into “old beggars” (1). ƒ

The gas attack/war is a horrifying and traumatic experience that forever damages the speaker of the poem.

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Dying in war is slow, painful, and almost inevitable.

EXPLORE MODES OF ADDRESS IN POETRY 17 MIN.

Pairs

Ask: “What are some important elements of oral expression in poetry we learned in Module 1?”

Responses should include the following:

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Tone. ƒ Volume. ƒ Pacing. ƒ Emphasis. ƒ

Attention to line breaks. ƒ Attention to punctuation. ƒ Emotion.

Divide each small group into pairs. Assign each pair one of the poems.

Refer students to their learning about mode of address. Explain that each pair’s task is to use elements of oral expression to enact a mode of address, that is, a relationship between speaker and audience, when they read the poem to the other pair.

Have each pair briefly consult to decide how they will read the poem to enact a mode of address. Remind them that words like our in the poem refer to the speaker, and words like you refer to the audience.

Taking turns, one pair jointly reads aloud “In Flanders Fields” to their peers, and the other pair jointly reads aloud “Dulce et Decorum Est.”

Have students Think–Pair–Share, and ask: “How did your read aloud emphasizing modes of address affect the tone of each poem?”

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The mode of address in “In Flanders Fields” emphasizes an inspirational tone in the poem, calling on the “you” to take up the fight.

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The speaker of the poem is addressing an audience who they want to remember their sacrifice.

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The mode of address in “Dulce et Decorum Est” emphasizes the anger and brutality of the poem.

The speaker of the poem is pointing to a horrifying scene he wants the reader to remember.

Have students Think–Pair–Share, and ask: “How did being addressed by your classmates as they read their poem affect your understanding of the text?”

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Being addressed by my classmate helped me identify the places in the poem where the speaker is speaking directly to the audience.

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Being addressed by my classmate helped me understand the tone of the poem.

Being addressed by my classmate helped me understand the emphasis in each poem.

Students record notes from their discussion in their Response Journal.

Extension

After students read the poem in small groups, play audio versions of each poem, and have students analyze tone, volume, and emphasis in the readings to develop students’ work analyzing oral expression and support fluency.

Play an audio version of each poem. Instruct students to close their eyes and focus on listening to the reading of each poem, noting any observations after each recording is complete.

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“In Flanders Fields,” read by Leonard Cohen (http://witeng.link/0025).

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“Dulce et Decorum Est,” read by Christopher Eccleston (http://witeng.link/0026).

TEACHER NOTE

The last line of the first stanza of “Dulce et Decorum Est” is different in the recording due to the numerous versions of the poem. The reader says, “Of disappointed shells that dropped behind” instead of “Of gas-shells dropping softly behind” (8).

Students listen to the recording for a second time, listen carefully, and annotate their poems with the following:

ƒ

Marking words or phrases that are emphasized through inflection and tone (T), Volume (V) or words that are emphasized with a pause (P) with brief annotations such as the following: T–somber, T–proud, V-loud, V-soft, P-trudge, P-place.

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Marking places where each reading is influenced by the structure or punctuation of the poem on the page.

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Noting anything else they hear that stands out.

Students share their annotations.

Possible responses include the following:

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The speaker is retelling a memory.

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The speaker shouts “Gas!” mimicking how the word is represented in the poem (9).

The speaker has a scared tone when they read “guttering, choking, drowning” (16).

The speaker speeds up when reading “row on row” and pauses after “place” (2). ƒ

The speaker makes a long pause after “Dead” (6). ƒ

The tone of “Love and were loved” is thoughtful (8). ƒ

The volume is consistent in the poem but there is a slight whisper when the reader says “high” and “die” (13, 14).

ANALYZE MODES OF ADDRESS IN POETRY 23 MIN.

Small Groups

Display the following questions. Have small groups discuss the questions and record their answers in their Response Journal. After students have worked with the set of questions on each poem, lead a brief whole-class discussion.

1. Where is there a shift in the mode of address in “In Flanders Fields”? Highlight the line. ƒ

In “In Flanders Fields,” the third and final stanza shifts to use the pronoun “you,” which addresses the poem specifically to the reader.

2. How does the shift in mode of address develop the meaning of “In Flanders Fields”? ƒ

The reader doesn’t realize the poem is addressed to “you” until the very end. ƒ

In “In Flanders Fields,” since the final stanza is a call to action, the shift in address emphasizes that it is the reader’s responsibility to listen to the poem and “take up [the] quarrel” (10). ƒ

In “In Flanders Fields,” the image of the torch being thrown becomes more immediate. The use of “you” makes it seem like the poem is really throwing something toward the audience at the end.

3. Where is there a shift in the mode of address in “Dulce et Decorum Est”? Highlight the line. ƒ

In “Dulce et Decorum Est,” the fourth and final stanza shifts to use the pronoun “you.” ƒ

The speaker of the poem changes from recalling an instance of battle to addressing the reader directly, “[i]f you could hear” and “[m]y friend you would not tell” (21, 25).

4. How does the shift in mode of address develop the meaning of “Dulce et Decorum Est”?

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In “Dulce et Decorum Est,” the poet is not speaking to any reader, but to those who tell “[t]he old Lie” that it is a good thing to die for one’s country (27). The speaker is specifically arguing against an audience who believes that war is noble or glorious.

5. Why does each poem contain a direct address to the audience? ƒ

“In Flanders Fields” contains a direct address to inspire those who are alive to grab “[t]he torch” and continue to fight an enemy (12). The audience being addressed needs to be convinced to fight in the war effort.

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“Dulce et Decorum Est” contains a direct address to challenge those who believe the war is a good thing. The audience being addressed believes that war brings “glory” and that it is noble to die for one’s country; and this poem believes that is a “lie” (26, 27).

Have individual students respond to the following question in their Response Journal.

6. How does the mode of address in each poem reveal the poem’s attitude, that is, its statement or opinion, about the war and its effects?

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In “In Flanders Fields,” the mode of address reveals a noble opinion of war because the speaker is not content to reminisce about the former life of the dead. Instead, the speaker wants to stir up others to “take up quarrel” (10). This address emphasizes that the war is something everyone should be working on together to win. Participating in the war is keeping “faith” with the fallen soldiers (13). The image of holding a bright, lit torch “high” creates the sense that the war is something noble (12). A torch lights the way, and the speaker wants everyone to follow the command to win the war. Overall, “In Flanders Fields” is a poem about the belief in the righteousness of war and honoring the sacrifice of men who died in service to their country.

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In “Dulce et Decorum Est,” the mode of address reveals an opposition toward the war and to those who actively support it. The speaker is talking directly to those who tell “[t]he old Lie” by encouraging young men to join the war and make a noble sacrifice of their lives (27). Leading up to this line, the poem details how horrible the war is for these young men, showing the audience the result of their decisions to support the war effort. Overall, “Dulce et Decorum Est” is a poem that stands up to those who influenced young men to join and try to achieve glory when all that is waiting for them at war is a horrible death and unbelievable horror.

Students complete an Exit Ticket in response to the following question: “Which poem’s mode of address is more effective in developing the poem’s attitude toward war, and why?”

1 MIN.

ASSIGN HOMEWORK

Students read pages 169-185, from “In my room behind the table” to “I ought never to have come on leave,” of All Quiet on the Western Front and annotate for Paul’s emotional responses to the final incidents on leave.

Analyze

Context and Alignment

Students compare how modes of address depict attitudes toward the war and its effects in “Dulce et Decorum Est” and “In Flanders Fields” (RL.8.2, RL.8.5). Students should understand that the two poems show opposing attitudes toward the war, one of nobility and honor and one of death and horror.

Next Steps

If students have difficulty discerning how modes of address can show attitudes, consider having them review an understanding of modes of address. Why is it different to talk to someone individually (“you”) versus referring to them in the third person (“they”)? Students might practice rereading the poems using different pronouns to see how the mode of address changes each poem’s meaning.

*Note that there is no Deep Dive in this lesson. Use any additional time to support practice of the vocabulary and/or style and conventions skills introduced in the module.

All Quiet on the Western Front, Erich Maria Remarque, pages 169–185 ƒ Soldiers Playing Cards, Fernand Léger (http://witeng.link/0010)

Lesson 20: At a Glance

AGENDA

Welcome (5 min.)

Distill a Character’s State of Mind

Launch (5 min.)

Learn (59 min.)

Analyze the Use of Shape in a Painting (20 min.)

Analyze a Literary Depiction of the Effects of the War (25 min.)

Interpret the Depiction of a Transformation (14 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Academic Vocabulary: trud, trus (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing

ƒ W.8.10

Speaking and Listening

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SL.8.1, SL.8.2, SL.8.6

Language

Learning Goals

Interpret the meaning of the transformation depicted in the last passage of chapter 7, and explain how it conveys an attitude toward the effects of war (RL.8.2, RL.8.4, L.8.4.a).

Write a literary analytical paragraph.

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L.8.4.a, L.8.5.a ƒ L.8.4b, L.8.4.d

Integrate understanding about the root trud and trus to determine unfamiliar words’ meanings (L.8.4b, L.8.4.d).

Define intrude, and verify the definition in a dictionary.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 20

Reveal: What does a deeper exploration of the two texts’ depictions of soldiers reveal?

Students deepen their exploration of texts’ attitudes to the war by analyzing the use of specific elements in depictions of soldiers’ experiences: geometric shape in Soldiers Playing Cards and personification in All Quiet on the Western Front. After analyzing the wide range of possible attitudes toward war conveyed in the painting, students continue their examination of the implications of Paul’s emotional state during his return home. Students synthesize their understanding of both texts’ depictions to reveal a shared focus on representing the transformations caused by war. After collectively examining how the texts transform something once familiar into something strange, students individually apply their understanding of this big idea in a written interpretation of the culminating passage of chapter 7. Students end the lesson brainstorming about the ways war transforms humans, which is an idea they will explore further in subsequent lessons.

Welcome

5 MIN.

DISTILL A CHARACTER’S STATE OF MIND

Pairs review the annotations completed for homework and select one word or phrase that distills Paul’s state of mind during his last days on leave.

Tell students they will return to their responses later in the lesson.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Explain that students examine depictions of soldiers in two different genres, painting and fiction, and analyze how the use of specific elements conveys attitudes toward the war and its effects.

59 MIN.

ANALYZE THE USE OF SHAPE IN A PAINTING

Pairs

20 MIN.

Display Soldiers Playing Cards and the following definitions of two types of shapes visual artists use:

Word Meaning

geometric (adj.) Enclosed form featuring precise lines, clear edges, and shapes from geometry, for example a square, triangle, or cylinder.

organic (adj.) Irregular, flowing or free form, with less-defined edges, and associated with shapes from the natural world, like plants or animals.

Have students view the painting and consider these definitions of shape.

Have students Think–Pair–Share, and ask: “What is significant about the use of shape in this painting of soldiers?”

n Almost all the forms in the painting, the people, the cards, and the surface, are a combination of simple geometric shapes.

n There are no organic shapes in the painting.

n In real life, human bodies have a more organic shape. In the painting, the artist has replaced those shapes, like a face or an arm, with geometric shapes.

n The painting uses geometric shapes to make a comparison between humans and machines, or robots.

Tell students that Fernand Léger was a French artist influenced by Cubism, a prominent art movement of the early twentieth century. Share a definition of Cubism like the following:

An art movement of the early twentieth century in which Pablo Picasso, Georges Braque, and others painted scenes or figures with the belief that art did not need to imitate nature. Cubists represented objects and figures using abstract geometric shapes and fragmented forms.

Tell students that Léger also served in World War I. He was on the front lines and was badly gassed at Verdun. He painted Soldiers Playing Cards while in the hospital.

Ask students to reflect on what they have studied so far in the module, and ask: “What kinds of objects with geometric shapes would a soldier on the front lines be familiar with?”

Guide students to observe that soldiers would be familiar with the weapons and artillery of World War I, which were unprecedented in warfare.

Ask: “Based on your reading thus far, what are some of the effects of this type of warfare on soldiers?”

Responses may vary, but students should note that the warfare of World War I had a devastating effect, causing widespread injuries and death and causing soldiers like Paul to act like animals or killing machines.

Now, display the following quotation by Léger from the Encyclopedia Britannica:

“I was dazzled by the breech of a 75 [artillery piece] in full sunlight, by the magic of the light on the bare metal” (http://witeng.link/0028).

Facilitate a brief discussion on how this comment compares to the responses to war artillery in the novel.

Then, create and display a spectrum that marks the extremes of ideas about the effects of the mechanized warfare of World War I. Mark the right side with Dazzled. Solicit ideas from students to decide on a word to describe the most negative effect.

Have students Think–Pair–Share, and ask: “What attitudes toward warfare and its effects do the depictions of soldiers in the painting suggest?”

Differentiation

Assign pairs a specific attitude to explain. For instance, ask some pairs to suggest how the painting portrays a negative attitude toward the use and effects of machinery, and ask others to suggest how the painting portrays a positive attitude.

Record and display responses along the spectrum.

Possible responses include the following:

n The depiction might be showing how soldiers are dehumanized by warfare: they become like machines.

n The depiction of figures fragmented into body parts also suggests how soldiers are dehumanized by warfare.

n The depiction suggests that the war has made humans into automatons without individual expressions or identities. They are anonymous cogs in the machine.

n Individual identity is not important, and soldiers are interchangeable, like machines.

n This painting shows a fascination with machines.

n The geometric machine shapes look strong, clean, and sharp. The depiction suggests that the soldiers could be strong, like machines, rather than made more vulnerable by them.

n Maybe his own injuries caused Léger to admire machines because machines could not be injured in the same way as humans. The depiction might suggest that robots might make better soldiers than humans do.

n The new machinery may be changing the world into a place where machines can do everything that people can do, or where machines and people blend into a new form. The depiction suggests that machinery transforms human beings.

n The depiction of the soldiers suggests that this new machinery is so new and unfamiliar that it makes ordinary things, like people playing cards, unrecognizable.

ANALYZE LITERARY DEPICTION OF THE EFFECTS OF THE WAR

Small Groups

Tell students they now continue their examination of depictions of soldiers by analyzing the war’s effect on Paul.

Have students use their annotations to recount the major incidents in the reading and Paul’s emotional responses.

n Incident: Paul sits in his room.

n Emotional state: “excited” (171), “terrible feeling of foreignness” (172), “listless and wretched” (172).

n Incident: Paul visits Mittelstaedt.

n Emotional state: “there is an atmosphere about it I do not like” (173), “bubble with glee” (175).

n Incident: Paul visits Kemmerich’s mother.

n Emotional state: “I pity her” (181), “impatiently” (181), “what is there that is sacred to me?” (181).

n Incident: Paul’s last conversation with his mother.

n Emotional state: “strong and self-controlled,” “I would like to weep” (183), “I am nothing but an agony for myself” (185).

Facilitate a brief discussion of responses from the Welcome task.

Tell students they will now apply their understanding of Paul’s emotional state to discern how this depiction conveys the novel’s larger attitudes toward the effects of war.

Organize students into small groups, and have students silently reread pages 172–173, from “But I do not want” to “Quietly, I go out of the room.”

Have small groups discuss the following questions, recording bulleted responses in their Response Journal.

Have small groups share their responses with the whole group before moving to the next question to ensure student understanding.

1. How is the word speak used in this passage?

n Paul uses the word speak in reference to his childhood room and books.

n Paul implores his room and his books to speak to him (172).

n The word speak personifies things from Paul’s childhood home.

Provide students with the following definition, which they should use to respond to the next question. Students add the definition to the New Words section of their Vocabulary Journal.

Meaning Synonyms/Examples

dejected (adj.) In low spirits; depressed. discouraged, disheartened

2. How does the use of personification develop in the passage and reveal the effects of war on Paul?

n Paul wants his room and books to speak to him because then he will know he belongs at home (172). This sense of belonging will protect him from being “drowned” by the war.

n Paul personifies his books as the “Life of My Youth,” which is “care-free” and “beautiful” (172).

n Paul wants the objects of his life to come alive and take him back to his previous life at home.

n But, “nothing stirs” (172). The past is personified when Paul says, “the past withdraws itself” (172). It’s like the past walks out on Paul.

n When the past withdraws, it shows that war makes his past leave him forever.

n Paul’s books “join” together and stand before him like a “judge” (173). He feels “dejected” (173) and says that the books “do not reach me” (173). This means that he no longer can connect to them. The war creates a separation between Paul and his former life.

n It’s interesting that Paul leaves the room “quietly” (173). Maybe there’s a silence because the room and books will not speak to him. When Paul goes quietly out of the room, it’s like he’s saying goodbye to his identity, and leaving his past behind.

3. How would you compare the relationship constructed between humans and objects in the painting with the relationship constructed between humans and objects in this passage?

n In the painting, human figures are represented as machines, so they are more like objects.

n In the novel, Paul’s room, books, and past are made human through personification.

n The painting changes humans into objects, and the novel changes things into people. The painting dehumanizes card players, and the novel humanizes the past.

Remind students that another word for this change is transformation.

Explain that the artist and novelist use techniques, like geometric shapes and personification, to give concrete form to the abstract idea of transformation.

Provide the following definition, and have students add it to the New Words section of their Vocabulary Journal:

Word Meaning

Synonyms/Examples

transformation (n.) A big change in the way someone or something is, looks, or the basic characteristics of someone or something. change, metamorphosis

4. How does Mittelstaedt’s interaction with Kantorek depict a transformation?

n The war transforms relationships between people so that Mittelstaedt is now in charge of his former teacher, Kantorek, who pressured Paul and his friends to enlist.

n The past has been transformed. Mittelstaedt is yelling at Kantorek, just as the teacher used to do to Mittelstaedt in school.

n Kantorek’s transformation is so great that Paul cannot reconcile what he sees with “the menacing figure at the schoolmaster’s desk” (176).

n The war has transformed the structure of authority. The person who was on the bottom is now on top; the former student orders around his old teacher. In the past, Kantorek seemed to know everything, but now Mittelstaedt calls him “too stupid” to bother with (179).

Have students Think–Pair–Share, and ask: “Reflect on the transformations depicted in the painting and these two scenes from the novel. What same effect is created by all three transformations?”

Tell students that the following sentence provides a clue: “A terrible feeling of foreignness suddenly rises up in me” (172). Tell them they might also reread the passage from page 160 from earlier in Paul’s leave when he sits beside his mother’s bed.

n Each transformation makes something that was once familiar into something foreign, strange, or unrecognizable.

Now, ask: “What effect does this type of transformation, one that changes something familiar into something unfamiliar, have on the reader or viewer?”

Facilitate a brief discussion on how this type of transformation draws attention to the change, making the reader curious about why the change has taken place.

Have students Think–Pair–Share, and ask: “How does this textual analysis build your understanding of texts’ attitudes toward war and its effects?”

n This analysis helps me understand that one of the effects of war is to create transformations.

n One transformation is that the way the world was, or people were, before the war, is no longer familiar.

n Another transformation is that people may be changed from what they were like before.

n This analysis helps me see that a transformation can convey a negative or positive attitude toward the war. For example, in the painting, the transformation of human figures into machines could convey a negative attitude toward the dehumanization caused by warfare. But it could also convey a positive attitude toward the power of machines to change humans.

INTERPRET THE DEPICTION OF A TRANSFORMATION 14 MIN.

Individuals

Provide the following definition, and have students add it to the New Words section of their Vocabulary Journal:

agony (n.) Very long and extreme pain that is either physical or mental. distress, misery, torment

Students silently reread the last two paragraphs of chapter 7, from “I bite into my pillow” to “come on leave.”

Tell students they will now interpret the depiction of a transformation by writing a response.

Display the following prompt:

Write a four to five sentence paragraph that analyzes the significance of the transformation depicted in this passage. As part of your response, explain how particular words contribute to the meaning of the passage.

Construct your paragraph in the following way:

First, explain the transformation that is depicted: who/what has been transformed into who/what?

Then, apply your understanding from our discussion, and explain what this transformation reveals about the novel’s attitude toward war and its effects.

Conclude by explaining the importance of the last line of the chapter. What has been revealed to Paul that makes him state: “I ought never to have come on leave” (185)?

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of two texts’ depictions of soldiers reveal?

Remind students that they have explored this question by exploring how depictions of soldiers represent transformations caused by the war. Tell them that they have been examining a big idea they will continue to explore: how the war transforms humans into something else.

Have students Think–Pair–Share, and ask: “Based on your learning today, how would you describe each text’s attitude toward the ways war transforms humans?”

Wrap

ASSIGN HOMEWORK

Students continue their fluency homework.

Analyze Context and Alignment

Students interpret the meaning of the transformation depicted in the last passage of chapter 7 and explain how it conveys an attitude toward the effects of war (RL.8.2, RL.8.4, L.8.4.a). Check for the following success criteria:

ƒ Explains Paul’s transformation into agony or into a mechanical soldier (e.g., Paul doesn’t think or act; he just suffers).

ƒ Works with the definition of agony, and possibly with indifference (e.g., these words show that on the front, Paul felt nothing, but on leave, he feels everything).

ƒ Explains one or more effects of war (e.g., going on leave reveals this to Paul so he transforms from a soldier to living, breathing misery; on leave, Paul experiences feelings that he ignored, or became indifferent to, at the front; it hurts to feel again, which is strange, because feeling is what makes us human).

Next Steps

If students have difficulty writing their paragraph, consider whether it is a struggle with content (in which case, additional support may be needed to work with the definitions of the vocabulary words, or with Paul’s transformation), or with informative writing in general (in which case, it may be helpful to provide a graphic organizer for students to use to compose their paragraph).

Lesson 20 Deep Dive: Vocabulary

Explore Academic Vocabulary: trud, trus

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque

Vocabulary Learning Goal: Integrate understanding about the root trud and trus to determine unfamiliar words’ meanings (L.8.4.b, L.8.4.d).

Launch

Display: She closed her office door to prevent any intrusions that might interrupt their conversation.

For two minutes, students brainstorm other examples of intrusions.

n My sister’s intrusions made it hard to study in my room.

n The military intrusions violated the treaty signed by the neighboring countries.

Instruct students to Think–Pair–Share, and ask: “How would you define intrusion?” Using Equity Sticks, call on students, and record definitions on the board.

n An intrusion is something unwelcomed.

n Intrusion means “something unexpected or irritating.”

n An intrusion is unwanted.

Reveal that intrusion means “an unwanted or unwelcome disturbance upon peace or privacy.”

Learn

Provide the following definitions for students to add to the Morphemes section of their Vocabulary Journal.

Word Meaning Synonyms/Example

trus, trud Push or thrust.

Explain that trus and trud are Latin roots that share the same meaning.

Tell students to Stop and Jot, and ask: “How is the meaning of the root trus apparent in the definition of intrusion?”

n Because trus implies force, the word intrusion is an unwanted event. It’s not expected or asked for, like a shove.

n An intrusion is like pushing your way into a space where you are unwelcome.

Display and reread the last full paragraph on page 28. Using their knowledge of the root’s meaning, instruct students to Think–Pair–Share, and ask: “What do you predict protrude means?”

n I know that pro- means “forward,” so protrude must mean “to thrust forward.”

n Paul says that “the skeleton is working itself through,” so that must mean the bones are coming forward (28).

Ask: “How is the meaning of the root trud apparent in the meaning of protrude?”

n If something protrudes, it’s forcing its way forward. In this case, bones are shoving their way through his skin.

Display and reread the second to last paragraph on page 179. Ask students to work individually to develop a definition for intrude and verify the definition with a dictionary.

Land

Students write an Exit Ticket in response to the following questions: “On page 28, what does the use of protrude reveal about Kemmerich’s health? On page 179, how does the use of intrude illustrate Paul and his mother’s feelings about his time at home?”

Instruct students to add protrude and intrude to the New Words section of their Vocabulary Journal.

QUESTION: LESSONS 17–26 How WIT & WISDOM®

attitudes toward

All Quiet on the Western Front, Erich Maria Remarque, page 101 ƒ

“The Charge,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0002) ƒ

“Before the Storm,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0005)

Lesson 21 G8 M2 Lesson 21 © 2023 Great Minds PBC

Lesson 21: At a Glance

AGENDA

Welcome (7 min.)

Sketch Moment from the Novel Launch (5 min.)

Learn (57 min.)

Respond to Sound and Image in a Film Adaptation (7 min.)

Deconstruct Visual Development of a Film Scene (35 min.)

Analyze Effects of Visual Techniques in Film Scene (15 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Examine Active and Passive Voices (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.7

Writing ƒ W.8.2.a

Speaking and Listening ƒ

SL.8.1, SL.8.2, SL.8.6

Language ƒ L.8.1.b

MATERIALS ƒ

Handout 21A: Film Techniques ƒ Handout 21B: Verb Voice T-Chart

Learning Goals

Analyze how visual film techniques develop a scene about trench warfare in an adaptation of All Quiet on the Western Front (RL.8.7).

Complete a Quick Write that identifies a pattern of visual film techniques and its effects.

Identify active and passive verb voices (L.8.1.b).

Complete PART 2 of Handout 21B.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 21

Organize: What’s happening in a film adaptation of All Quiet on the Western Front?

In the next several lessons, students analyze excerpts from a film adaptation of All Quiet on the Western Front, ultimately evaluating the degree to which the film stays faithful to the novel’s attitude toward the war’s effects on Paul. They begin work in this lesson by identifying and explaining how visual techniques are used to develop a scene about trench warfare. As a group, students decode the visual organization of still shots, applying definitions of film techniques to describe and assess the significance of what happens. Then, students demonstrate their understanding by individually analyzing the effects of a pattern of visual techniques.

Welcome

7 MIN.

SKETCH MOMENT FROM THE NOVEL

Direct students to page 101 of the novel, and have them silently reread the first paragraph.

Ask: “How would you sketch what’s happening this paragraph?”

Students create a sketch of the paragraph.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Ask: “What interesting was about creating a drawing of the paragraph? What was challenging?”

Facilitate a brief discussion of responses.

Possible student responses include the following:

n It was interesting to imagine what this scene looked like.

n It was interesting to draw the Western front as a cage that traps the soldiers.

n It was challenging to draw “Chance” hovering overhead.

n It was challenging to draw descriptions that were abstract and not concrete. How do you do that?

Point out that film directors who adapt a literary text for the screen may have a similar response.

It is exciting to imagine how to translate words into pictures, but it is a challenge to represent the meaning of the novel with a different medium. Suggest that film directors aim to strike a balance between representing the original source faithfully while creating their own original text.

Tell students that in the next several lessons, they explore how film adaptations interpret the novel.

In this lesson, they focus on visual techniques in order to understand what’s happening in a film.

57 MIN.

RESPOND TO SOUND AND IMAGE IN A FILM ADAPTATION 7 MIN.

Whole Group

Without telling students the title of the clip, or the year of the film’s production, screen the first one minute and thirty seconds of the film clip “The Charge” (http://witeng.link/0002).

Tell students to note any observations or reactions as they watch.

Ask: “What did you notice?”

Students might point out that the film is black and white, it’s hard to tell who’s who, it was really loud, there was lots of chaos, or that it was kind of boring because the action all looked the same.

Play the first thirty seconds of the film clip a second time, and have students jot one thing they notice about the sound and one thing about the visual image.

Possible responses include:

n The sound of bombs going off is really loud.

n There are lots of bombs, and all you see is smoke.

n They look like they are fighting at the front, and the scene is really chaotic.

n It is hard to tell who’s who.

n The camera sometimes shows one soldier in the trench. Maybe that’s Paul?

Tell students that this film adaptation of All Quiet on the Western Front was made by the director Lewis Milestone, and it was released in 1930, not that long after World War I ended. Inform them that Milestone participated in World War I as a member of the Army Signal Corps. He made educational short films for U.S. troops.

DECONSTRUCT VISUAL DEVELOPMENT OF A FILM

Whole Group

Tell students they begin their film analysis examining visual techniques.

Distribute Handout 21A: Film Techniques.

Read aloud the top section of the handout (above the table), and have students turn their attention to the Visual Techniques section.

Read aloud the information in the Shot Selection box and the definitions of close-up, medium shot, and long or wide shot.

Ask students to give an example of each type of shot using the classroom as the subject.

TEACHER NOTE

SCENE 35 MIN.

Different resources may define medium and long shots in slightly different ways. Deciding on an exact definition is not essential; just be sure student can explain their choices logically.

Possible responses include the following:

n A close-up could focus on a student’s face as they take a test, to show their concentration.

n A close-up could focus on a student’s raised hand, to show their interest.

n A close-up could focus on a student’s face as they talk, to show the importance of the comment.

n A medium shot could focus on a group of students giving presentations at the front of the room, showing them from waist up.

n A wide shot could focus on the entire classroom, showing the relationship of students’ desks to each other and the teacher’s. It could also show the relationship between the students and their work hanging on the walls.

n A long shot could focus on the view from the back of the room, to show how far away the board is from a student.

Inform students that the film excerpts they view in this lesson adapt material from chapter 6 of the novel. Remind them they examined this chapter when they studied conditions on the front in Focusing Question Task 2.

Tell students to pay attention to the visual images as they watch the scene, which occurs right before the scene they watched in the first clip.

Screen “Before the Storm”: http://witeng.link/0005.

TEACHER NOTE The time stamp states that the length of the clip is 2:09, but the film excerpt ends at 1:39.

Explain that the moving picture of a film is composed of a series of still images, each of which is called a frame

Tell them they will perform a close reading of the film by think about it as a series of frames.

Now they will examine what “fills the frame” at different places in the clip.

Play the first twelve seconds of the clip, and pause it on the image. Have students jot responses to the following questions in their Response Journal before facilitating a whole group discussion.

First, ask: “What kind of shot is this, and how do you know?”

n The viewer can see the entire dug-out, or bunker, so this is a long shot.

n This is a long shot because it has a foreground and a background. Soldiers rest in the foreground, and there’s a wall in the background. One soldier throws something into the background.

n This is a long shot because it shows the relationship between the soldiers and how they are crammed together in the space.

n This is a long shot because it shows the setting and the conditions of the place where the soldiers live.

n This is a long shot because it emphasizes the action. You can’t see the emotions of individual soldiers. But you see how they react to the bombing.

Now, read the Camera Angle section of the handout, addressing any questions. Consider asking students for examples of each angle.

Then ask: “What angle is used for this shot, and what is its effect?”

n This is an eye-level angle. The effect is to make viewers feel as if they are in the dug-out with the soldiers.

n This is an eye-level angle. The effect is to show the reality of life on the front.

Read the Editing and Camera Movement section of the handout, addressing any questions.

Replay the first twelve seconds of the clip, and ask, “What is happening with editing and camera movement in this clip?”

n This is a long shot, with the camera staying still recording the uninterrupted action.

Now, tell students to jot notes about the use of these visual techniques as they rewatch the next section of the clip.

Restart the clip, playing it until 0:31.

Ask: “What happened with shot selection, camera angle, editing, and camera movement?”

n The long shot cuts to a different shot that shows the soldiers running in the trench.

n The new shot is still a long shot because it shows the new setting and emphasizes the action.

n The new shot is a tracking shot. The camera is moving, following the soldiers as they run along the trench.

n The tracking shot is no longer at eye-level. The angle is from above, and sometimes it seems like an oblique angle because the image looks a little tilted.

n Then the film cuts to a shot of one soldier with his gun. This shot seems between a medium shot and a close-up. The viewer sees the soldier from the chest up. It’s not a close-up of his face, but it feels like a close-up because this is the first time the camera focuses on one soldier reaction and point of view.

n Then, there is a quick cut to the battlefield in the distance. This is a long shot that shows the sky and smoke from the bombs. It establishes the setting by showing the viewer that the soldiers are under attack.

n These last two shots are a shot/counter shot. First, the viewer sees the soldier with his gun aimed, and then the next shot shows what the soldier is looking at: the battlefield.

Now, ask: “What are the effects of the tracking shot?”

n The tracking shot follows the soldiers as they scramble to get into their positions. The movement is hurried, and it seems a bit chaotic. Soldiers bump into each other and the sides of the trench. The tracking shot conveys a frantic mood. As they follow the soldiers’ path, the viewer might feel excitement or fear or disorientation.

n In this tracking shot, the high angle looking down on the soldiers running in the trench emphasizes that they are under attack and vulnerable in the trenches. It seems unlikely that they will be able to fight back against the bombs, gas, and air raid.

Facilitate a brief discussion on how the effect would be different if the camera stayed still or used a low angle.

Then, ask: “What are the effects of the shot/reverse shot?”

n The shot/reverse shot shows a soldier in the trench and then the battlefield the soldier sees. The viewer sees what the soldier sees at eye-level. It’s a bit scary because from the soldier’s point of view, you can’t see the enemy. All you can see is smoke.

n This view adds to the tension because you realize the soldier can’t see anything yet.

Ask: “How did the changes in visual techniques from the opening shot indicate to the viewer what’s happening?”

n The change from the still shot in the bunker to the tracking shot in the trenches shows the action becoming intense. The still shot showed them resting and waiting, but the tracking shot shows what it’s like to have to fight in the trenches. It shows things happening very fast, and the situation seems out of the soldiers’ control.

n The change from the eye-level angle to the high angle suggests that the soldiers are not safe now that they have left the bunker. They are in the open in the trenches, and they look trapped.

n The change from long shots to a medium shot or close-up of one soldier suggests the importance of that character. The change shows that individual people fight the war, not just a huge army of unknown soldiers.

n The shot/counter shot allows the viewer to understand the point of view of the soldier. In the bunker, before the alarm, the viewer didn’t see any soldier’s point of view. But maybe the director wants to show the point of view of a soldier fighting on the front so viewers will understand the danger and empathize with the enlisted men.

ANALYZE EFFECTS OF VISUAL TECHNIQUES IN FILM SCENE

Individuals

15 MIN.

Post the questions listed below. As they watch, students take notes in their Response Journal that they will use to formulate their answers.

Tell students you will continue with the clip, playing it twice. Play the remainder of the clip, from 0:31–1:39. After allowing time for students to take notes, replay the clip.

TEACHER NOTE Establish a system in which students can signal silently to request you pause the video.

Students complete a Quick Write in response to the following questions:

1. What pattern of visual techniques is repeated in this section of the clip?

2. How does the visual pattern convey what’s happening in the scene?

3. How might this use of techniques affect the viewer’s response to what’s happening?

Land 5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in a film adaptation of All Quiet on the Western Front?

Ask: “How did what you learned in this lesson help you understand what was happening in the film excerpts we watched?”

Extension

Have students share their sketches from the Welcome task with a partner. Pairs collaborate to develop a plan of how they would film the paragraph, describing the mise-en-scène, shot selection, camera angles, editing, and camera movement.

Wrap

1 MIN.

ASSIGN HOMEWORK

Students read pages 199 to 209, from “We travel for several days” to “not our business to take these stretcher-bearer’s jobs away from them,” of All Quiet on the Western Front, annotating for their assigned character’s thoughts after the Kaiser’s visit. Check Quick Writes for the following success criteria:

Analyze

Context and Alignment

Students demonstrate their understanding of the meaning and effects of the visual techniques studied in the lesson (RL.8.7). Check Quick Writes for the following success criteria:

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Notices a pattern in the film clip (e.g., the clip alternates between tracking shots of a line of men from above the trench to the counter shot of the desolate landscape the soldiers see). ƒ

Describes how the pattern conveys what’s happening in the scene (e.g., the angle makes the men look somewhat vulnerable because the shots emphasize the dangers of the front line). ƒ

Describes a plausible viewer response (e.g., the viewer may feel disoriented, nervous, fearful, or curious about what will happen next).

Next Steps

If students have difficulty writing to the Quick Write questions, consider modeling the first response by providing the pattern and then asking students to describe how that pattern conveys what’s happening in the scene. Students might also work in groups to respond to the questions.

Lesson 21 Deep Dive: Style and Conventions

Examine Active and Passive Voices

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque; All Quiet on the Western Front, Lewis Milestone, “The Charge” (http://witeng.link/0002)

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Style and Conventions Learning Goal: Identify active and passive verb voices (L.8.1.b).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 21

Examine: Why are active and passive verb voices important?

Launch

Draw a T-chart on the board, and write Active and Passive at the top.

Instruct students to work in pairs and create two poses: one pose to capture the meaning of active and the other the meaning of passive.

Tell students to take their active poses. Allow students to look around the room at their peers for one minute. Ask: “What do these poses have in common?”

n We all look like we are doing something.

n We look like we have energy!

n All the poses are upright.

Tell students to take their passive poses. Allow students to look around the room at their peers for one minute. Ask: “What do these poses have in common?”

n These poses make us look tired or lazy.

n Many of us are sitting down now.

n We don’t look like we are doing anything anymore.

Reinforce students’ observation by reminding students that the definition of active is “constantly doing something,” whereas passive means “receiving an action without acting in return.” Reveal that students will discover how to identify the active and passive verb voices and that the verb voices are very similar to the poses they created.

Distribute Handout 21B. Display the following sentence pairs:

1. The German soldiers kill many French soldiers.

2. The French soldiers were killed by the German soldiers.

1. The movie clip showed a loud, violent scene.

2. A loud, violent scene was shown by the movie clip.

Tell students to create the T-chart from the board. Instruct students to Think–Pair–Share, and say: “Write the sentences in the body of the T-chart on the handout in the correct column.”

Read each sentence, and ask the students to raise their hand for active or passive. Reveal that the first sentences are in active voice and the second are in passive.

Ask: “What makes a sentence in the active verb voice instead of the passive?”

n The active verb voice sentences don’t contain a helping verb.

n The active voice sentences are shorter.

n In the active voice sentences, the subject completes the action of the verb.

n In the passive voice sentences, the subject is moved to the end of the sentence and is the object of a preposition.

n The passive voice sentences contain forms of the verb to be

Instruct students to write the definitions and reminders for each verb voice into the corresponding column on their T-charts:

Active Passive

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Subject completes the action of the sentence. ƒ

Subject is acted upon by the verb or receives the action. ƒ

Subject is at the end of the sentence. ƒ May not know who subject is, not present at all. ƒ Often include form of verb to be ƒ

If you can add “by someone” after the verb, probably in passive voice. Land

Students complete PART 2 of Handout 21B.

All Quiet on the Western Front, Erich Maria Remarque, pages 112–113 ƒ

“The Charge,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0002) ƒ

“Before the Storm,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0005)

Lesson 22: At a Glance

AGENDA

Welcome (5 min.)

Annotate for Sensory Language

Launch (5 min.)

Learn (59 min.)

Examine Sound Techniques in Film (15 min.)

Analyze Effects of Film Techniques (30 min.)

Update Status Reports (14 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Academic Vocabulary: ject (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.7

Writing ƒ

W.8.10

Speaking

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and Listening

SL.8.1, SL.8.2, SL.8.6

Language ƒ

L.8.4.a, L.8.5.a ƒ L.8.4.a, L.8.4.b

MATERIALS ƒ

Handout 21A: Film Techniques

Learning Goals

Evaluate depictions of war as annihilation in the novel and film adaptation of All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.4, RL.8.7, L.8.4.a).

Write a series of shortanswer responses, using effective evidence.

Integrate meaning of root when defining words in context (L.8.4.a, L.8.4.b).

Students complete an Exit Ticket demonstrating an understanding of the root ject

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 22

Reveal: What does a deeper exploration of film techniques reveal?

Students continue their work analyzing film techniques by focusing on sound. Attention to sound is particularly important for two reasons. First, because sound is so pronounced in the film adaptation of All Quiet on the Western Front, and second, because it helps students think about how film may use different techniques than a novel while still conveying a similar attitude toward war. Students engage in their first comparative analysis of the novel and film by analyzing how both convey an idea about war as annihilation. This work builds toward students’ analysis in their Focusing Question Task, in which they will evaluate whether the film adaptation stays faithful to or departs from the novel’s theme about war’s effects on soldiers.

Welcome

5 MIN.

ANNOTATE FOR SENSORY LANGUAGE

Students reread the three full paragraphs on page 112, from “No one would believe” to “come nearer,” underlining all examples of sensory language.

Students then annotate each example for the sense that it evokes: sight, sound, touch, smell, taste, using an annotation symbol system such as the following: ƒ SI for sight. ƒ SO for sound. ƒ TO for touch. ƒ SM for smell. ƒ TA for taste.

Launch

5 MIN.

Generate a list of students’ annotations.

n “[H]owling waste” SO, SI.

n “[S]teel helmets” SI.

n Machine gun is “barking” SO.

n “[W]ire entanglements are torn to pieces” TO.

n “Machine guns rattle, rifles crack” SO.

n “[S]mooth distorted faces” SI.

n “[A] whole line” SI.

Students review the list, and write the sense they think is evoked most vividly.

Poll students and tally responses.

Have students elaborate on their choice, and ask: “Why did you choose this sense?”

Facilitate a brief discussion, soliciting input from students with different responses.

Possible responses:

n Sight, because the images of the “steel helmets” and “smooth, distorted faces” create close-ups of what the enemy looks like as it advances toward the soldiers. The French soldiers don’t seem like people or individuals, just a line of weapons. They seem more like machines than humans.

n Sound, because the words create a vivid sense of how scary it is on the front line. The front is a wasteland that is “howling,” like it’s in pain or crying out. Machine guns bark and rattle, and rifles crack. These words make the guns seem alive.

Post the Focusing Question and Content Framing Question.

Tell students they develop their analysis of film techniques by turning their attention to filmmakers’ use of sound.

EXAMINE SOUND

Whole Group

TECHNIQUES

IN FILM 15 MIN.

Replay the first two minutes of the excerpt from Lesson 21, “The Charge” (http://witeng.link/0002) so students only hear the audio. (You might have students put their heads on their desks so they don’t see the clip.)

As students listen, they jot what they notice about sound.

Students share observations.

Possible responses:

n It starts with the sound of whistling bombs.

n Then you hear a lot of explosions.

n Then you hear a group of soldiers shouting. I wonder if it’s because they were hit.

n The sound of explosions never stops.

n Machine gun fire starts up. It gets louder.

n You hear machine guns and bombs together.

n The bombing, explosions, and machine gun noises seemed really loud.

n When people shouted, you couldn’t understand what they were saying. Sometimes their voices were cut off. Was that on purpose?

n The sounds of people shouting made it seem very chaotic.

n All that noise hurt my ears!

Have students take out Handout 21A.

Read aloud the “Diegetic Sound” description.

TEACHER NOTE

Handout 21A includes a section on “Non-diegetic sound,” so students will have a full understanding of sound techniques filmmakers may use. However, there aren’t any non-diegetic sounds in these excerpts. You might choose to review the category with students, providing an example from another film, or have students mark off the category so that they know it will be part of their film analysis in this Focusing Question arc.

Now replay the first minute (0:00–1:00) from the clip, with both sound and image.

TEACHER NOTE

Because students are only watching excerpts, consider providing a few details that will help orient them. Tell them that the soldiers with the spiked helmets are the Germans; Paul is the soldier framed at 0:05.

Have students jot their responses, and ask: “What term from the diegetic sound list would you use to describe the sounds of bombs, explosions, and gunfire in this clip?”

Students share responses.

n The image keeps showing the explosions, and then the machine guns, so the noises are the sounds of objects.

n The noises are really loud, so they aren’t background noises.

n The noises never stop. It’s impossible not to hear them! If they were background noises, you might not notice them. So they are sounds of objects.

If students have not noticed this already, ask: “What is one sound you didn’t hear in the clip?” Prompt them to review the diegetic sound list if necessary.

n You don’t hear any characters talking. There isn’t any conversation or dialogue.

n A couple of times, you hear human voices, but you can’t hear any real words. You hear what sounds like soldiers yelling “charge,” but the sound is not clear, and it gets cut off.

Read the “All Sound” section.

Create a three-column chart on the board with the headings Timing, Volume, and Tone.

Have students Think–Pair–Share, and ask: “How would you describe the effects of the timing and volume of the sound in this clip?”

Record student responses in the appropriate column or, if time allows, have pairs record their responses.

n The timing of the sounds, the fact that the bombardment noises never stop, emphasizes the ongoing nature of the attack. It seems like it will never end.

n The loud volume of the sound really hurts your ears! It conveys a sense of what soldiers on the front experience and suffer.

n The timing and volume create a chaotic and frightening atmosphere. It would be hard to hear anything if you were fighting, and that could be confusing and scary.

n There is no sound of men talking. That silence makes you focus on their actions.

n Maybe the lack of dialogue indicates how hard it is for soldiers to communicate. Soldiers wouldn’t be able to hear each other over the loud and constant explosions and machine gun fire.

n With no human conversation, you don’t know who’s who. The viewer focus less on individual characters and more on the action.

Have students Think–Pair–Share, and ask: “How would you describe the tone created by the sound in this clip?”

n The noises create a strong mood of fear and vulnerability.

n The noises emphasize the power of the bombs and guns. Even if the men did talk, you wouldn’t hear them.

n The sound suggests what it’s like to be attacked in the trenches. Viewers cannot stand in the trenches, but they can hear how loud and constant the noise is.

Have students review the annotations of sensory language from the Welcome task.

Ask: “How did the film’s use of sound seem similar to or different from the sensory descriptions of sound in the novel? How did the film’s use of sound seem different?”

Facilitate a brief discussion of responses.

Tell students they will now rewatch the “Before the Storm” clip from the last lesson.

Tell students to jot their observations about sound techniques as you replay this section of the “Before the Storm” excerpt.

Play the clip from 0:30–1:00.

Have students Think–Pair–Share, and ask: “How would you describe the sequence of sounds and their effects on this scene?”

n First you hear soldiers’ voices fading out.

n The voices are replaced by a faint rumbling sound.

n The shot/reverse shot shows an image of the battlefield that the soldiers see. The rumbling happens at the same time, so it seems like it is in distance.

n The rumbling is the sound of something they can’t see, but is coming toward them.

n Even though the sound is quiet, it seems important.

n The quiet rumbling sound adds to the mood of anxiety and anticipation. The soldiers can hear something coming, but they don’t know what it is because they don’t see anything.

n The rumbling sound suggests the war creeps up on the soldiers.

Have students Think–Pair–Share, and ask: “What have you learned about how directors use sound from analyzing these different examples?”

Guide students to the understanding that directors make several choices about sound. They choose not only what sounds to include but how to use those sounds. Point out that loud or soft volume, ongoing sounds or silence, can each capture the viewer’s attention, and affect the meaning of the film.

Conduct a poll about which of the two examples of sound techniques students found most effective.

Facilitate a brief discussion of the reasons for individuals’ choices.

ANALYZE EFFECTS OF FILM TECHNIQUES 30 MIN.

Small Groups

Remind students that they have examined how a novel and a film use different techniques to create a sense of sound. A film can use a range of audio techniques, and a novel can use sensory language to evoke sound.

Now remind them that a novel can use writing to convey a character’s thoughts, a narrator’s commentary, or an abstract idea, like the one they tried to draw: “Over us, chance hovers” (101).

Tell students that they will now look more deeply at how a film uses specific techniques to convey an abstract idea.

Have members of small groups silently reread the following paragraph from page 113 in chapter 6, when the men are engaged in trench warfare on the front: “We have become” to “be revenged.”

Provide the following definition, and have students record the definition in the New Words section of their Vocabulary Journal.

Word Meaning Synonyms/Examples

annihilation (n.) To completely break up, shatter or ruin without any hope of being rebuilt or the state of being completely broken or damaged.

devastation, obliteration, ruin

Have small groups brainstorm, and ask: “What is the passage saying about annihilation? What does the choice of the word annihilation reveal about the novel’s attitude toward war?”

Groups discuss, and individual members jot responses in their Response Journal. Have small groups share their responses.

n The passage is saying that during trench warfare, the soldiers are defending themselves against annihilation. They are just trying to keep from being completely destroyed.

n The word annihilation is used to show the force of the enemy the soldiers face. Maybe they could fight against a human enemy. But their enemy is death, and that’s what will destroy them.

n Because the soldiers aren’t fighting against other men, they can’t win if they fight like men. So, they must act like “wild beasts” to keep from being annihilated.

n The passage seems to be saying that the war dehumanizes the men by making them act like beasts in order to survive.

n It seems like the novel’s attitude is that the men fighting aren’t even really sure of the cause for the war. They don’t see a human enemy in the trenches. They say that they are hunted by death, and that the face of the Death is what they see coming at them.

n The novel’s attitude is that the war has become the enemy. The trench warfare is what will kill the men.

Tell students that will now examine how the film adapts this section of the novel.

Tell students to think about their discussion of annihilation, and play the section of “The Charge” film excerpt (http://witeng.link/0002) from 1:21–2:05.

Now, have students draw a T-chart in their Response Journal. Title the first column Visual Techniques and the second column Sound Techniques.

Divide members of each small group, telling half to record observations about visual techniques and half to record observations about sound techniques.

Tell students to jot observations as they rewatch the clip, and ask: “What techniques does the filmmaker use to convey the idea of annihilation?”

Replay the film clip (1:21–2:05).

Students record observations.

Have members switch roles, recording information on the other category of techniques, and replay the same clip.

Have small groups pool their information about how the techniques conveyed the idea of annihilation.

After allowing time for group discussion, have individuals write a paragraph in response to the following prompt:

Evaluate the depictions of war as annihilation in the novel and film by responding to the following questions.

1. Describe the techniques the filmmaker used to convey the idea of annihilation.

2. Explain what those choices reveal about the film’s attitude toward war.

3. How is the film’s depiction of war as annihilation different from the novel’s? How is it similar?

4. Which version is more effective at conveying the idea of war as annihilation? Why? Use at least one piece of specific evidence to support your choice.

UPDATE STATUS REPORTS 14 MIN.

Small Groups

Have squads return to their Status Reports for their assigned characters, noting revelations about their assigned characters in light of the Kaiser’s visit.

Students update their Status Reports, and share their annotations with the group.

Responses should include the following:

n Kropp wonders if they would even be at war “if the Kaiser had said No” (203). He wonders if the war could have been avoided.

n Müller says that it is better the war is in France “instead of in Germany” because of all the shell holes and destruction (206). He does not think about what could have been avoided but only what is preferable about their situation.

n Kat suggests that the Kaiser started the war because he was worried “he would not become famous” (206). Kat suggests that war is only good for those in charge who believe they have good reason to go to war.

n Tjaden is fascinated that the Kaiser uses “the latrine” the same way he does. He acts confused about why the Kaiser is so important (203).

Have squads reread pages 205–207, and ask: “How does the soldiers’ conversation about the Kaiser’s visit reveal attitudes toward the war?”

Possible responses include the following:

n The soldiers discuss why the war started and who had a say in it.

n Kat points out that the German and French enlisted men are the same in that no one asked them if they wanted a war.

n Tajden wants to know what the war is for (205). He does not think it is useful and says no war would be the best thing.

n Kat and Detering suggest that war serves those who are already powerful, like the Kaiser and generals, and others who “profit” by war (206).

n Kropp calls war a “fever” that affects everyone before they know it.

n Paul mentions the lies that spread during the war.

n The soldiers’ conversation reveals an attitude that the war serves the interests of a few powerful men rather than a just cause or the interests of a whole country.

n It reveals an attitude that enlisted men on opposing sides may have more in common than each side does with their own leaders.

n

The men sound suspicious, and even cynical, about the purpose of the war. Their conversation suggests that those who fight the war take the biggest risks, but their opinions or fate are of no concern to those in charge. This attitude is supported by the fact that the men have to give back the new things they were given for the Kaiser’s inspection. They were only for show.

n The conversation reveals an attitude that war is like a “fever.” It’s like a sickness that cannot be stopped and that infects innocent people.

Land5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of film techniques reveal?

Students write an Exit Ticket in response to the following question: “How did this lesson build your understanding of what an analysis of film techniques reveals?”

Wrap1 MIN.

Students read pages 209 to 220, from “A patrol has been sent out” to “Now we must wait, wait,” of All Quiet on the Western Front, and continue their fluency homework.

Extension

Students choose an important passage profile of a character. In their Response Journal, they explain how they would adapt this moment to film, employing at least two film techniques from Handout 21A.

Analyze

Context and Alignment

Students evaluate depictions of war as annihilation in the novel and film adaptation of All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.4, RL.8.7, L.8.4.a). The CFU gives students practice comparing the novel and film to build toward the Focusing Question task. It is most important for them to understand that the goal of the comparative analysis is not to evaluate whether the film stays faithful to the plot of the scene but whether it stays faithful to the meaning of the scene. Check for the following success criteria:

ƒ

Notes techniques in response 1: relentless and loud machine gun fire, the use of the panning shots from the point of view of the machine gunner, the shot/counter shot that shows the machine gunners and the advancing enemy, or the use of medium and long shots to emphasize the action.

ƒ Analyzes the filmmaker’s depiction of war and its effect on the soldiers (e.g., the filmmaker shows war as a constant fight against being attacked that forces the men to kill or be killed; war dehumanizes men by making them seem more like machines than the “wild beasts” of the novel; the onslaught as presenting a human enemy, one that is nondescript and unending but still human; the film doesn’t focus on close-ups of individuals, and the wave of the enemy creates a feeling of death advancing).

ƒ

Understands the meaning of annihilation and incorporates effective evidence.

Next Steps

If students have difficulty, consider discussing students’ responses to the last question and share examples that demonstrate an understanding of the word annihilation and that use well-chosen evidence to support their choice. Additionally, review the point that fiction and film may use different techniques to convey a similar idea. Provide a few examples of how to compare the two genres. For instance, the fact that the clip focuses on machine gun fire more than on men throwing bombs (as mentioned in the novel) does not mean that the film does not convey a similar idea of annihilation. Discuss how the film’s ability to use sound may explain this difference: the audio conveys the same idea that the novel conveys through a character’s thoughts.

Lesson 22 Deep Dive: Vocabulary

Explore Academic Vocabulary: ject

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque

Vocabulary Learning Goal: Integrate meaning of root when defining words in context (L.8.4.a, L.8.4.b).

Launch

Display page 203, and reread the two paragraphs after Tjaden’s exit: “Tjaden disappears” (203). Ask students to underline interject

Tell students that inter- means “between.” Instruct students to Turn and Talk to define interject, using context clues and knowledge of the prefix. Using Equity Sticks, call on students to share ideas.

n Interject is being used like said is used with dialogue, so it means someone is speaking.

n The narrator is responding directly to Albert’s comment about the war, so interject may mean “to respond quickly.”

n Inter- means “between,” and it’s used in a conversation. Paul makes a comment between two other people’s conversations. Maybe it means “to insert.”

n The conversation simply continues after the narrator’s comment, so to interject mustn’t be a rude thing to do.

Learn

Provide the following definitions for students to add to the New Words and Morphemes sections of their Vocabulary Journal.

Word/Morpheme

Meaning

Synonyms/Examples interject (v.) To introduce (a remark or comment) between words or remarks or in the middle of a conversation or discussion.

chip in, interpose ject Thrown. interject, conjecture

Instruct students to Think–Pair–Share, and ask: “What is the difference between interject and interrupt?” Provide dictionaries for students to use if needed.

n Interrupt means “to break off,” so it actually stops the flow of conversation. Interject means to “interpose a comments in a conversation.”

n Interrupting ruins or stops a conversation; whereas interject adds to the conversation.

Ask: “How does the meaning of ject apply to the definition of interject?”

n Interject means “to throw something in between”, like throwing a comment into a discussion happening between other people. It’s not a stop like an interruption. There’s something contributed and thrown in when you interject.

TEACHER NOTE

Integrating knowledge of affixes and roots is an important strategy in determining word meaning. Interrupt and interject have similar meanings because they share the prefix inter– but by recognizing that the meaning of ject is “thrown,” students are able to shape two separate definitions for the similar words.

Direct students to page 89, starting with “‘Very good,’ says Kropp, getting up.” Tell students to reread through “In the Orderly Room sits our Lieutenant, Bertink, and calls us in one after another” (90). Provide context, and say: “Himmelstoss has arrived. Paul and his friends have enjoyed teasing him, especially Tjaden. C.B. means confinement to barracks.”

Instruct students to work in pairs to define conjecture, using knowledge of the root ject and context clues. Tell students to compare their definitions to one other pair.

Land

Provide the following definition for students to add to the New Words section of their Vocabulary Journal.

Word Meaning

Synonyms/Examples

conjecture (v.) To make a judgment or propose a solution that is usually not based on much evidence. speculate

Students complete an Exit Ticket in response to the question: “How does knowledge of the root ject relate to the use of conjectures on page 90 of the novel?”

TEACHER NOTE

Students responses may include that the soldiers are “throwing out” predictions of what will happen to Tjaden without any real basis for information, or conjectures are made without much evidence, so they are “thrown around” easily. The goal is for students to create an association between the word and the root. Students may achieve this understanding in many ways, so long as they apply knowledge of the root.

Lesson 23

FOCUSING QUESTION: LESSONS 17-26 How do texts inspired by World War I illuminate attitudes toward the war? ƒ All Quiet on the Western Front, Erich Maria Remarque, pages 209–220 ƒ “Fighting from the Trenches,” Kathryn M. Horst (Handout 12A) ƒ “The Peace President Goes to War,” Duane Damon (Handout 1B)

Lesson 23: At a Glance

AGENDA

Welcome (5 min.)

Summarize a Scene

Launch (5 min.)

Learn (59 min.)

Examine a Pivotal Scene (25 min.)

Write to Learn about Theme (19 min.)

Examine a Conclusion (15 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Experiment with Active and Passive Voices (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing ƒ

W.8.2.d, W.8.2.e, W.8.10

Speaking and Listening

SL.8.1, SL.8.6

Language ƒ

L.8.4.a ƒ L.8.1.b

MATERIALS

Handout 23A: Socratic Seminar Prewriting ƒ

Handout 12A: “Fighting from the Trenches” ƒ

Handout 1B: “The Peace President Goes to War” ƒ

Handout 21B: Verb Voice T-Chart

Learning Goals

Analyze how Paul’s repeated use of the word comrade in chapter 9 develops attitudes about the war and its effects RL.8.2, RL.8.3, RL.8.4).

Write a paragraph explaining the significance of the repetition of the word comrade

Write sentences in the active and passive verb voices (L.8.1.b).

Rewrite the sentences in PART B of Handout 21B in the opposite verb voice.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 23

Reveal: What does a deeper exploration of the incident in the shell hole reveal?

CRAFT QUESTION: Lesson 23

Examine: Why is a conclusion important?

To start the lesson, students analyze a pivotal incident in the novel: Paul’s killing of the French soldier. This scene offers a fitting introduction to the next focus of the lesson: an exploration of how texts’ attitudes toward the war can be developed into an analysis of themes about the relationship between war and humanity. This exploration prepares students for a Socratic Seminar in the next lesson on the same topic. To ready themselves for this discussion, students examine the definitions of the word humanity, and apply their understanding of those definitions in prewriting about the various texts. With this work, students articulate the larger significance of their previous textual analysis. Students conclude the lesson by making a link to writing: they examine how to articulate the larger significance of their thinking with a conclusion that addresses the “So what?” question.

Welcome

SUMMARIZE A SCENE

5 MIN.

Have students silently reread pages 214–217, from “A shell crashes” to “cannot be seen any more,” and write a one-sentence summary of what happens in this scene in their Response Journal.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Have students share their summary that describes what happens in this section of the text.

Check understanding, and then read aloud the Content Framing Question.

EXAMINE A PIVOTAL SCENE 25 MIN.

Whole Group

Have pairs reread pages 216–220, from “Already it has become” to “Now we must wait, wait,” and annotate the most important examples of Paul’s thoughts and behaviors.

Have pairs rotate, sharing their annotations in the sequence they occur in the text.

As pairs read, have students pay attention to the story created by the reading of the annotations.

Possible responses include the following:

n “I make no decision–I strike madly at home” (216).

n “I want to stop his mouth” (216).

n “[H]e is betraying me” (216).

n “I crawl away to the farthest corner and stay there” (216).

n “I have but one desire, to get away” (217).

n “[M]y longing for the fire to cease so that my comrades may come” (217).

n “I dare not look again at the dark figure” (217).

n “I take some earth and rub the skin with it” (217).

n “I stop my ears” (218).

n “[M]y eyes remain glued to it” (218).

n “He is dead, I say to myself” (218).

n “I drag myself toward him” (218).

n “I am powerless to move” (219).

n “I bend forward, shake my head and whisper: ‘No, no, no’” (219).

n “I stroke his forehead” (219).

n “I fetch him some more” (220).

n “I unbutton his tunic in order to bandage him” (220).

n “I must do it” (220).

n “I want to help you, Comrade, camerade, camerade, camerade” (220).

n “That is all I can do” (220).

Have students Stop and Jot, and ask: “How would you characterize Paul’s thoughts and actions in this scene?”

Students share their responses.

n Paul isn’t thinking. He acts out of instinct because he wants to survive. It’s hard to tell if he even realizes he was killing the soldier.

n Paul shrinks from his actions once he realizes what he’s done. He seems scared and in shock. It makes him sick, and he tries to rub off the soldier’s blood. It’s as if he wants to erase the fact that it happened.

n Paul’s response changes in the morning. He sees how scared the soldier is, and he wants to help him.

n Paul also decides to help the soldier so he will be less likely to be killed if captured by the enemy.

n When the scene ends, it seems that Paul really does want to help the soldier.

n Paul’s reactions to the soldier change quickly.

Have students Think–Pair–Share, and ask: “What similarities and differences can you identify between Paul’s experiences in chapter 7 and this experience in the shell hole?”

Possible responses include the following:

n Both scenes focus on Paul’s experiences encountering other people who aren’t the same as him.

n In both scenes, Paul’s encounters reveal his emotional state. He is uneasy and upset.

n In both scenes, Paul wants to escape his situation.

n In chapter 7, Paul encountered people he knew well but found them to be more like strangers. In this scene, Paul encounters a strange French soldier but ends up treating him like someone he is close to when he calls him “comrade.”

n Chapter 7 revealed that one effect of the war is it makes soldiers feel disconnected from their former lives, homes, and loved ones. This scene reveals a different effect of the war: it causes Paul to feel a connection with his enemy.

Have students silently reread the first three paragraphs on page 212, from “There I hear sounds” to “will stand by me.”

Have students Think–Pair–Share, and ask: “How would you summarize Paul’s attitude toward his comrades?”

Facilitate a brief discussion about pairs’ responses. Major points include the following:

n Paul claims “the voices of my comrades” “saved” him. It’s not that they saved him physically but that they save him from “the terrible loneliness and fear of death” (212). They save his sanity.

n The passage points out that the voices save Paul from “destruction” (212). That reminds me of the preface, in which Remarque said that men could be destroyed by the war without dying. Paul says his comrades are the only thing that can save him from this destruction.

n Paul uses a lot of superlatives to describe his comrades: they are “more than motherliness,” the “strongest,” the “most comforting thing,” “nearer than lovers” (212). He values them more than anything.

n Paul views his comrades and himself as having the strongest, most intense connection. They belong to one another; it’s like they are one and the same.

Now, have students turn to page 220 and silently reread the paragraph that begins “I look for the knife.”

Have individual students write a paragraph in response to the following question:

“How is the repetition of the word Comrade/camerade in this passage pivotal in developing the novel’s attitude toward the war and its effects on soldiers?”

Have students share insights.

n The repetition is pivotal because it reveals a transformation in the way Paul views the enemy. The French soldier is not his enemy but his comrade.

n Considering how Paul earlier described his comrades, this repetition is pivotal. Paul calls this stranger, and enemy, the same name that he calls his friends, who are more valuable to him than anything. The repetition reveals that enlisted soldiers may have deeper connections to the enemy enlisted soldiers than to people they knew well, like their families.

n The repetition suggests the war causes soldiers to value their similarities, not differences, with the enemy. But it may also suggest that the war causes soldiers to only be able to relate to other soldiers.

n We have been talking a lot about how war dehumanizes the soldiers, turning them into “wild beasts” (113). After Paul stabs his enemy, he comes to a realization. Paul calls his enemy his comrade, showing he is not a wild beast. He shows deep connection and compassion.

Extension

Have students recall their examination of narrative arc in Module 1. Ask them to apply their prior knowledge to speculate where this pivotal scene falls in the narrative arc of the novel and how they know.

Tell students to pay attention to the development of this attitude as they finish reading the chapter (which they will do for Lesson 27).

WRITE TO LEARN ABOUT THEME 19 MIN.

Whole Group

Remind students that the analysis they just completed demonstrates that examining an attitude about a topic is different than examining the topic itself. World War I is the topic, and in this Focusing Question arc, they have identified different texts’ attitudes toward World War I and its effects.

Inform them that they will now deepen this thinking by developing their analysis of attitudes into an analysis of themes.

Consider providing a definition of theme like the following: “A theme is not text-specific in terms of plot or character. Rather, a theme is a bigger idea or statement that illuminates some aspect of the world or the human condition.”

Tell students they will explore these themes in a Socratic Seminar in the next lesson. Now they will prepare by brainstorming, in writing, ideas about theme.

Orient students to the subject of the Socratic Seminar by reminding them that their study of these texts has emphasized that literature and art engage with, rather than offer an escape from, the reallife events and effects of World War I.

Point out that these texts have revealed how World War I affects several different populations: enlisted men fighting on the front, soldiers, civilians, society and future generations.

Explain that they have also made a more general discovery: All the texts reveal a similar attitude toward the war.

Post and read aloud the following shared attitude: War transforms an understanding of what it means to be human, or what defines humanity.

Tell students that the Socratic Seminar will focus on themes that emerge from this idea in individual texts. To prepare, they must explore more deeply the idea of humanity.

Share the following definitions of humanity. Students record the definitions in the New Words section of their Vocabulary Journal.

Word Meaning Synonyms/Examples

humanity (n.)

1. The entire group of human beings.

2. The state or feature of being a human being.

3. To care very much or relate to the problems and struggles of issues that human beings deal with.

1. humankind

2. human nature

3. bigheartedness

Discuss the various definitions. Give examples of the first two definitions of humanity:

1. World War I’s unprecedented number of casualties affected the future of humanity [humankind].

2. Soldiers’ horrific experiences on the front affected their humanity [quality of being human], making them act like animals and “wild beasts.”

Now, ask: “How can we create a sentence using the third definition using the incident in the shell hole?”

Collaborate with students to develop a sentence like the following:

In the shell hole, Paul realizes the French soldier is his comrade and treats his former enemy with humanity [compassion].

Explain that students now engage in prewriting so they can organize their thinking around the ideas of war and humanity in preparation for the Socratic Seminar.

Distribute Handout 23A. Review directions and answer any questions.

Students individually complete Handout 23A.

EXAMINE A CONCLUSION

Whole Group

Display the Craft Question:

15 MIN.

Examine: Why is a conclusion important?

Ask: “What do you already know about conclusions?”

n Conclusions are the last part of an informative text.

n Conclusions synthesize the ideas in an informative text.

n Conclusions wrap up the analysis of an informative text.

n Conclusions sometimes summarize the body of an informative text.

Remind students that an informative text, or essay, can present excellent textual details on an important topic, but it still needs to explain the importance or relevance of its ideas to the audience.

Inform students that a conclusion is an excellent place to do that work.

Display the “So what?” question.

Tell students that in their upcoming Focusing Question Task and EOM Task, they will write conclusions that answer the “So what?” question.

Share some ways students can address the “So what?” question with their conclusions.

Post options such as the following, and add any others students might suggest: ƒ

Indicate what is new or interesting about your thinking. ƒ

Connect your thinking to a bigger idea that is of general interest. ƒ

Show readers how your thinking may be relevant to their interests or lives. ƒ

Point out the larger implications of your thinking.

Have students take out the informational articles Handout

12A: “Fighting from the Trenches” by Kathryn M. Horst and Handout 1B: “The Peace President Goes to War” by Duane Damon.

Organize students into pairs, and assign half of the pairs to each article.

Handout 1A: “The War to End All Wars,” Shari Lyn Zuber

Directions: Follow along in your copy of the text as you listen to a Read Aloud. France was humiliated. Within six months, it had been overrun by the newly united Germany in the Franco-Prussian War (1870–1871). In France’s Palace of Versailles, Germany officially declared its new empire. This insult was compounded by German demands for a huge war payment and the ceding of France’s Alsace-Lorraine region.

Over the previous ten years, Otto von Bismarck, Germany’s “Iron Chancellor,” had united the Teutonic (Germanic) states by picking fights with other nations and using the conflicts to unify his people. In 1882, to keep France isolated, Germany joined with Austria-Hungary (also known as the Dual Monarchy) and Italy in the Triple Alliance. (During World War I, however, Italy sided against Germany and Austria-Hungary.) By 1907, partially in response to the Triple Alliance, France, Russia, and Great Britain had joined together to form the Triple Entente. These alliances aggravated the already tense situation in Europe by engaging in a competition to see which alliance could accumulate the strongest military force.

A particularly troubled region was the Balkans, an area of southeastern Europe ruled by the Austro-Hungarian and Turkish Ottoman empires. There, a group of ethnic minorities called Slavs longed for their own national identity and began to agitate against domination by these two powers.

In 1912 and 1913, a group of Balkan states defeated Turkey in two short conflicts called the Balkan Wars. One of those states, Serbia (a Slavic state), gained significant territory during the wars. Serbia then called for all Slavs, including those living under the Austro-Hungarian Empire, to unite.

On June 28, 1914, Archduke Francis (or Franz) Ferdinand, the heir to the Austro-Hungarian throne, and his wife, Sophie, were in the empire’s Slavic-dominated region of Bosnia. There, Gavrilo Princip, a Serbian nationalist, assassinated them.

Austria-Hungary’s harsh ultimatum to Serbia—including the demands to stop anti-Austrian propaganda and to dismiss anti-Austrian government officials—was rejected. The empire, with the unconditional backing of Germany, declared war on Serbia on July 28. In time, the Ottoman Empire (present-day Turkey) and Bulgaria (who had lost territory to Serbia in the Balkan Wars) joined Germany, becoming part of the Central Powers.

Russia came to Serbia’s aid. Then Germany declared war on Russia (August 1) and France (August 3). Following Germany’s invasion of neutral Belgium on August 4, Great Britain entered the war. Russia, France, and Great Britain then became known as the Allies.

Since the United States traded with both the Allies and the Central Powers, President Woodrow Wilson tried to maintain U.S. neutrality. But to combat a British naval blockade of continental Europe, Germany used a new weapon, the Unterseeboot, or U-boat. While underwater, this submarine was able to launch torpedoes that could sink enemy ships. In

Page of 2

Name Date Class

Handout 1B: “The Peace President Goes to War,” Duane Damon Directions: Follow along in your copy of the text as you listen to a Read Aloud.

On a spring evening in 1917, a former college professor rose to speak in the ornate chamber of the House of Representatives. Seated before him were the assembled members of both houses of Congress. The speaker was Thomas Woodrow Wilson, twenty-eighth president of the United States. For nearly three years, he had struggled to keep the United States at peace. But that night he had come to ask for war.

“It is a fearful thing to lead this great peaceful people into war,” Wilson stated solemnly. “But the right is more precious than peace.”

The storm of applause that greeted his speech disturbed the troubled president. He knew well the terrible price of warfare. “My message today was a message of death for our young men,” he later remarked to an aide. “How strange it seems to applaud that.” With those misgivings, Woodrow Wilson led the United States into World War I.

The events that brought the president before Congress that April night began not in the United States but in the tense atmosphere of Europe. There, closely packed nations eyed their neighbors with centuries-old resentments and suspicions. Out of those ancient ill feelings had come the first rumblings of a worldwide conflict.

As the twentieth century opened, the British Empire stood as the mightiest on Earth. Yet Britain was a nervous giant. The rising military and industrial might of Germany caused the British to keep a wary eye on their neighbor across the North Sea. Both countries nursed festering grudges over past clashes and disagreements. Nearby France had its own turbulent history of warring with the Germans.

At the same time, unrest was simmering in Austria-Hungary. Its sprawling empire dominated the peoples of several smaller states, such as Serbia and Bosnia. Many Serbs, Czechs, Poles, and others resented their Austria-Hungarian rulers.

Another factor adding to European tensions was the rise of nationalism, a kind of patriotism gone wild. Nations infected with this dangerous feeling often felt superior to other countries and jealous of their territories.

As fear of war deepened, nations began forming partnerships, or alliances, with other nations. By 1914, Europe was like a cord of dry kindling waiting for a match.

The United States, meanwhile, recently had elected the scholarly, strong-jawed Woodrow Wilson to the presidency. A former university president and New Jersey governor, Wilson had written books and articles on the U.S. government. He had definite ideas on how to do his job. His stubborn devotion to his principles caused some to consider him arrogant and

Page of 3

Have partners silently read the final paragraph of their assigned article.

Have partners Stop and Jot, and ask: “How does the conclusion of your article address the ‘So what?’ question?”

Pairs share their observations. Possible responses include the following:

n Horst points out how trenches are an example of the bigger idea of “the devastation of the war.”

n Damon articulates the larger implications of President Wilson’s decision to go to war. He says that this decision offers an example of the responsibilities of powerful nations: they must understand that their power sometimes means engaging in conflicts they would rather ignore.

Facilitate a brief discussion on how each article, and their understanding of the author’s thinking, would be different without the concluding paragraphs.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of the incident in the shell hole reveal?

Have students Stop and Jot, and ask: “What’s the most important thing the incident in the shell hole revealed about the relationship between war and humanity?”

ASSIGN HOMEWORK

Students review and organize their notes in preparation for the Socratic Seminar and continue their fluency homework.

Analyze

Context and Alignment

Students analyze how Paul’s repeated use of the word comrade in chapter 9 develops attitudes about the war and its effects (RL.8.2, RL.8.3, RL.8.4, L.8.4.a). This pivotal scene in the novel develops the effect of the war on Paul and also turns the concept of comradeship, as it has been presented in the novel thus far, on its head. By deeply analyzing Paul’s pronouncements of affection for his enemy, students are also preparing for their work with a scene from the film in their Focusing Question Task. Check for the following success criteria:

ƒ Recognizes the enormity of Paul’s use of the same word for his dearest friend and this strange enemy.

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Determines at least one way the encounter suggests a larger attitude toward war and its effects on enlisted men.

Next Steps

If students have difficulty with the analysis of All Quiet on the Western Front in this lesson, consider revisiting their previous work with the idea of comradeship in Lesson 9 to review a clear counterpoint to Paul’s treatment of the French soldier in this portion of text. It may also be helpful to briefly create a narrative arc as a whole-group of major incidents in the novel thus far in order for students to review their understanding and visualize the pivotal nature of this moment in chapter 9.

Lesson 23 Deep Dive: Style and Conventions

Experiment with Active and Passive Voices

ƒ Time: 15 min.

ƒ Text: N/A

ƒ Style and Conventions Learning Goal: Write sentences in the active and passive verb voices (L.8.1.b).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 23 Experiment: How do active and passive verb voices work?

Launch

Display the following chart: Subjects Verbs soldiers slash Kat cross Paul shot trenches see war destroy

Instruct students to write two sentences in the active verb voice using the subjects and verbs from the table. Have students Turn and Talk to share sentences. Call on at least three students to share their sentences, and record the sentences on the board.

n Soldiers shoot at the enemy trenches.

n War destroys Paul’s outlook on life.

n Kat slashes at the enemy soldiers.

n The trenches run across several countries.

Choose one sentence to rewrite in the passive verb voice. Give students one minute to revise the sentence and share revised sentence with the class.

The enemy trenches were shot at by the soldiers.

Paul’s outlook on life is destroyed by war.

The enemy soldiers are slashes at by Paul.

Several countries are crossed by the trenches.

Learn

Instruct students to Think–Pair–Share, and ask: “How do you switch a sentence from the active verb voice to the passive?”

n I revise so that the subject follows the verb and put it into a prepositional phrase that starts with the word by.

n I make the direct object the subject and add a helping verb to the main verb.

Tell students to reread the third full paragraph on page 221 in All Quiet on the Western Front. Instruct students to work in pairs to rewrite the paragraph in passive verb voice. Call on pairs to share their revisions.

n My heart is laid bare by every gasp. Time is had by the dying man, an invisible dagger to stab me, time and my thoughts, is had by him.

Reveal that not all sentences can be written in the passive voice. Without a direct object, or a noun to receive the action of a verb, there is no word available to become the subject of a passive verb voice sentence.

Display: “I could almost weep for something to eat” (221).

In this sentence, “for something to eat” is a prepositional phrase. There is no direct object receiving the verb weep. We would have to add a word. For example, “Tears for something to eat were wept by me.”

Scaffold

If students seem unfamiliar with direct objects, provide a brief review.

Direct Object Refresher

ƒ

Direct objects follow action or transitive verbs and receive the action of the verb. ƒ

To find a direct object, form the following question: ƒ

Subject + Verb WHO or WHAT? = (Direct Object)

EXAMPLE: Tanya kicked the ball to Macy.

Tanya kicked who or what? = ball

Ball is the direct object.

Students rewrite the sentences in PART 2 of Handout 21B in the opposite verb voice.

Tell students that they will not only continue to draft sentences in the active and passive verb voices, but they will also consider when to use which verb voice.

Lesson 24

QUESTION: LESSONS 17–26 How do texts inspired by World War I illuminate attitudes toward the war? ƒ All Quiet on the Western Front, Erich Maria Remarque ƒ “The Charge,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0002)

Lesson 24: At a Glance

AGENDA

Welcome (5 min.)

Choose Aesthetic Form Launch (5 min.)

Learn (59 min.)

Brainstorm about Evidence (10 min.)

Engage in a Socratic Seminar (39 min.)

Experiment with Revising and Reinforcing Thinking (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Execute with Active and Passive Verb Voices (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing

ƒ W.8.10

Speaking and Listening

ƒ

SL.8.1.b, SL.8.6

Language ƒ L.8.6 ƒ L.8.1.b, L.8.3.a

Learning Goals

Synthesize an understanding of themes about war and humanity that emerge in literature and art through collaborative conversation with peers (RL.8.2, RL.8.4, SL.8.1, SL.8.6, L.8.6).

Participate in a Socratic Seminar.

Use active and passive verb voices to emphasize the actor or the action (L.8.1.b, L.8.3.a).

Write a sentence about a film technique using both the active and passive voice.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 24

Distill: What are the central themes of literature, art, and film inspired by World War I?

CRAFT QUESTION: Lesson 24

Experiment: How does revising or reinforcing my thinking aloud work?

Students’ primary goal in this lesson is to distill their understanding of the multiple texts they have examined in this Focusing Question arc. The lesson focuses on a Socratic Seminar, in which students discuss themes about the relationship between war and humanity. To prepare them for this discussion, students share their prewriting about humanity. After the formal discussion, students revise and reinforce their thinking aloud, articulating how their thinking developed through the discussion with their peers.

Welcome

5 MIN.

CHOOSE AESTHETIC FORM

Students write a response to the following question:

“If you were creating a literary or artistic text that depicted an attitude toward World War I and its effects, what form, or genre, would you choose, and why?”

Launch

5 MIN.

Facilitate a brief discussion of responses to the Welcome question.

Post the Focusing Question and Content Framing Question.

59 MIN.

BRAINSTORM ABOUT EVIDENCE 10 MIN.

Pairs

Post the following questions, and tell students the Socratic Seminar will revolve around these questions: ƒ

What themes about war and humanity emerge in literature and art inspired by World War I? ƒ How does a text’s form, or genre, support the expression of a theme? ƒ

Based on your study of the texts, what was the greatest effect World War I had on humanity? Why?

Have students share their prewriting from the last lesson with a partner.

After reading each other’s prewriting, partners brainstorm and jot one to two connections between each of their responses and the Socratic Seminar questions.

ENGAGE IN A SOCRATIC SEMINAR

Whole Group

39 MIN.

Students participate in a Socratic Seminar about themes that emerge from the texts’ focus on war and humanity.

The seminar revolves around the following questions: ƒ

What themes about war and humanity emerge in literature and art inspired by World War I? ƒ How does a text’s form, or genre, support the expression of a theme? ƒ

Based on your study of the texts, what was the greatest effect World War I had on humanity? Why?

Display the definitions of humanity students have examined in their prewriting.

Word Meaning

humanity (n.)

1. The entire group of human beings.

2. The state or feature of being a human being.

3. To care very much or relate to the problems and struggles of issues that human beings deal with.

Synonyms/Examples

1. humankind 2. human nature 3. bigheartedness

Display the Speaking and Listening Goal, and remind students to practice it during the seminar: “Listen from a speaker’s perspective.”

Encourage students to make connections between their own and their peers’ responses. Remind them that connection can take several forms. Read aloud and/or post the following types of connection. Ask students to add other types of connections.

ƒ Agreement.

ƒ Disagreement.

ƒ Elaboration.

ƒ Question.

ƒ Similar idea, different text.

Invite a student to begin the Socratic Seminar. After the first student shares, prompt a student with a different opinion to respond. Then let the debate develop.

Students participate in a Socratic Seminar.

EXPERIMENT WITH REVISING AND REINFORCING THINKING

Pairs

Display the Craft Question:

Experiment: How does revising or reinforcing my thinking aloud work? Remind students of the work they have done listening from a speaker’s perspective. Ask: “How did practicing our Listening Goal help you learn?”

10 MIN.

n Listening from a speaker’s perspective helped me understand a peer’s ideas more clearly.

n Listening from a speaker’s perspective helped me realize all the different perspectives people can have about these ideas.

n Listening from another speaker’s perspective makes me think about how I would revise or reinforce my own ideas.

Have students reflect on what they thought before the Socratic Seminar and then identify how the discussion prompted them to revise or reinforce their thinking.

Have partners synthesize their reflection into a single sentence, using the following sentence frame: First, I thought , but after listening to my peers, I now think .

Students read aloud the sentence to their partner. Then partners switch roles.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Distill: What are the central themes of literature, art, and film inspired by World War I?

Have students complete a Quick Write, and ask: “Which text most effectively conveys a theme about the relationship between war and humanity? Why?”

If time permits, have students review their response to the Welcome task and reflect on how the seminar prompts them to revise or reinforce their thinking.

Students share responses.

1 MIN.

ASSIGN HOMEWORK

Students read pages 220 to 229, from “These hours … the gurgling starts again” to “Oellrich’s rifle cracks out sharply and dry,” of All Quiet on the Western Front, and continue their fluency homework.

Analyze

Context and Alignment

Students synthesize an understanding of themes about war and humanity that emerge in literature and art through collaborative conversation with peers (RL.8.2, RL.8.4, SL.8.1, SL.8.6, L.8.6). Refer to the Speaking and Listening Rubric in Appendix C for criteria of a discussion that effectively meets the Speaking and Listening criteria. During this Socratic Semina, check for the following success criteria:

ƒ Makes connections across the texts.

ƒ Expresses an understanding of themes about war and humanity. ƒ Demonstrates an understanding of the various meanings of humanity.

Next Steps

If students have difficulty identifying evidence from their prewriting, consider brainstorming connections as a whole-group to prepare for the discussion. Additionally, consider developing an anchor chart focusing on themes about war and humanity that emerge in literature and art inspired by World War I to support student understanding before the Socratic Seminar.

Lesson 24 Deep Dive: Style and Conventions

Execute with Active and Passive Verb Voices

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Time: 15 min.

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Text: “The Charge,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0002)

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Style and Conventions Learning Goal: Use active and passive verb voices to emphasize the actor or the action (L.8.1.b, L.8.3.a).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 24

Execute: How do I use active and passive verb voices in my film analysis?

Launch

Ask: “Which verb voice do you write in most frequently, and why?” Use Equity Sticks to call on students.

n I use active voice more often because we were taught that subjects should complete the action of the sentence.

n Passive voice sentences are longer and more confusing, so I use active voice.

n I sometimes use passive voice in science or in formal writing.

Reveal that each verb voice has its purpose. In this lesson, students will explore these functions.

Learn

Display:

1. Paul stabbed the French soldier.

2. The French soldier was stabbed.

Read each sentence. and pause for students to say active or passive to identify the verb voice.

Ask: “How would Paul want the French soldier’s stabbing reported to his fellow soldiers? Why?”

n I think Paul would prefer the first sentence because he would seem pretty strong and lethal to his friends. The sentence makes it clear that Paul did the stabbing.

n I think Paul would prefer the second sentence because after lying with the soldier for so long, he feels guilty and even says he wants to help him and calls him his comrade. In the second sentence, we don’t know who stabbed the soldier. It’s almost like Paul wasn’t involved.

Inform students that regardless of Paul’s preferences, these two sentences demonstrate one of the effects of using either active or passive verb voice. Tell students that in the active voice, the

subject or actor is emphasized, but in the passive voice, the verb or action is emphasized.

Instruct students to Stop and Jot, and ask: “Why might a person want to emphasize an action over the actor?” Use Equity Sticks to call on students.

n If you don’t know who did something, then you have to focus on the action and not the person.

n When you don’t want to say who is responsible for something, you might write it in the passive voice.

n If the choice or action is what is most important, then you’d write in passive voice.

Land

Students analyze one important aspect of one film clip they have studied. They choose one technique and write about it in both active and passive voice. Then they circle the sentence they think is most effective.

QUESTION: LESSONS 17–26 How do texts inspired by World War I illuminate attitudes toward the war?

Lesson 25

All Quiet on the Western Front, Erich Maria Remarque, pages 220–229

“Forgive Me, Comrade,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0006)

Lesson 25: At a Glance

AGENDA

Welcome (5 min.)

Summarize an Action

Launch (5 min.)

Learn (59 min.)

Analyze a Character (8 min.)

Explain the Development of the Effects of War (14 min.)

Organize Evidence for Focusing Question Task (27 min.)

Experiment with Writing a Concluding Statement (10 min.)

Land (5 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Execute: Identify Shifts in Verb Voice (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.2, RL.8.3, RL.8.4, RL.8.7

Writing

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W.8.2.b, W.8.2.d, W.8.2.f

Speaking and Listening ƒ

SL.8.1, SL.8.2, SL.8.6

Language ƒ

L.8.1.b, L.8.1.d, L.8.4.a, L.8.6 ƒ

L.8.1.b, L.8.1.d

MATERIALS

Handout 21A: Film Techniques ƒ

Handout 25A: Film Analysis: “Forgive Me, Comrade”

Learning Goals

Explain how the soldiers’ response to Paul’s killing of the French soldier reveals the effects of combat on soldiers (RL.8.2, RL.8.3).

Write a brief interpretation of the significance of the last lines of chapter 9.

Explore how a concluding statement is connected to a bigger idea or an audience’s interests (W.8.2.f).

Draft a conclusion that addresses the “So what?” question.

Identify inappropriate shifts in verb voice (L.8.1.b, L.8.1.d).

Complete an Exit Ticket that identifies an inappropriate shift in verb voice.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 25

Reveal: What does a deeper exploration of the incident in the shell hole reveal in the novel and in its film adaptation?

CRAFT QUESTION: Lesson 25

Experiment: How does a conclusion work?

In this lesson, students continue their focus on pivotal chapter 9, examining how Paul’s response to the death of the French soldier develops the chapter’s focus on the war’s effects on soldiers. This analysis prepares students to begin the planning work for their Focusing Question Task 3, in which they will explain how the film adaptation aligns with or departs from the novel’s attitude toward the effects of war on humanity. They also prepare by viewing the film version of the shell-hole scene, collecting evidence for their analysis. Finally, students experiment with concluding statements that will help them answer the “So what?” question in their Focusing Question Task.

Welcome

5 MIN.

SUMMARIZE AN ACTION

Have students silently reread pages 221–222 (from “By noon” to “his wife”), and ask: “What does Paul do once he realizes the French soldier is dead? Why does Paul do this?”

Students jot their answers in their Response Journal.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Tell students that they now continue their analysis of pivotal chapter 9, extending their examination to the film adaptation of the scene to collect evidence for their Focusing Question Task.

ANALYZE A CHARACTER 8 MIN.

Whole Group

Facilitate a brief discussion of responses to the Welcome task.

Check students’ general understanding that Paul props up the dead soldier in a humane gesture that also reveals his unstable mental state. If students haven’t done so already, point them to Paul’s claim, “It is mad, what I do” (221).

Have students Think–Pair–Share, and ask: “Why does Paul begin to go mad at this point in the scene?”

Students share responses.

n It seems like this is the moment the reality of death sets in.

n Unlike the moment of the stabbing, when Paul acted quickly on instincts, now he has nothing but time to think about, and live with, the consequences of his actions.

n Now that the soldier has died, Paul can’t control his thoughts about the soldier’s life. He realizes he is responsible for taking that life away.

Direct students to the following passage on page 223: “Comrade, I did not want to kill you. If you jumped in here again, I would not do it, if you would be sensible too. But you were only an idea to me before, an abstraction that lived in my mind and called forth its appropriate response. It was that abstraction I stabbed” (223).

Tell students to use the Outside-In strategy to discern the meaning of the word abstraction, looking outside the word for context clues, and inside the word at word parts.

Have students Think–Pair–Share, and ask: “What is the significance of the word abstraction in this quote?”

Students share responses.

n Right before he uses the word abstraction, Paul says, “you were only an idea to me.” So, an abstraction is an idea rather than a real thing.

n The root word of abstraction is abstract. We studied the abstract painting Soldiers Playing Cards, which didn’t portray human figures in a realistic way.

n Paul is saying that the French soldier was only an abstraction, or general idea, to him when he stabbed him. But now he understands that the soldier was a human being.

n The word abstraction shows that Paul only had a vague idea of what he was fighting against. He did not think of the enemy as real people. This comment reinforces the idea that the soldiers fought against annihilation by Death. It’s as if they don’t recognize their enemy as humans. But the close-up encounter with the French soldier changes that.

n Paul expresses remorse at thinking of the French soldier as just an idea and not a real person.

EXPLAIN THE DEVELOPMENT OF THE EFFECTS OF WAR 14 MIN.

Pairs

Have partners take turns reading aloud pages 226–229 of the novel, from “Now suddenly I begin to tremble” to “Oellrich’s rifle cracks out sharply and dry.”

Pairs jot notes to the following questions in their Response Journal, citing specific evidence.

Lead a brief whole-group discussion after students finish the first two questions to ensure student understanding before they write individual responses to question 3.

1. Explain Paul’s statement, “I think no more of the dead man, he is of no consequence to me now” (226). How is this statement developed in the last scene when Paul leaves the shell hole and rejoins his friends (pages 227–229)?

n Paul’s feelings about the French soldier change. Paul decides that the man he killed doesn’t matter because Paul has a “lust to live” (226). He says that he only repeats the promise to the dead man to avoid bad luck. He does not mean it; he says it “mechanically” (226).

n When Paul leaves the shell hole, he says he has “forgotten the dead man” (227). He no longer feels any sadness or guilt.

n Paul seems a bit upset about the killing and feels he has to tell Kat and Albert.

n But when they reassure him that he did his duty, Paul decides that his promise he made in the shell hole was “driveling nonsense” (228).

n Albert reinforces the idea that the French soldier is of no consequence when he tells Paul “not to lose any sleep” over what happened (229).

n Paul decides that he “hardly understands” why the soldier in the trench was a problem for him at all (229). He decides that “the affair” was just a part of war.

2. Why does Kat tell Paul “it’s very good” for Paul to look at the snipers right now (229)?

n Kat tells Paul to look at the snipers so Paul can see how easy it is for the snipers to shoot the enemy.

n Kat tells Paul to look at the snipers because it shows how much the army rewards shooting the enemy. Whoever gets the most shots could get a prize of a “colored bird,” or they could get promoted (229).

n Kat tells Paul to look at the snipers to remind Paul that it is their job to kill the enemy. Paul realizes he should view his killing of the French soldier as his job.

Individual students respond in writing to the following TDQ.

3. Explain the significance of the last two paragraphs in chapter 9 (from “‘It was only’” to “and dry”). What do they reveal about the novel’s attitude toward war and its effects?

Before submitting their responses, students share them with their partner.

Facilitate a brief discussion of responses, with partners sharing their own or their peer’s response.

n Paul makes the decision that his killing of the soldier, which once really bothered him, doesn’t mean much. He dismisses his concerns about it by saying, “After all, war is war” (229).

n The novel ends with the sound of the sniper’s rifle. So, it ends with the sound of another killing.

n The ending is significant because it shows how the soldiers have become numb to the horrors of war. At first, Paul was devastated by his killing of the French soldier. He called the soldier his “comrade,” establishing a bond and suggesting that they were both victims of the war. But the end of the chapter shows that the war dehumanizes soldiers. The war causes Paul and the others to no longer have a sense of humanity. They have been transformed into unfeeling machines. In fact, the chapter ends not with Paul’s voice but the voice of the rifle, which “cracks out sharply and dry” (229). The rifle has the last word.

ORGANIZE EVIDENCE FOR FOCUSING QUESTION TASK

Small Groups

27 MIN.

Tell students that for their Focusing Question Task, which they will complete in the next lesson, they will evaluate the film excerpt “Forgive Me, Comrade,” which is an adaptation of a scene from chapter 9.

Direct students to the Lighting and Acting sections of Handout 21A and read their descriptions. Tell students that this is the first clip they watch that focuses on an interaction between characters, so they should pay particular attention to the choices actors make and the ways they are lit.

Distribute Handout 25A: Film Analysis: “Forgive Me, Comrade.” Review the handout and address any questions.

Play the film clip.

After group members finish their summaries, play the clip twice more, with students taking notes on the filmmaker’s and actors’ choices.

TEACHER NOTE

Modify the activity to meet the needs of your students. For instance, work through one technique as a whole group, or discuss small groups’ responses as a whole class. Play the clip more than three times. Also, set up a system for students to signal silently if they would like you to pause the video.

EXPERIMENT WITH WRITING A CONCLUDING STATEMENT 10 MIN.

Whole Group

Display the Craft Question: Experiment: How does a conclusion work?

Remind students of their previous discussion of writing a conclusion that addresses the “So what?” question.

Have students Think–Pair–Share, and ask: “If you just finished reading your partner’s essay draft, what are other ways you might ask the ‘So what?’ question?”

n Who will think this is important?

n Why is your topic important after I stop reading your paper?

n How is your point helping me learn something new or interesting about the topic we are studying?

n How is your idea relevant to something bigger?

n How is your idea relevant to something I can relate to?

Have students create a T chart in their Response Journal and label the left column Big Ideas and the right column Relevance to Audience.

Have students Think–Pair–Share, and ask: “What big ideas have we recently been discussing in relation to the novel and film version of All Quiet on the Western Front?”

Possible responses include the following:

n Humanity.

n War.

n Transformation.

Students record notes in the left column of their T-charts.

Tell students that one way to consider your topic’s relevance to your audience is to consider a skeptic.

Have students Think–Pair–Share, and ask: “How might your friends outside of class not find your interest in All Quiet on the Western Front or its film adaptation relevant to their interests or lives?”

n They might say the novel was written a long time ago and isn’t relevant to today.

n They might say they would never watch a black-and-white movie.

n They might say the movie is too violent.

n They might say the novel is too bleak.

n They might say they have nothing in common with the experiences of soldiers.

Students record notes in the right column of their T-charts, following each phrase with a question mark, such as: “Too violent?”

Tell students that there are very effective sentence starters they can use and modify that will address the “So what?” question by connecting their topic to a bigger idea or a topic of relevance to their audience.

Share the following sentence stems:

Even though All Quiet on the Western Front was written almost 100 years ago, the novel .

While some may think war movies are only violent entertainment, . Ultimately, All Quiet on the Western Front has much to teach us about .

In a world in which war is still many people’s reality, .

Students review their notes from the last several lessons and write a concluding statement using one of the sentence stems or another sentence that addresses the “So what?” question.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of the incident in the shell hole reveal in the novel and in its film adaptation?

Ask: “What did you notice about the similarities and differences between the novel and film versions of the incident in the shell hole?”

Facilitate a brief discussion.

Wrap

1 MIN.

ASSIGN HOMEWORK

In preparation for completing the Focusing Question task in the next lesson, students reread pages of 223–225 of All Quiet on the Western Front and annotate their notes on chapter 9 for the most significant moments and ideas about war’s effects on humanity. Students also continue their fluency homework.

Analyze

Context and Alignment

Students explain how the soldiers’ response to Paul’s killing of the French soldier reveals the effects of combat on soldiers (RL.8.2, RL.8.3). Students develop their understanding of the war’s impact on Paul after he returns from the trench as the enemy is once again dehumanized. Check for the following success criteria: ƒ

Demonstrates an understanding of the incidents in chapter 9. ƒ Identifies attitudes toward the war in the novel’s depiction the soldiers’ reaction to combat. ƒ Analyzes the dehumanizing effects of the war on Paul.

Next Steps

If students have difficulty identifying the effects of the war on Paul, consider pointing them to previous evidence, particularly their work with the word comrade in Lesson 23, that demonstrates the brief window Paul treated the enemy as another human being. Additionally, consider facilitating a whole-group discussion about the way the novel treats death and destruction in war, particularly in scenes from chapter 6, where a grisly scene often gets no emotional response from Paul.

Lesson 25 Deep Dive: Style and Conventions

Execute: Identify Shifts in Verb Voice

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque pages 226–229

Style and Conventions Learning Goal: Identify inappropriate shifts in verb voice (L.8.1.b, L.8.1.d).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 25

Execute: How do I find shifts in verb voices in my writing?

Launch

Display:

1. Screaming was heard as Paul entered the front.

2. Paul heard screaming as he entered the front.

Ask: “Which of these sentences is clearer? Why?”

Allow students a minute or two to read and consider the sentences. Then, ask students to hold up their index finger if they think the first sentence is clearer and their index and middle fingers if they think two is clearer. Call on one or two students for each sentence to explain their thinking.

n I think the first sentence is clearer because screaming is the focus since it’s first, so readers know it’s a scary scene.

n I think the second sentence is better because the subject, Paul, hears the screaming and also enters the front. It’s easier to understand who is doing stuff in this sentence.

Reveal that sentence two is the clearer sentence because sentence one contains a shift in verb voice. Instruct students to Think–Pair–Share, and say: “Identify the passive voice portion of the sentence.”

n “Screaming was heard” is in passive voice because we do not know who heard the screaming.

n “Screaming was heard” is written in passive voice. We could add “by Paul” at the end.

n The passive voice portion is “screaming was heard” because we had “was” in front of the verb “heard,” which is always a clue.

Learn Display:

1. When the soldier was killed, Paul was terrified of him.

2. When Paul killed the soldier, he was terrified of him. 303

1. The barbed wire protruded toward the enemy’s lines, and no one wanted to cross it.

2. The barbed wire protruded toward the enemy’s lines, and crossing it is what no one wanted to do.

Assign half of the class the first set of sentences and the other half of the class the second set of sentences. Instruct students to work in pairs to identify the sentence with the inappropriate shift in verb voice and the portion of the sentence in passive voice.

Call on student pairs to share responses.

n In the first set of sentences, the first sentence has an inappropriate shift in verb voice.

n “When the soldier was killed” is written in passive voice.

n In the second group of sentences, the second sentence has the inappropriate shift in verb voice. The second part of the compound sentence is written in passive voice.

Ask students to think back on the examples that they’ve seen in this lesson and Stop and Jot why it’s important to avoid shifts in verb voice in their writing. Using Equity Sticks, call on students. Encourage students to use examples from the lesson to explain their responses.

n Shifting voice can make your writing really hard to understand. You don’t want people reading your work to be confused or misunderstand you. In the sentence about Paul killing the soldier, the first sentence makes it sound as though the soldier was killed by someone else, not Paul. But it’s important to know that Paul killed him and did so because he was scared.

n The shifts in verb voice just sounds awkward. The second sentence about the barbed wire is longer, and the change from the active voice in the first part of the compound sentence is really noticeable.

Emphasize that shifts in verb voice, especially within a sentence, cause readers confusion and makes writing seem unpolished.

Land

Display: Paul lies in the trench with the French soldier for so long that he begins talking to the dead man. Apologies are given to the soldier even as Paul studies the corpse. In this scene, readers become aware that guilt is driving Paul mad, and the dead man may be better off than Paul.

Students complete an Exit Ticket in which they write the sentence that contains the inappropriate shift in verb voice, underlining the passive verb voice.

TEACHER

NOTE

If students find this CFU too difficult, consider letting them work in pairs.

n “Apologies are given to the soldier even as Paul studies the corpse” contains a shift in verb voice, and “apologies are given to the soldier” contains the passive verb voice.

Explain that in the next lesson they will revise these shifts in verb voice.

FOCUSING QUESTION: LESSONS 17–26

Lesson 26

All Quiet on the Western Front, Erich Maria Remarque, pages 220–229 ƒ

“Forgive Me, Comrade,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0006) ƒ

“Dulce et Decorum Est,” Wilfred Owen (http://witeng.link/0012)

How do texts inspired by World War I illuminate attitudes toward the war?

Lesson 26: At a Glance

AGENDA

Welcome (5 min.)

Review Evidence Launch (5 min.) Learn (59 min.)

Create: Focusing Question Task (45 min.)

Express Knowledge (14 min.) Land (5 min.)

Answer the Content Framing Question Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Excel: Correct Inappropriate Shifts in Verb Voice (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

RL.8.1, RL.8.2, RL.8.4, RL.8.7

Writing

W.8.2.b, W.8.2.d, W.8.2.e, W.8.2.f, W.8.9

Speaking and Listening ƒ SL.8.2

Language ƒ

L.8.1.b, L.8.1.d, L.8.6 ƒ

L.8.1.b, L.8.1.d

MATERIALS

Assessment 26A: Focusing Question Task 3 ƒ

Handout 21A: Film Techniques ƒ

Handout 25A: Film Analysis: “Forgive Me, Comrade”

Learning Goals

Evaluate a film’s interpretation of the attitudes about war’s effect on humanity in comparison to those depicted in the novel All Quiet on the Western Front (RL.8.1, RL.8.2, RL.8.7, W.8.2.b, W.8.2.d, W.8.2.e, W.8.2.f, W.8.9, L.8.1.b, L.8.1.d, L.8.6).

Complete Assessment 26A.

Recognize and correct inappropriate shifts in verb voice (L.8.1.b, L.8.1.d).

Finalize revisions of Focusing Question Task 3.

Prepare

FOCUSING QUESTION: Lessons 17–26

How do texts inspired by World War I illuminate attitudes toward the war?

CONTENT FRAMING QUESTION: Lesson 26

Know: How does a film adaptation build my knowledge?

CRAFT QUESTION: Lesson 26

Execute: How do I write a concluding statement that explains the significance of my analysis?

Students complete their Focusing Question Task on the film’s adaptation of a scene from chapter 9 of All Quiet on the Western Front. Synthesizing their learning from previous lessons, students evaluate how the film’s choices interpret the novel’s attitudes toward the effect of war on humanity. Students then conclude their work of this Focusing Question arc by reflecting on their learning in their Knowledge Journal.

Welcome

5 MIN.

Have small groups from Lesson 25 reconvene to review all of their notes and writing on chapter 9 from the novel.

Have groups brainstorm, and ask: “What are the most significant moments and ideas about war’s effects on humanity in this chapter?”

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson they respond to both of these questions by completing Focusing Question Task 3.

59 MIN.

CREATE: FOCUSING QUESTION TASK 45 MIN.

Whole Group

Distribute and review Assessment 26A: Focusing Question Task 3. Answer any questions.

Name Date Class

Assessment 26A: Focusing Question Task 3

Over the course of this Focusing Question sequence, you have examined how literature and art illuminate different attitudes toward World War I and its effects. In your analysis of Lewis Milestone’s 1930 film adaptation of All Quiet on the Western Front you have explained how specific techniques convey the film’s attitudes toward war. The purpose of this task is for you to evaluate the film’s attitude toward war in comparison to the attitude conveyed in the novel.

Task Writing for an audience that has studied the novel and film as closely as you have, compose a three-paragraph informative essay that explains how the film scene “Forgive Me, Comrade” conveys the film’s attitude about war’s effects on humanity. Then evaluate this depiction in relation to the attitude about war’s effects on humanity conveyed in the same scene from the novel.

There are three parts to this task: two explanatory paragraphs and a concluding statement.

In your first paragraph, explain the most significant choices the filmmaker and actors make in the scene and what those choices reveal about the film’s attitudes toward war’s effects on humanity.

In your second paragraph, evaluate how the film’s choices differ from those in the novel, and evaluate whether the film adaptation aligns with or departs from the novel’s attitude toward war’s effects on humanity.

Finally, write a concluding statement that indicates the larger significance of your analysis.

Use Handouts 23A and 27A to formulate your response.

Support your response using evidence from the following texts:

All Quiet on the Western Front, Lewis Milestone (“Forgive Me, Comrade” excerpt).

All Quiet on the Western Front, Erich Maria Remarque, pages 220–229.

Checklist for Success: Include the following items in your response:

An explanation of the film’s most significant choices in the clip “Forgive Me, Comrade.”

Film terminology from Handout 23A. Explanations of the film’s and novel’s attitudes toward war’s effects on humanity.

Specific definitions of the meaning(s) of humanity you discuss.

Whether the film adaptation aligns with or departs from the novel’s attitude toward war and its effects on humanity.

A concluding statement that addresses the “So what?” question. Active and passive verb voice to emphasize either the actor or the action.

Students take out Handouts 21A to 25A to use to complete Assessment 26A.

Display the Craft Question.

Execute: How do I write a concluding statement that explains the significance of my analysis?

Page of

Name Date Class

Handout 25A: Film Analysis: “Forgive Me, Comrade”

Directions: Work with your group members to formulate responses and collect evidence in preparation for writing your Focusing Question Task. In that task, you will evaluate the film’s depiction of a scene from chapter 9, explaining how it depicts war’s effect on humanity in comparison to the novel. Follow these steps:

Tell students to use the information and templates from Lesson 25 to construct a concluding statement that best explains the significance of their analysis.

Instruct students to reread silently pages 223–225 of the novel.

Tell students you will play the clip one more time, allowing them to make any final additions or revisions to their notes.

Play the clip “Forgive Me, Comrade.”

Students independently complete Assessment 26A.

EXPRESS KNOWLEDGE 14 MIN.

Individuals

Students take out their Knowledge Journal.

Display the following questions.

Students respond to each question, writing their responses in the appropriate section.

TEACHER NOTE

Students have had explicit opportunities to reflect on how the film and novel build their knowledge. Therefore, the first question asks specifically about the poems and painting.

Knowledge of the World:

ƒ How did studying “In Flanders Field,” “Dulce et Decorum Est,” and Soldiers Playing Cards build your knowledge of the war and its effects?

Knowledge of Ideas: ƒ

What did you learn by studying texts from various forms and genres? ƒ How did the study of one or more texts build your knowledge of big ideas (like abstraction, transformation, or humanity)?

Knowledge of Skills: ƒ How did your work in this Focusing Question arc build your skill knowledge?

Students write their reflections.

5 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Know: How does a film adaptation build my knowledge?

Post the following sentence stems:

Studying the film adaptation expanded/changed/challenged/reinforced my knowledge of the novel because .

Studying the film adaptation expanded/changed/challenged/reinforced my knowledge of the genre of film because .

Students complete each sentence stem in their Response Journal, selecting the appropriate verb for each sentence.

Facilitate a brief discussion of responses.

Wrap

1 MIN.

Students continue their fluency homework in preparation for performing a fluent reading in the next lesson.

Analyze

Context and Alignment

Students evaluate a film’s interpretation of the attitudes about war’s effect on humanity in comparison to those depicted in the novel All Quiet on the Western Front as they complete their Focusing Question Task (RL.8.1, RL.8.2, RL.8.7, W.8.2.b, W.8.2.d, W.8.2.e, W.8.2.f, W.8.9, L.8.1.b, L.8.1.d). Refer to Appendix C for a student response that effectively meets the task criteria. Check for the following success criteria:

ƒ Responds to all parts of the Focusing Question Task prompt.

ƒ Draws connections and distinctions between the depictions of war’s effect on humanity in different mediums.

ƒ Demonstrates an understanding of war’s effect on humanity.

Next Steps

Provide next steps with CFUs, assignments, or actions to take for common student misunderstandings.

Group students with similar needs and plan small–group support for these skills to set students up for success with their next Focusing Question Task.

Lesson 26 Deep Dive: Style and Conventions

Excel: Correct Inappropriate Shifts in Verb Voice

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Time: 15 min.

ƒ

Text: All Quiet on the Western Front, Erich Maria Remarque, pages 218–229; “Forgive Me, Comrade,” All Quiet on the Western Front, Lewis Milestone (http://witeng.link/0006)

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Style and Conventions Learning Goal: Recognize and correct inappropriate shifts in verb voice (L.8.1.b, L.8.1.d).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 26 Excel: How do I improve the clarity of my writing?

Launch

Ask students to stand if they agree with the following statement: “Writers should always avoid using passive voice.”

Call on sitting students to explain their opinions.

n Sometimes you have to use passive voice because you may not know who did something. For example, “the store was robbed.”

n Using passive voice can emphasize an action instead of the person who committed it. Just like when Paul killed the French soldier, he may rather say, “The soldier was killed.” He felt guilty and wouldn’t want to admit to it.

n Passive voice is useful when the object being acted on is more important. For instance, “The lighting is used to emphasize the background.”

Passive voice has a purpose in writing. Passive voice can emphasize the action and the object that receives the action, it can express action from unknown actor, and it can be helpful when you may want to be vague about the actor or subject, like with Paul and the French soldier. Passive voice is most often used in scientific fields for lab reports since the subject is assumed to be the author. Your science teacher might ask you to use it in your lab reports. Of course, as we’ve seen in our previous lessons, passive voice can also cause confusion, especially if a writer shifts the verb voice mid-sentence or even mid-paragraph. We will continue to revise for these shifts in this lesson.

Learn Display:

In this scene from the 1930 production of All Quiet on the Western Front, Paul is stranded in a shell hole. The dialogue is spoken loudly, but the shots ring out even louder. The close-up on the French

soldier’s face as he is pleaded with by Paul is frightening. The light shines on the soldier’s happylooking face. The viewer is upset by this image.

Instruct students to Think–Pair–Share, and ask: “Where are there shifts in verb voice?”

n There is a shift to passive verb voice when the author writes, “dialogue is spoken loudly.”

n There is another shift to passive verb voice when the author writes, “as he is pleaded with by Paul.”

n The last sentence is also written in passive voice.

Instruct student pairs to rewrite those sentences or portions of sentences in active voice. Call on pairs to share responses.

n The actor speaks loudly.

n The close-up on the French soldier’s face as Paul pleads with him is frightening.

n This image upsets the viewer.

Ask: “Are there any of these sentences that would be better in the passive voice? If so, which one, and why?” Call on student volunteers.

n The sentence about dialogue could remain in passive voice because the volume of the dialogue is the important part of that sentence, so making it the subject keeps the emphasis on it.

n The last sentence could also stay in the passive voice because perhaps the writer wants to emphasize the viewer’s experience. But if not, the image works, too.

n I don’t think you can change the second example because the shift occurs within a sentence, and it just sounds awkward.

Land

Briefly conduct a Whip Around for students to share tips for proofreading for inappropriate verb shifts.

Possible responses include the following:

n Look for the word by.

n Find a form of the verb to be

n Read the sentences aloud to see if they sound awkward.

Instruct students to reread their Focusing Question Task 3 responses.

Students correct any inappropriate verb voice shifts and ensure they use the passive voice at least once to emphasize the object or receiver of the action.

FOCUSING QUESTION: LESSONS 27–33

What are the psychological effects of war?

33 34 2 1 3 5 6 7 15 26 11 19 30 9 17 28 13 24 21 32 8 16 27 12 23 20 31 10 18 29 14 25 22 4 37 36 35 WIT & WISDOM®

Lesson 27

TEXTS G8 M2 Lesson 27 © 2023 Great Minds PBC

Lesson 27: At a Glance

AGENDA

Welcome (5 min.)

Reflect on Prior Knowledge Launch (5 min.)

Learn (60 min.)

Examine a Thesis Statement (10 min.)

Encounter the Text (15 min.)

Examine the Psychological Effects of War (25 min.)

Perform a Fluent Reading (10 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3

Writing ƒ W.8.2.a

Speaking and Listening ƒ SL.8.1

Language ƒ L.8.4.a, L.8.5.b

MATERIALS ƒ

Handout 27A: Fluency Homework ƒ Handout 18A: Fluency Homework ƒ Handout 18B: Fluency Homework ƒ Chart paper ƒ

Sticky notes

Learning Goals

Examine psychological effects of war by distinguishing physical and psychological effects in chapter 10 (RL.8.1, RL.8.2).

Identify one piece of evidence that shows psychological effects in the novel.

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 27

Organize: What’s happening in chapter 10?

CRAFT QUESTION: Lesson 27

Examine: Why is using a broad category to develop a thesis statement important?

In this first lesson of the final Focusing Question before the EOM Task sequence, students reflect on the myriad effects of the war they have explored so far as they explicitly examine the idea of psychological effects. First, though, students examine the role of a thesis statement that uses a broad category, work that will be crucial in their EOM Task. Then students begin to build their understanding of psychological effects by delineating between the physical and psychological effects of a French attack on Paul and Albert in chapter 10 of All Quiet on the Western Front. An anchor chart is established in this lesson which students will use as they continue to analyze the psychological effects of war throughout this Focusing Question arc.

Welcome

5 MIN.

REFLECT ON PRIOR KNOWLEDGE

Have students work with a partner to brainstorm effects of war they have noticed and discussed so far in this module.

If possible, display the art and film clip stills students have worked with, and encourage them to consider effects from all of the texts they have encountered, not just the novel.

Launch

5 MIN.

Students share their observations.

Possible responses include the following:

n Physical injuries, such as losing a limb or getting horribly burned, are an effect of war.

n Comradeship, becoming better friends with other soldiers, is an effect of war.

n Younger soldiers lose their future because of war. Paul and his friends only know what it is like to fight and be soldiers. They are not prepared for life after the war.

n Shell shock, soldiers being afraid of loud noises wherever they are because of all the guns and bombs, is an effect of war.

n Soldiers also lose their past because of war. They become disinterested in their old lives, and their previous lives and selves are foreign to them. They no longer care about art, literature, or other things they studied.

n Things that were once familiar now seem very strange or unfamiliar because of how soldiers have been transformed by war.

n Illnesses like trench foot or trench fever are an effect of war.

n Soldiers are haunted by the horrifying violence that they are never able to forget because of the war.

n Soldiers treat the enemy as less than human because of war.

n Soldiers lose their sense of individuality and feel like they are one part of a larger machine because of the war.

n Enlisted men see connections between themselves and the enemy soldiers and treat them humanely because they are both victims of the war.

Post the Focusing Question and Content Framing Question.

Have a volunteer read the Focusing Question aloud: What are the psychological effects of war?

Tell students that in this Focusing Question arc, they focus their analysis on effects that are psychological. Students will return to this list of effects later in the lesson.

Display the Craft Question:

Ask: “What do you already know about writing a thesis statement?”

n A thesis statement is the central idea of an essay.

n A thesis statement provides the reader with the ideas that will be unpacked in an essay.

n A thesis statement appears in the introduction of an essay.

n A thesis statement is sometimes restated in the conclusion of an essay.

Explain that there are many ways to write a thesis, as there are ways to organize an essay, but for their EOM Task, students will focus on writing a thesis that communicates their category and the overarching idea of their essay.

Display the category: “trench warfare.”

Instruct students to Think–Pair–Share, and ask: “What would be an overarching idea for an essay about trench warfare?”

n The overarching idea of this essay could be the challenges soldiers faced during trench warfare.

n The overarching idea of this essay could be the effects of trench warfare.

n The overarching idea of this essay could be the way trench warfare caused suffering and loss of life for soldiers.

Display the following four thesis statements.

1. Trench warfare caused disease and massive casualties; disease was a result of soldiers’ exposure to the weather, and many soldiers died when they went “over the top” to try and capture the enemy trench.

2. The extensive trench system in World War I was a result of both sides trying to get strategic positions, but in the end, this type of warfare did not benefit soldiers on either side.

3. Trench warfare in World War I killed a lot of soldiers in many different ways.

4. World War I is known for introducing modern warfare, a type of fighting that forever changed the nature of armed conflict. Trench warfare, one of the best-known innovations, had dramatic effects on the soldiers, and on society’s attitudes toward war.

Have students briefly Stop and Jot, ask: “How would you describe each thesis statement?”

Consider the following questions:

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What information does the thesis statement provide about the category?

ƒ What is the “size” of the thesis statement, big or small?

ƒ Is the thesis statement effective in communicating an overarching idea?

Facilitate a whole-group discussion and chart student observations.

Possible responses include the following:

n Thesis statement 1:

p This thesis statement explains the main idea and supporting ideas.

p This thesis statement explains the specifics of what the essay will develop.

p This thesis statement explains exactly what information will be examined in the essay that follows.

n Thesis statement 2:

p This thesis statement explains the cause of the trenches and their effect on soldiers.

p This thesis statement does not provide too many details about the category.

p This thesis statement explains the effects of trench warfare on soldiers, which is an overarching idea related to the category.

n Thesis statement 3:

p This thesis statement explains an overarching idea, which is that trench warfare killed many soldiers.

p This is a big thesis statement and does not provide any details.

p This thesis statement explains what the essay is about, trench warfare, but does not give any idea of what is to follow in the essay.

n Thesis statement 4:

p This thesis statement is quite detailed, it provides a context for trench warfare and its effects on soldiers and society.

p This thesis statement is detailed, it gives more detailed information about the category than the other examples.

p This thesis statement is longer than the other examples.

Above each of the charted notes, write the following: 1. “Topic Sentence” Thesis Statement 2. “Setting the Stage” Thesis Statement 3. “Too Big” Thesis Statement 4. “Defines Significance of Category” Thesis Statement

TEACHER NOTE

The categorization of each thesis statement only serves to highlight the differences between them and is not denoting a formal type of thesis statement.

Ask: “Which thesis statements align with our goals for thesis writing in this module?”

Guide students to an understanding that the second and fourth thesis statements are exemplar thesis statements because they articulate the category without copying or summarizing their essay’s topic sentences.

ENCOUNTER THE TEXT 15 MIN.

Small Groups

Organize students in their squads.

Instruct squads to read aloud pages 239–244 of All Quiet on the Western Front, from “A few days later we are sent to evacuate a village” to “he wants to look out for the last time,” alternating individual readers after each paragraph.

Provide the following definition for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonym(s)

resignation To agree without much challenge or opposition.

Students read All Quiet on the Western Front and annotate for the effects of war in this portion of text.

Facilitate a brief whole-group discussion, and ask: “What happens to Paul and Albert?”

n Paul and Albert are sent to evacuate a village but get separated from the other men after an attack.

n Paul and Albert climb over a fence and hide in the mud to escape enemy fire.

n Paul and Albert are both injured and Paul has to help Albert escape. Paul and Albert both make it to the dressing station and lie next to each other.

n Albert is injured very close to his knee.

n Paul chooses not to be chloroformed when the doctor gets a piece of shell out of his leg.

n Paul and Albert will leave on a hospital train together.

n Paul and Albert do not get any sleep in the dressing station.

Students record notes from the discussion in their Response Journal.

EXAMINE THE PSYCHOLOGICAL EFFECTS OF WAR 25 MIN.

Small Groups

1. How does Paul describe the feeling of “fear” (240)?

n A “terrible throttling fear” causes Paul to get up too quickly during the French attack and his leg gets injured (240).

n Paul’s description of the fear as “throttling” shows that it is choking him.

n The fear “leaps up;” it is an active, overwhelming feeling (240).

n Fear “made [running] possible;” fear motivates Paul to move quickly (241).

2. What are different ways Paul reacts because of his fear?

n A “terrible throttling fear” causes Paul to get up too quickly during the French attack and his leg gets injured (240).

n Paul states that “[f]ear alone” made it possible for both soldiers to run away even when their legs were injured (241). Paul says they would have even run without feet, “run on the stumps” (241).

n Paul is “frightened” when he gets taken to the “chopping-block” because he thinks the doctor will amputate his leg. This fear helps him bear the intense pain of getting the shell fragment removed (242).

3. How do Paul and Albert’s reactions to their injuries compare?

n Paul and Albert react to their injuries differently. Paul responds to his injuries with fear and anger. Paul is afraid he will get his leg amputated because of his injury, and this makes him angry and strong during his operation, “I’ll kick the bucket before he will get a squeak out of me” (243). Albert is also afraid but he becomes depressed instead of angry. Albert tells Paul he will “’put an end’” to his life if he gets his leg amputated (242).

Tell students that while the war had many effects, in this Focusing Question arc, they will focus on psychological effects of the war.

Have students share what they already know about psychological effects. Have them use their Knowledge Journal and notes from Module 1 to recall the ways storytelling can have psychological effects.

Return to the list of effects generated in the Welcome task.

Ask: “Are any of the effects you identified psychological?”

Guide students to the understanding that they have likely already been thinking about psychological effects throughout the module, for example, the loss of innocence they discussed in the second Focusing Question arc is a psychological effect.

Have individual students make a T-chart in their Response Journal with Physical Effects on the left side and Psychological Effects on the right side. Instruct students to review their annotations and work with their group members to sort their evidence into the two sides of their T-charts.

Possible responses include the following:

Physical Effects Psychological Effects

n “[A] blow sweeps like a whip over my left leg” (240).

n “Kropp seizes a branch, I heave him up by the leg, he cries out” (240).

n “I am exhausted” (240).

n “[T]he shot is just a little above [Albert’s] knee” (241).

n “[M]y trousers are bloody and my arm, too” (241).

n “The pain increases. The bandages burn like fire” (242).

n “The pain is insufferable” (243).

n “[The doctor] is merely raking about in the wound” (243).

n “[T]he thought leaps up with a terrible throttling fear” (240).

n “’You go, I’ll come on after,’ [Albert] says, and throws himself down” (241).

n “Fear alone made it possible” (241).

n “[W]e spoon down [the soup] greedily and scornfully” (242).

n “[I]f they take off my leg, I’ll put an end to it” (242).

n “[W]e lie there with our thoughts and wait” (242).

n “I am frightened” (242).

n “[Another soldier] lies in front of [the window] as if he wants to look out for the last time” (244).

Instruct groups to review their T-charts, and ask: “What do you notice about the difference between physical and psychological effects?”

n The physical effects describe actions and concrete sensations.

n The psychological effects describe feelings and emotions.

n The physical effects have immediate effects on the men’s bodies and ability to do things.

n The psychological effects are less tangible but refer to the way the men think or react to their situation.

n The physical effects are easier to notice through description.

n The psychological effects are more subtle and are often shown through dialogue, expressions, or by inference.

Tell students they will now work as a whole class to track psychological effects. Establish a whole class Psychological Effects Anchor Chart.

TEACHER

NOTE

For their work with the Psychological Effects Anchor Chart, students will need to move individual pieces of evidence to experiment with grouping and categorization. Consider using a felt board, bulletin board, or chart paper with sticky notes.

Since work with psychological effects is largely thematic, consider monitoring student contributions to the anchor chart to ensure relevance, avoid redundancy, and streamline organization.

Tell students that throughout this Focusing Question arc they will add evidence to this anchor chart. As they add evidence, students should group evidence that is alike, drawing on their understanding of categorization from the writing instruction in this module.

Instruct students to review their notes from their discussion and identify evidence to add to the Psychological Effects Anchor Chart.

Individuals identify at least one piece of evidence to add to the anchor chart.

PERFORM A FLUENT READING

Small Groups

Students take out Handout 18A or 18B and individually read aloud either “Dulce et Decorum Est” or “In Flanders Fields,” demonstrating mastery of fluent reading skills, including appropriate pace, tone, expression, emotion, and attention to words and punctuation.

10 MIN.

Handout 18A: Fluency Homework

Directions:

1. Day 1: Read the text carefully, and annotate to help you read fluently.

2. Each day: a. Practice reading the text aloud three to five times. b. Evaluate your progress by placing a √+, √, or √- in the appropriate, unshaded box. c. Ask someone (adult or peer) to listen and evaluate you as well.

3. Last day: Answer the self-reflection question at the end.

“Dulce et Decorum Est” Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling Fitting the clumsy helmets just in time, But someone still was yelling out and stumbling And flound’ring like a man in fire or lime.— Dim through the misty panes and thick green light, As under a green sea, saw him drowning.

In all my dreams before my helpless sight, He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil’s sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,— My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori. Owen, Wilfred. Poetry Foundation © Great Minds PBC

G8 M2 Handout 18A WIT & WISDOM Page of 2

quarrel with the foe: To you from failing hands we throw The torch; be yours to hold it high.

If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields.

McCrae, John. Poetry Foundation. © Great Minds PBC

Students self-assess their growth as fluent readers and submit Handout 18A or 18B.

Students Stop and Jot in response to the following question: “How does the poem you read for your Fluent Reading build your understanding of a psychological effect of war?”

Land

4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in chapter 10?

Students write an Exit Ticket in response to the following question: “How does Kropp’s response to his injury show psychological effects of war?”

If time allows, have students share their responses with members of their small group.

ASSIGN HOMEWORK

Display and distribute Handout 27A: Fluency Homework and review the assigned fluency passage with students.

Students read pages 244–264 of All Quiet on the Western Front, from “Our stretchers stand on the platform” to “And what shall come out of us?,” annotating for the development of Paul’s perspective about the future, and answer the following question in their Response Journal: “How does the hospital show a truth about war?”

Handout 27A: Fluency Homework

Day 1: Read the text carefully, and annotate to help you read fluently.

Each day: a. Practice reading the text aloud three to five times.

Evaluate your progress by placing a √+, √, or √- in the appropriate, unshaded box.

Ask someone (adult or peer) to listen and evaluate you as well.

Last day: Answer the self-reflection question at the end. The silence spreads. talk and must talk. So speak to him and to say to him: “Comrade, did not want to kill you. If you jumped in here again, would not do it, if you would be sensible, too. But you were only an idea to me before, an abstraction that lived in my mind and called forth its appropriate response. It was that abstraction stabbed. But no, for the first time, I see you are a man like me. thought of your hand-grenades, of your bayonet, of your rifle; now see your wife and your face and our fellowship. Forgive me, comrade. We always see it too late. Why do they never tell us that you are poor devils like us, that your mothers are just as anxious as ours, and that we have the same fear of death, and the same dying and the same agony—Forgive me, comrade; how could you be my enemy? If we threw away these rifles and this uniform you could be my brother just like Kat and Albert. Take twenty years of my life, comrade, and stand up—take more, for I do not know what I can even attempt to do with it now. Remarque, Erich Maria. All Quiet on the Western Front. Ballantine, 1929. Student Performance Checklist:

TEACHER NOTE

Due to sexual content, it is recommended students skip All Quiet on the Western Front pages 264–268, where a soldier’s wife visits the hospital and they have sex in the common hospital room. This is a self-contained episode and will not affect student comprehension of the novel.

Analyze

Context and Alignment

Students examine the psychological effects of war in this portion of chapter 10 and choose a particular piece of evidence to add to a whole-group Psychological Effects Anchor Chart (RL.8.1, RL.8.2). By identifying the difference between physical and mental effects of war, students begin to articulate a central theme of the novel and prepare for their work in the EOM Task. Check for the following success criteria:

ƒ Identifies a strong piece of evidence that demonstrates a psychological effect of war.

ƒ Delineates their psychological effect from a physical effect.

Next Steps

If students have difficulty identifying the difference between physical and psychological effects, consider using visual aids or having students draw the two types of effects to see that the psychological can be subtler, abstract, and require inferences. It may also be helpful to return to the psychology article from Module 1, “Your Brain on Fiction” by Annie Murphy Paul, to further remind students of their previous work with concepts from psychology.

* Note that there is no Deep Dive in this lesson. Use any additional time to support practice of the vocabulary and/or style and conventions skills introduced in the module.

FOCUSING QUESTION: LESSONS 27–33

What are the psychological effects of war?

Lesson 28

Lesson 28: At a Glance

AGENDA

Welcome (5 min.)

Elaborate on Homework Question

Launch (7 min.)

Learn (58 min.)

Examine Incidents of Medical Care (23 min.)

Participate in a Discussion about Psychological Effects (25 min.)

Experiment with Writing a Thesis Statement (10 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3

Writing ƒ

W.8.2.a, W.8.10

Speaking and Listening ƒ SL.8.1

MATERIALS ƒ

Chart paper ƒ Index cards

Learning Goals

Analyze how incidents of medical care reveal psychological effects of war (RL.8.2, RL.8.3).

Collaboratively create a timeline that connects incidents in chapter 10 to psychological effects of war.

Explore how a thesis statement suggests the significance of a broad category (W.8.2.a).

Draft three thesis statements.

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 28

Organize: What’s happening in scenes of medical care in All Quiet on the Western Front?

CRAFT QUESTION: Lesson 28

Experiment: How does developing a thesis statement using a broad category work?

Students continue to build on their examination of psychological effects of war, begun in the previous lesson, by discussing how the scenes in the hospital reveal a truth about war. To unpack a significant section of chapter 10, students create a timeline that highlight key events in the military hospital and the subsequent psychological trauma faced by Paul and Albert. Students use the insights from their timeline to participate in a collaborative discussion as they share and discuss their thinking about the psychological effects of war. Students conclude the lesson by experimenting with writing multiple thesis statements that include the broad category of depression, an acute psychological effect in this portion of text. Students use their understanding of psychological effects in composing their own thesis statements in the fourth Focusing Question Task and the EOM Task.

ELABORATE ON HOMEWORK QUESTION

Pairs compare their responses to the question they completed for homework. Then partners elaborates on their individual response using information from the discussion.

Launch

7 MIN.

Facilitate a brief discussion of responses to the homework question.

n A hospital shows a truth that war involves a lot of destruction.

n A hospital shows the reality of all the “shattered bodies” of soldiers who are wounded in battle (263).

n Paul says there are hundreds of thousands of men, like a “stream of blood,” that never ends, and this is a truth about war (263).

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson, they analyze incidents of medical care in the section of All Quiet on the Western Front they read for homework and examine how incidents of medical care might illuminate the psychological effects of war on soldiers.

58 MIN.

EXAMINE INCIDENTS OF MEDICAL CARE

Small Groups

Distribute chart paper.

23 MIN.

Provide the following definition to support student analysis:

solemn (adj.)—to be very serious and not at all happy in appearance, feeling or speech.

Instruct groups to create a timeline for pages 244–264 of All Quiet on the Western Front (from “Our stretchers stand on the platform” to “And what shall come out of us?”).

Possible timeline entries include the following:

n Paul doesn’t want to get the clean sheets dirty.

n Paul is embarrassed to tell the nurse he has to go to the bathroom.

n Paul tricks the nurse into thinking he has a fever so he can stay with Albert.

n Paul and Albert are put in a Catholic hospital.

n Paul throws a bottle onto the floor to try to get the nuns to stop praying.

n Josef Hamacher protects Paul from getting in trouble.

n Franz Wachter gets sick and is taken away to the “Dead Room” (256).

n Peter is taken away.

n Paul gets an operation and learns the chief surgeon experiments on the soldiers.

n Albert’s leg gets amputated.

1. How does the hospital show a truth about war?

n A blind soldier tries to commit suicide.

n Peter returns.

n Many of the men who are with Paul and Albert get sick and die.

n Paul reflects on the impact of the war on himself and his generation.

Instruct students to star incidents that show psychological effects.

n Paul doesn’t want to get the clean sheets dirty.*

n Paul is embarrassed to tell the nurse he has to go to the bathroom.

n Paul tricks the nurse into thinking he has a fever so he can stay with Albert.

n Paul and Albert are put in a Catholic hospital.*

n Paul throws a bottle onto the floor to try to get the nuns to stop praying.*

n Josef Hamacher protects Paul from getting in trouble.*

n Franz Wachter gets sick and is taken away to the “Dead Room” (256).*

n Peter is taken away.*

n Paul gets an operation and learns the chief surgeon experiments on the soldiers.*

n Albert’s leg gets amputated.*

n A blind soldier tries to commit suicide.*

n Peter returns.*

n Many of the men who are with Paul and Albert get sick and die.*

n Paul reflects on the impact of the war on himself and his generation.*

Group members add evidence to their timeline that supports their starred annotations of the incidents and shows the psychological effects of war.

n Paul doesn’t want to get the clean sheets dirty.*

p Paul says he “feels himself strange and in some way even alarmed” because of the linen white bedsheets (246).

n Paul and Albert are put in a Catholic hospital.*

p Paul describes the hospital at night as a place where no one can sleep: “The night is very disturbed. No one can sleep” (251).

n Paul throws a bottle onto the floor to try to get the nuns to stop praying.*

p Paul says he feels “savage” and then feels like he has “won” when the nuns stop praying (252).

n Josef Hamacher protects Paul from getting in trouble.*

p Josef Hamacher has a shooting license, which means he is “periodically not responsible for [his] actions” and gets away with whatever kind of behavior he wants (253). He tells the nurse he “’lost [his] senses’” (253).

n Peter is taken away.*

p “[Peter] cries out feebly with his shattered lung: ‘I won’t go to the Dying Room’” (258).

n Albert’s leg gets amputated.*

p

“The whole leg has been taken off from the thigh. Now he will hardly speak anymore. Once he says he will shoot himself the first time he can get hold of his revolver again” (260–261).

n A blind soldier tries to commit suicide.*

p “He gropes for the fork, seizes it and drives it with all his force against his heart” (261).

n Peter returns.*

p “[T]here on the stretcher, pale, thin, upright and triumphant, with his shaggy head of curls sits Peter” (261).

n Many of the men who are with Paul and Albert get sick and die.*

p “A man cannot realize that above such shattered bodies there are still human faces in which life goes its daily round” (263).

n Paul reflects on the impact of the war on himself and his generation.*

p “I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow” (263).

Ask: “Based on the discussion from the previous lesson, how did you know which incidents to choose and evidence to identify?”

Remind student that characters’ responses to incidents are often helpful in revealing psychological effects.

Inform students that, most often, the reader must analyze incidents and responses and infer the effect that is being represented.

Add relevant evidence to the Psychological Effects Anchor Chart.

PARTICIPATE IN A DISCUSSION ABOUT PSYCHOLOGICAL EFFECTS

Whole Group

In this Give One–Get One discussion, students collect evidence and then exchange that evidence with their peers.

Distribute index cards to students.

Share the following Give One–Get One strategy with students to encourage collaborative discussion:

ƒ

Write a three to five key ideas on individual index cards that respond to the following question, using bullet points rather than full sentences: “How do incidents in chapter 10 develop the psychological effect of war?”

ƒ Get up, and mingle with your classmates.

ƒ Give one response to a classmate, get one response from your classmate.

ƒ

Reply to your classmate’s response with a short reply that compares ideas, disagrees, or reports. State your reply to your classmate, and record your sentence on the blank side of the index card.

ƒ

When you hear “Move On,” find a different classmate and repeat your exchange and discussion.

Differentiation

Consider posting sentence starters to support students when expressing an opinion, comparing ideas, and reporting.

Expressing an Opinion

In my opinion, _____________.

I believe ____________.

Based on my experience, ____________.

Comparing Ideas

My idea is similar in that _______________.

I agree that ______________.

My idea builds on ________’s idea in that ____________. Although ________ has a valid point, I disagree. I believe that ___________.

Reporting:

_____ pointed out that ___________. _____ stated that ___________. _____ indicated that ___________. _____ emphasized that ___________. According to _____, ___________.

Instruct students to review the cards they collected from their peers, as well as their sentences on the opposite side, and Stop and Jot in response to the following question: “How do your peers’ key ideas help you develop new insights or understandings?”

Facilitate a brief whole-group discussion of student responses.

EXPERIMENT WITH WRITING A THESIS STATEMENT

Pairs

Display the Craft Question:

10 MIN.

Experiment: How does developing a thesis statement using a broad category work?

Remind students of their work with Setting the Stage thesis statements and Defines the Significance of a Category thesis statements in the previous lesson.

Display the following topic sentences:

1. Albert’s amputation in All Quiet on the Western Front develops the psychological effect of depression.

2. Paul’s reflections about his generation in All Quiet on the Western Front shows the devastating impact of depression on a large group of people.

3. Paul’s description of Kemmrich after his amputation in All Quiet on the Western Front shows the psychological effect of depression on a young soldier.

Instruct pairs to use these topic sentences to create three different thesis statements that use a broad category. Instruct students to write at least one Setting the Stage and one Defines the Significance of a Category thesis statement. Remind students to refer to their notes from Lesson 27 for support.

Students write three thesis statements.

Land4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in scenes of medical care in All Quiet on the Western Front?

Students write an Exit Ticket in response to the following question: “Which piece of evidence from your timeline most effectively shows the psychological effects of war?”

Wrap

1 MIN.

ASSIGN HOMEWORK

Students read pages 268–269 of All Quiet on the Western Front, from “After a few weeks” to “But a man gets used to that sort of thing in the army,” and answer the following questions in their Response Journal: “How does Paul’s reaction to leaving Albert compare with leaving his mother on page 185? What does this comparison reveal about his character?”

Analyze

Context and Alignment

Students connect incidents of medical care and the psychological effects of war in a portion of chapter 10 on a timeline (RL.8.2). Students build on their work in the previous lesson by first identifying the incidents in this chapter that develop the psychological effects and providing strong evidence to support their understanding. In their EOM Task, students identify incidents and evidence that most strongly support an analysis of a psychological effect.

Next Steps

If students have difficulty refining and identifying the incidents that develop the psychological effects of war in this portion of text, consider creating a whole-class timeline of the incidents in this chapter and collaboratively refining the incidents. Consider asking students about the way Paul feels in each incident or if other characters express their emotions or thinking. Scaffolding this understanding of chapter 10 as a whole class will also benefit students who may struggle in the Give One–Get One collaborative discussion.

*Note that there is no Deep Dive in this lesson. Use any additional time to support practice of the vocabulary and/or style and conventions skills introduced in the module.

QUESTION: LESSONS 27–33

What are the psychological effects of war?

Lesson 29

All Quiet on the Western Front, Erich Maria Remarque, pages 271–283 ƒ “The Teenage Soldiers of World War One,” BBC (http://witeng.link/0001) ƒ “Dulce et Decorum Est,” Wilfred Owen

Lesson 29: At a Glance

AGENDA

Welcome (5 min.)

Analyze a Quote

Launch (5 min.)

Learn (60 min.)

Review Homework and Annotations (7 min.)

Explore Incidents in Chapter 11 (25 min.)

Analyze Psychological Effects in Chapter 11 (18 min.)

Write to Synthesize Understanding (10 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.2, RL.8.3, RL.8.4

Writing ƒ W.8.10

Speaking and Listening ƒ SL.8.1

Language ƒ

L.8.4.a, L.8.5.a ƒ L.8.4.b, L.8.4.d

MATERIALS ƒ

Handout 29A: Text Analysis

Learning Goals

Analyze how an incident in All Quiet on the Western Front reveals psychological effects of war on the men in the Second Company (RL.8.2, RL.8.3).

Write a paragraph synthesizing an understanding of Paul’s description of the front with an incident in the text that reveals the psychological effects of the war.

Use knowledge of the prefix dis- to define disillusion, disengagement, and dissatisfaction, and verify definitions using a dictionary (L.8.4.b, L.8.4.d).

Write a response that shows understanding of new vocabulary and the poem “Dulce et Decorum Est.”

min.)

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 29

Reveal: What does a deeper exploration of incidents in chapter 11 reveal?

Students deepen their understanding of psychological effects of war as they are represented in All Quiet on the Western Front by analyzing events and the language used to describe those events in chapter 11. Students begin this lesson by rewriting a quote that represents the soldier’s experience in a figurative way, then discuss the role of figurative language in chapter 11. Then students work in expert groups to analyze an incident in chapter 11 and how it reveals psychological effects. This group work allows students to focus deeply on a shorter passage of text while grappling with the complexity of this penultimate chapter of the novel. Individual students write a paragraph to express their understanding, which provides an opportunity to practice explanatory writing skills that will support completion of the Focusing Question and EOM Tasks.

Welcome

ANALYZE A QUOTE

5 MIN.

Display the following quote and the definition of dissolution: ƒ

Dissolution means “the act, process, or result of breaking down or being scattered into parts or elements.”

ƒ

“[W]e are little flames poorly sheltered by frail walls against the storm of dissolution and madness, in which we flicker and sometimes go out” (275).

In their Response Journal, students record the quote and then rewrite the quote in their own words.

Launch

5 MIN.

Students share their rewrites.

Ask: “How does this figurative language develop the psychological effects of the war on the soldiers?”

n This figurative language shows the soldiers’ minds are weak and small compared to the strength of war.

n This figurative language develops the idea that the men can die or go crazy, losing themselves in the storm of war.

n This figurative language develops the idea that the war acts on the mind of each soldier individually. They are each little flames and not a strong group.

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson, they further their analysis of the psychological effects of war by examining figurative language and specific incidents in the novel, which reveal the psychological effects of the war on the men in the Second Company. Learn 60 MIN.

REVIEW HOMEWORK AND ANNOTATIONS

Small Groups

Organize students in their squads.

7 MIN.

Instruct squads to share their responses to the homework question and annotations they completed.

Students discuss the homework and annotations and record any new insights in their Response Journal.

n Paul does not say much about leaving Albert except that it was “hard,” but Paul is used to leaving by now (269).

n In contrast, Paul has a very difficult time leaving his mother. He bites his pillow and holds onto his bed and feels that he is an “agony” for himself and his mother (185).

n This comparison shows that Paul has become less emotional about his relationships or more cynical. Paul is now used to leaving the people for whom he cares, knowing he may never see them again.

n This comparison shows that the war affects Paul’s humanity. Paul is transformed into someone disconnected from caring about those he cares for.

Possible annotations might include the following:

n “[W]ar is the cause of death like cancer” (271).

n “[O]ur thoughts are clay” (271).

n “[F]ormerly we were coins of different provinces; and now we are melted down, and all bear the same stamp” (272).

n “[A]s in a polar expedition, every expression of life must serve only the preservation of existence” (273).

n “[T]he puzzling reflection of former days like a blurred mirror” (273).

n “[Death] has transformed us into unthinking animals” (273).

Now, ask: “What does figurative language convey about the psychological effects of war?”

n Paul compares the experience on the front to a polar expedition, where “every expression of life” must be in service of survival (273). This shows that Paul is in an environment that is harsh and unforgiving. He must disengage or become “indifferent” like an animal in the wild (274).

n Paul compares the soldiers to “little flames” who are poorly protected from a “storm” (275). This comparison develops the weakness of an individual soldier and his inability to do anything except hope that he stays alive.

n Paul compares war to a disease like “cancer and tuberculosis,” except that the deaths from war are different in scope and happen more often (271). This comparison develops the idea that war has become so commonplace for the soldiers they think of it as something as natural as disease.

EXPLORE

INCIDENTS

Small Groups

IN CHAPTER 11 25 MIN.

Tell students that they will now work with specific incidents on pages 275–283 before returning to pages 271–275 to analyze Paul’s descriptions of psychological effects.

Students will examine one incident in chapter 11 using a Jigsaw.

Have students in each squad count off by fours. Assign those with the number one to Expert Group 1, two to Expert Group 2, three to Expert Group 3, and four to Expert Group 4.

Distribute Handout 29A: Text Analysis.

Students break out into their new groups, rereading pages 275–283 and completing their assigned portion of Handout 29A.

TEACHER NOTE

The assignment for Expert Group 1 is slightly less complex than the other assignments, since Paul explicitly names Detering’s psychological state of mind.

It may be helpful to complete this question as a model for all students, or assign this section to students who are struggling, as a scaffold to the more complex thematic work they are completing in this lesson.

Students return to their squads and discuss their area of study from the reading.

Squads chart and present their observations.

Add relevant evidence to the Psychological Effects Anchor Chart.

ANALYZE PSYCHOLOGICAL EFFECTS IN CHAPTER 11 18 MIN.

Small Groups

Group members reread pages 271–275 aloud in their groups, from “We count the weeks no more,” to “we wait for the morning,” rotating after each paragraph.

1. According to Paul, what is the relationship between death and comradeship?

n Paul says there is a “desperate loyalty” the men have with one another because they are all “condemned to death,” which means they know they will all eventually die (272).

n Paul states that the soldiers’ comradeship endures because they are all worried and sad about the fact they will die (272).

n Comradeship is awakened in the men as they face death, which Paul describes as “the abyss of solitude” (274). The nearness of death makes the men closer to one another.

Instruct students to reread silently from “Such things are real problems” to “have deserted, or have fallen” (273).

2. What does Paul mean when he states, “on the borders of death, life follows an amazingly simple course” (273)?

n Paul is describing how, on the front, something as simple as whether to eat soup becomes “serious matters” to the men (273).

n Paul is describing how nothing really matters on the front. The only thing he and his friends have left is that they are alive, but the life they are living is a “closed, hard existence” that is stripped of human qualities (274).

n This shows that the men no longer feel human at a psychological level because Paul is describing how not only their lives are simpler, but how they have lost their spirit and individuality. The men all “bear the same stamp” and share this horrible experience (272). What it means to be human has changed; it no longer means to be an individual or yourself.

Instruct students to reread silently from “As in a polar expedition” to “a flame of grievous and terrible yearning flares up” (273–274).

3. According to Paul, why is it necessary for the men to live “a closed, hard existence” (274)?

n The men must live in such a way that protects them from the “onslaught of nothingness” (274). By being closed and hard, the men are using very little energy on anything except survival.

n The men’s ability to feel emotions has been stripped away by the war, they rarely respond to “incidents” anymore, as a way to avoid being hurt even further (274). They have lost their humanity, in that they cannot feel compassion for others or themselves.

n The men can not predict when “a flame of grievous and terrible yearning” will arise, so they try to avoid feeling anything if they can help it (274).

Students record notes from their discussion in their Response Journal.

Facilitate a brief whole-group discussion and add relevant evidence to the Psychological Effects Anchor Chart.

WRITE TO SYNTHESIZE UNDERSTANDING 10 MIN.

Individuals

Students compose a paragraph-length Quick Write in response to the following questions: “What incident in chapter 11 helps you understand what Paul means when he compares life on the front to ‘a polar expedition’ (273)? Why?”

4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Reveal: What does a deeper exploration of incidents in chapter 11 reveal?

Students Whip Around, sharing one descriptive or sensory detail that reveals the psychological effects of war on the soldiers.

Wrap

1 MIN.

ASSIGN HOMEWORK

Students read pages 283–291 of All Quiet on the Western Front, from “In one attack our Company Commander” to “Then I know nothing more,” annotating for Paul’s responses to the incidents.

Students also continue their fluency homework in preparation for performing a fluent reading in the next lesson.

Analyze

Context and Alignment

Students analyze how an incident in All Quiet on the Western Front reveals psychological effects of war on the soldiers’ (RL.8.2, RL.8.3). Each student should complete the lesson with an understanding of the horrifying and paralyzing psychological effects of war in this portion of chapter 11. These scenes in the novel are particularly rich with figurative language to unpack the experience of the soldiers in World War I. Check for the following success criteria: ƒ

Explains a psychological effect expressed in Paul’s comparison, for example, life on the front is like a “polar expedition” because it is isolating, dehumanizing, terrifying, depressing, etc. (273). ƒ

Synthesizes an understanding of the specific psychological effect expressed in Paul’s comparison and how this effect is illustrated in a separate incident.

Next Steps

If students have difficulty responding to this portion of the novel, consider allowing small groups to brainstorm about Paul’s comparison before breaking off into individual writing. Additionally, consider stipulating which incident students should write about for their paragraph. For the Jigsaw activity, consider asking each expert group basic comprehension questions (e.g., who, what, where, when, why) if they have trouble rereading their assigned portion of text.

Explore Academic Vocabulary:

Dis

ƒ

ƒ

–

Time: 15 min.

Text: “World War I: The War That Inspired Innovative Art,” Hillel Italie (http://witeng.link/0027); “Dulce et Decorum Est,” Wilfred Owen (http://witeng.link/0012)

ƒ

Vocabulary Learning Goal: Use knowledge of the prefix dis– to define disillusion, disengagement, and dissatisfaction, and verify definitions using a dictionary (L.8.4.b, L.8.4.d).

Launch

Display: disable, disenchanted, disobedience, disbelief

Ask: “What do you predict the meaning of the prefix dis– is?” Using Equity Sticks, call on students, and write students’ responses on the board.

n Dis– probably means “not” because if you are disobedient, you didn’t listen.

n If someone is disabled, they lack a certain ability, so maybe the prefix means “lacks.”

n Someone who experiences disbelief means they don’t believe, so dis– means “without.”

Display: “World War I was unique for the art it inspired, and for the art’s disillusion with war itself; winners and losers both despaired” (Italie 2).

Instruct students to Think–Pair–Share, and ask: “Do these sentences confirm or reject your definitions of dis–, and why?”

n Illusion means “a fake image of something.” If someone is disillusioned, it must mean they don’t believe this fake image.

n The author says that both sides of the war “despaired,” so if they are all sad, the illusion about war must have been that it was important and meaningful and now they are sad because they realize it wasn’t.

n Yes, dis– must mean “not or lack” because the people lost their good or grand image of the war.

Learn

Provide the following definitions for students to add to the Morphemes and New Words sections of their Vocabulary Journal.

Word/Morphemes Meaning Synonym(s)

dis– Not, lack of.

disillusion (v.) To remove hopes or beliefs in things that were once true; to disconnect from fantasies of. disenchant

Divide the class into two groups: groups 1 and 2.

Display: Word Meaning Synonym(s) disengage (v.) dissatisfy (v.)

Assign group 1 disengage and group 2 dissatisfy. Instruct students to predict the words meanings.

Conduct a Mix and Mingle to allow students of the same group to compare their responses with at least two other students. Then, instruct students to verify their definitions using a dictionary and record the definitions in their Vocabulary Journal.

Conduct a second Mix and Mingle between the two groups. Have students to share their definitions with members of the opposite group and record the definitions in their Vocabulary Journal.

Land Instruct students to take out copies of “Dulce et Decorum Est.”

Students write an Exit Ticket in response to the following question: “Which of the words (disillusioned, dissatisfied, or disengaged) best captures the feeling of the speaker in “Dulce et Decorum Est,” and why? Cite one line from the poem to support your answer.”

FOCUSING QUESTION: LESSONS 27–33

What are the psychological effects of war?

Lesson 30

Lesson 30: At a Glance

AGENDA

Welcome (5 min.)

Reflect on First Observations

Launch (5 min.) Learn (60 min.)

Perform a Fluent Reading (10 min.) Analyze the Psychological Effects of War (20 min.)

Read and Interpret the Novel’s Ending (15 min.)

Integrate an Understanding of the Psychological Effects (15 min.)

Land (4 min.)

Answer the Content Framing Question Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Explore Academic Vocabulary: Superfluous (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.2, RL.8.3

Writing ƒ W.8.10

Speaking and Listening ƒ W.8.10

Language ƒ L.8.4.a ƒ L.8.4.c

MATERIALS

Chart paper ƒ

Handout 27A: Fluency Homework

Learning Goals

Integrate an understanding of psychological effects of war across the final incidents of All Quiet on the Western Front (RL.8.2, RL.8.3).

Collaboratively participate in a Chalk Talk.

Analyze how the novel illuminates the psychological effects of war (RL.8.2).

Compose a threesentence Quick Write about the psychological effects of the war in the novel as a whole.

Examine the connotation of superfluous to better understand a character’s perspective (L.8.4.c).

Complete a Claim–Support–Question Exit Ticket about a paragraph in All Quiet on the Western Front

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 30

Distill: What are the main ideas of All Quiet on the Western Front?

Students complete their reading of All Quiet on the Western Front and analyze how the final events of the novel reveal the effects of war on soldiers, particularly Paul. Students return to the preface to consider how Erich Maria Remarque’s stated intention contributes to their understanding of the novel as a whole and then participate in a Chalk Talk to integrate their overall understanding and distilling the effects they have been recording on the Psychological Effects Anchor Chart. Finally, students complete a Quick Write about how the entire novel illuminates the psychological effects of war. Students will use the themes in the novel to support the writing of their own explanatory essay on psychological effects in the EOM Task.

Welcome

5 MIN.

REFLECT ON FIRST OBSERVATIONS

Students return to their notice and wonderings about the novel’s preface from Lesson 6 and write a one-sentence response to the following question: “How do your questions and observations about the start of the novel compare with what you know after reading chapter 11?”

Launch

5 MIN.

Have students share sentences from the Welcome task and the annotations they completed for homework.

Possible annotations:

n Incident: Bertinck, the Company Commander, sacrifices himself to save the men (283–284).

n Paul’s response: “so that something had to happen in the end” (283).

n Incident: “the summer of 1918 is the most bloody” (284).

n Paul’s response: “life in its niggardliness seemed to us so desirable,” “return to the front harder than ever,” “life in the line more bitter and full of horror,” “raging fever of impatience, of disappointment,” (285).

n Incident: Kat gets wounded and Paul helps him.

n Paul’s response: “I am very miserable” (289).

n Incident: Kat dies.

n Paul’s response: “Do I walk? Have I feet still?” and “Then I know nothing more” (291).

Post the Focusing Question and Content Framing Question.

Explain that in this lesson students finish their reading of All Quiet on the Western Front and analyze the development of psychological effects in the book’s final chapters as well as consider the themes of the novel as a whole.

60 MIN.

PERFORM A FLUENT READING 10 MIN.

Small Groups

Students take out Handout 27A: Fluency Homework and individually read aloud in their small groups using appropriate pace, tone, expression, emotion, and attention to words and punctuation.

Students self-assess their growth as fluent readers and submit Handout 27A.

ANALYZE THE PSYCHOLOGICAL EFFECTS OF WAR

20 MIN.

Small Groups

Students reread pages 283 and 284, from “In one attack our Company Commander” to “he was such a good mathematician in school,” aloud in their groups, rotating speakers after each paragraph.

Group members Stop and Jot thoughts in their Response Journal before participating in a whole-class discussion of each question before moving to the next one.

1. Describe Paul’s response to the incident with Bertinck. What does it reveal about Paul’s attitude toward the war?

n Paul says that “something had to happen” to Bertinck because he had not yet been injured (283). This shows that Paul is growing less connected to the other men. Their comradeship is fading, and Paul is indifferent to the suffering going on around him.

n Paul gives an account of Bertinck’s story in detail, when he is shot and through his actions, but Paul does not react to any of Bertinck’s heroics. It is almost as if Paul thinks that since Bertinck is “superb” and hasn’t been wounded, that it is his duty to sacrifice himself (283). Paul certainly does not seem grateful.

2. Describe Paul’s response to the incident with Leer. What does it reveal about Paul’s attitude to the war?

n Paul’s response to Leer bleeding out is to think cynically about how useless it was that Leer was “a good mathematician at school” (284). Leer’s schoolwork did not save him from being killed. Leer was powerless to do anything, as were others since “no one can help him” (284).

n Paul describes Leer’s bleeding as “an emptying tube” (284). This description is very efficient and technical, rather than feeling or compassionate, which conveys Paul’s attitude as being hard and cynical about war.

Students reread pages 284–286, from “The months pass by” to “And why do these rumours of an end fly about?,” aloud in their groups and underline repeating words and phrases.

3. How do repeating words and phrases develop the effects of war in this passage?

n The repeating words and phrases all create the effect of monotony. The same things happened over and over that summer, and time passes slowly.

n The repeating phrase “summer of 1918” calls attention to the significance of that particular time; the summer was “the most bloody and the most terrible” (284).

n By repeating the phrase “summer of 1918,” Paul is also recalling the start of the novel, when most of his friends were still alive and things were full of life (284). Instead, this summer is full of “horror” and despair (285).

n The repetition of words such as “never” and “why” creates the effect of despair, like the war will never end. Paul is disillusioned and cannot believe in another way of life.

n After thinking of many beautiful things, “blades of grass, the warm evenings,” the word “life” breaks out like a desperate cry (285). It shows that life is still there, even during the war. The repetition of “life” extends the cry into something desperate or sad. Paul is crying out for a life that he might not be able to return to.

Students reread pages 286–291, from “There are so many airmen here” to “Then I know nothing more,” aloud in their groups.

4. How does Paul’s reaction to Kat’s death, compared with Bertinck’s and Leer’s, develop the psychological effects of war?

n Paul’s reaction to Kat’s death is less cold and descriptive than his reaction to Bertinck’s or Leer’s death. Paul does not think Kat’s death is inevitable, and Paul is in total shock. He cannot even

recognize his own body when he says, “Have I feet still?” (291). Something that was once familiar to him, his own body, now seems very foreign.

n Paul responds to Kat’s death with the repetition of “No, we are not related” (291). This repetition shows Paul’s disbelief at Kat’s death—it is like his mind is stuck on repeat. He is not able to feel emotions and is stripped of all his human spirit and even his knowledge, “I know nothing more” (291). This repetition is a sad and bitter reflection on what has happened to the comradeship among the Iron Youth. Paul valued his comrades more than anyone, and they were closer than family, but now that all seems gone.

n Kat’s death develops the onslaught of death that Paul experiences because of war. The same horrible things keep happening to Paul over and over. He repeatedly watches his friends die, and he repeatedly gets sent to the front lines. Paul can no longer make sense of the world and even feels disconnected from his own body.

READ AND INTERPRET THE NOVEL’S ENDING 15 MIN.

Whole Group

Read aloud pages 293–295.

Students follow along in their copy of the text.

Provide the following definition for students to add to the New Words section of their Vocabulary Journal.

Word Meaning Synonym(s)

superfluous (adj.) To have an amount that is far larger than the amount that one needs. excessive

5. “What’s happened to Paul and his friends at the end of the novel?”

n Most of the men from the Second Company are dead. Paul says he is the “last of seven fellows” from his class, which means all the younger men are dead (293).

n Paul believes the men who survived, like him, are lost and “will not be able to find [their] way any more” (294).

n Paul has no one else around, and he says he is “alone” and “without hope” (295). He does not have anyone else to support or comfort him.

6. According to Paul, what is the fate, or future, of the men who will survive the war?

n Paul says that in the immediate future there will be a “revolution” if peace is not declared (293). This means the men are angry and fed up with the war and have some hope for returning home but without “aims” (294).

n Paul predicts that when the men return home they “will not be able to find [their] way” (294). The men will not only be lost but totally “broken, burnt out” from the fighting (294). The men who return from the war will be physically and mentally exhausted.

n Paul predicts the men who return will not be able to function normally any more, “most will be bewildered” (294). The generations on either side of the men who return “will not understand [them],” and Paul believes that these men will all “fall into ruin” (294).

n Paul hopes that the future will not be bleak for the generation of men. He does not want to totally believe all the “yearning” has left this generation of men, “It cannot be that it has gone” (294). Yet, Paul does not qualify this hope in the same way that he predicts disaster.

Read aloud page 296.

Ask: “Who do you think these final two paragraphs are about?”

n The final paragraph might be about any soldier who dies on a quiet day.

n This final paragraph might be about any soldier of Paul’s generation, repeating the idea that war ends most life.

n This final paragraph might be about Paul, who is happy to die and not return home to a rootless and difficult life.

Instruct students to reread the final two paragraphs of the novel silently.

Ask: “What differences do you notice between the end of the novel and the rest of the text?”

n Most of the novel is written from the first-person perspective of the narrator Paul, but the end of the novel is written in the third person, and the narrator is unknown.

n Most of the novel is written in the present tense, but the end is written in the past tense.

Instruct students to reread the final two paragraphs of the novel aloud in pairs. The first partner should read the two paragraphs as written. The second should replace “he” with “I” while reading aloud.

Students Turn and Talk about the difference they noticed between the two versions of the paragraphs.

Ask: “What is one effect that is created by the shift in pronoun in the final two paragraphs?”

n Paul has died, so the shift in perspective emphasizes the fact that he can no longer speak for himself.

n The unnamed narrator of the last two paragraphs takes on the same perspective as the reader, which makes the reader feel like they are observing what happened to Paul.

Add relevant evidence to the Psychological Effects Anchor Chart from the students’ discussion of the last section of the novel.

INTEGRATE AN UNDERSTANDING OF PSYCHOLOGICAL EFFECTS 15 MIN.

Small Groups

Instruct students to reread silently the preface of All Quiet on the Western Front and underline a key word or phrase.

Tell students that you will read the preface aloud, and they should read aloud their key word or phrase when it comes up.

Read aloud the preface. Students read their key word or phrase aloud when appropriate.

Conduct a brief discussion of the loudest parts of the preface during the Read Aloud.

Explain that students will participate in a Chalk Talk. Display the following questions and prompts on chart paper at different stations around the classroom:

ƒ How does Paul describe the psychological effects of war? Write three pieces of evidence that support your response.

ƒ Why did the war “destroy” men who did not die? Provide one example from the text to support your response.

ƒ

Rewrite the following quote in your own words: “Our hands are earth, our bodies clay and our eyes pools of rain. We do not know whether we still live” (287).

Tell students that the fourth station is the Psychological Effects Anchor Chart. Instead of answering a question or prompt, students do the following:

ƒ Review the groups of like evidence.

ƒ Reorganize the groupings if they choose to do so.

ƒ

ƒ

Choose one group of evidence.

Then write one or two sentences about their chosen group of evidence, explaining what that evidence shows about the psychological effects of war.

Students participate in a Chalk Talk, responding to the three questions and writing about evidence on the Psychological Effects Anchor Chart.

After all groups have responded at each station, lead a full class debrief of responses.

Tell students that the work they did with the Psychological Effects Anchor Chart was distilling a psychological effect of war from a group of related evidence. Remind students of their work labeling categories from throughout the module.

Have several student volunteers share their sentences, and ask: “Is there a single word or phrase you can use to further distill your effect?”

Solicit ideas from the whole group, recording words and phrases that further distill the psychological effect the sentences describe.

TEACHER NOTE

Students are working with abstract, thematic concepts. It may be necessary to guide students to the words or phrases that capture their psychological effect. Examples include the following: disillusionment, powerlessness, estrangement, and dehumanization

Tell students they will be working with these categories of psychological effects in the EOM Task.

Land4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Distill: What are the main ideas of All Quiet on the Western Front?

Students compose a three-sentence Quick Write in response to the following question: “What does All Quiet on the Western Front say about the effects of World War I?”

Wrap

1 MIN.

ASSIGN HOMEWORK

Students use the sentences they wrote about the Psychological Effect Anchor Chart and use a dictionary or thesaurus to find a word or phrase that further distills the psychological effect they described.

Analyze

Context and Alignment

Students analyze the final incidents in the novel and how these incidents develop the psychological effects of war (RL.8.3, RL.8.2). Students reflect on the novel as a whole and how the entire novel illuminates the psychological effects of war (RL.8.2). Now that they have finished the novel, students connect examples of psychological effects of war and begin to categorize these effects based on groups of similar evidence. The work with the Psychological Effect Anchor Chart is crucial for student success on the EOM Task, as students will work with one of the main psychological effects distilled in this lesson. For Quick Writes, check for the following success criteria:

ƒ Identifies a specific psychological effect that is developed in the novel.

ƒ Responds to All Quiet on the Western Front as a whole, not limiting the response to a particular incident.

Next Steps

If students have difficulty responding to the novel as a whole, consider prompting various points in the novel that reveal the psychological effects students distill in this lesson. It may be helpful to post evidence and prompt students to recall other times in All Quiet on the Western Front when the psychological effect was present.

Explore Academic Vocabulary: Superfluous

ƒ

Time: 15 min.

ƒ

ƒ

Text: All Quiet on the Western Front, Erich Maria Remarque

Vocabulary Learning Goal: Examine the connotation of superfluous to better understand a character’s perspective (L.8.4.c).

Launch

Display the following words one by one. Students give a thumbs-up if the word has a positive connotation, thumbs-down if it has a negative connotation, or a fist if the word is neutral. Remind students that connotations are the feelings associated with certain words. Ask students to justify their ratings.

1. annihilation 2. intrude 3. patriotism 4. punctual

Ask: “Annihilation and intrude both got thumbs-down. Do they have equally negative connotations?”

n No, annihilation is far more negative than intrude. Annihilation means “complete destruction” while intrude is just an annoyance.

n Intrude is very minor, like a disturbance. Annihilation has probably the worst connotation because feelings of despair and hopelessness are associate with total destruction.

Explain that connotations come in different degrees and extremes; words aren’t simply all bad or all good. Knowing the degree of connotations for words allows students to be more specific in the word choices in their own writing.

Learn

Display: extra, superfluous, excess, overflow, overkill, bonus, leftovers.

Remind students that superfluous means “being beyond a sufficient amount; excessive.” Instruct students to sort the displayed words into a word line from most negative to most positive connotations, rewriting them in order and labeling each end of the connotation spectrum. Provide dictionaries or electronic resources to look up the meaning of any unfamiliar words.

Scaffold

Reduce the number of words or provide a partially completed connotation spectrum: (Most negative connotation): , overkill, , overflow, , bonus (Most positive connotation) TEACHER NOTE

Students’ spectrums may differ in minor ways; however, it’s important that they understand that superfluous is more negative than positive. Being unnecessary due to excess indicates that the person or item is essentially useless.

Display and reread the second to last paragraph on page 294 and underline or highlight superfluous Land

Students submit a Claim–Support–Question Exit Ticket that answers the following questions:

Claim—How does Paul feel about war and about himself in this paragraph?

Support—How does the definition of superfluous and its connotation support your claim?

Question—What questions are you left with?

war? WIT & WISDOM®

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Lesson 31

TEXT

ƒ “The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley (http://witeng.link/0014)

of G8 M2 Lesson 31 © 2023 Great Minds PBC

Lesson 31: At a Glance

AGENDA

Welcome (5 min.)

Share Homework Launch (5 min.)

Learn (60 min.)

Encounter Text (17 min.)

Summarize an Understanding of Key Details (18 min.)

Define Key Words and Phrases (15 min.)

Experiment with Writing a Thesis Statement (10 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep Dive: Examine and Experiment: Ellipsis to Indicate Omission (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RI.8.1, RI.8.3, RI.8.4

Writing ƒ W.8.2.a

Speaking and Listening ƒ SL.8.1

Language ƒ L.8.4.a, L.8.5.b, L.8.5.c ƒ L.8.2.b

MATERIALS

ƒ

Handout 31A: Frayer Models

Learning Goals

Describe how the author of “The Forgotten Female ShellShock Victims of World War I” uses shell shock and hysteria to explain the psychological effects of war (RI.8.1, RI.8.3, L.8.4.a).

Complete two Frayer Models: shell shock and hysteria

Explore how a thesis statement suggests the significance of a broad category from “The Forgotten Female Shell-Shock Victims of World War I” (W.8.2.a).

Draft two thesis statements.

Identify the purpose of ellipses in incorporating evidence from a text, and with support, use an ellipsis to indicate an omission (L.8.2.b).

Make at least one omission and correctly use an ellipsis.

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 31

Organize: What’s happening in “The Forgotten Female Shell-Shock Victims of World War I”?

CRAFT QUESTION: Lesson 31

Experiment: How does developing a thesis statement using a broad category work?

In this lesson, students continue their analysis of the psychological effects of war, but shift their attention to an informational article, “The Forgotten Female Shell-Shock Victims of World War I.” Students will work with this article for their Focusing Question Task in the following lesson. Students continue their focus on the war’s effect on soldiers while also examining a new aspect: the effects of war on civilians, particularly women. The article suggests that the psychological effects of war on women who worked on the front were equivalent to that of their male counterparts. Students discuss and summarize the article before completing two Frayer Models on the key terms shell shock and hysteria, which will support their work with these terms in the Focusing Question Task. In this lesson and the subsequent Focusing Question Task, students consider how people’s experiences are interpreted and classified differently, especially by the medical community, due to characteristics of their identities. With this work, students develop the skill of discerning how the organization of information and experience into broad categories can serve particular purposes and have important effects. In this case, they understand how categories reveal social attitudes that impact groups of people over the short- and long-term.

“The Forgotten Female Shell-Shock Victims of World War I” opens with a description of a violent crime, in which a mother decapitates her young child because of psychological trauma brought on by the war. This incident is gruesome and could be potentially disturbing for students but serves to illustrate the level of devastation that permeated all levels of society during the war. The article’s main point is to discuss how women’s mental health was overlooked, both at the time of World War I and in the historical accounts that followed.

5 MIN.

SHARE HOMEWORK

Students find a partner and share the word or phrase they identified for homework.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Students share the words or phrases they identified for homework:

Possible responses:

n Defenselessness.

n Weakness.

n Helplessness.

n Depression. n Sadness. n Brokenness. n Separation. n Loneliness.

Tell students that in this lesson, they work with an informational text to further their analysis of the psychological effects of war, continuing to consider the psychological effects of war on soldiers on the front but also on other people in different situations.

Whole Group

Distribute “The Forgotten Female Shell-Shock Victims of World War I” (http://witeng.link/0014)

Instruct students to number the paragraphs in their copies of the text.

Read the article aloud as students follow along in their texts.

Ask: “Who is this article about? What people is the author interested in?”

n The author is interested in “British women,” “male and female minds,” “women at home in London,” female “nurses and ambulance drivers,” “British troops,” and “women stationed on the front.”

n The author is mostly interested in the experience of women who lived through World War I and experienced psychological effects.

Ask: “What ideas about the effects of war is the author of this article interested in?”

n The author is interested in the “psychological devastation” that affected people during World War I.

n The author is interested in psychological effects like “shell-shock” and “hysteria.”

n The author is interested in the “reaction [women had] to the emotional stress” of World War I.

Display the following words: emasculating and effeminate.

Ask: “How do these two words help you understand what this article is about?”

Students Turn and Talk and then share their observations.

n Emasculating has masculine as a root, and effeminate has feminine, so these two words confirm my idea that this article is about the experience of men and women during World War I.

n Emasculating means “to take away the strength or energy of something,” it is a negative word about making someone or something weaker, usually a man.

n Effeminate describes when a man has the appearance or behavior that we usually associate with a woman. It is a negative term meant to insult men.

n These two words help me understand that this article is about negative or difficult ideas about men and women and their experiences during World War I.

Students record their observations in their Response Journal.

SUMMARIZE AN UNDERSTANDING OF KEY DETAILS 18 MIN.

Pairs

Instruct pairs to reread each paragraph, and next to each paragraph write a one sentence summary of that paragraph’s main idea. Have students annotate for terms that describe psychological effects of war and the symptoms that accompany those terms.

Circulate to offer any support or historical context as needed.

n Paragraph 1: Elizabeth Huntley suffered from “air raid shock” and killed her baby.

n Paragraph 2: Doctors invented the category of “shell shock” to describe the variety of psychological conditions of soldiers.

n Paragraph 3: Shell shock was a popular but not an accurate term because soldiers who experienced the same condition had never been close to exploding shells or enemy fire.

n Paragraph 4: Doctors liked the term shell shock because it made a clear distinction between soldiers’ mental health and the mental health of women and regular men.

n Paragraph 5: Air raid shock and shell shock were categorized differently because people thought women’s brains were not equal to men’s brains.

n Paragraph 6: Doctors made another new condition, “civilian war neuroses,” because they realized regular people were affected by warfare but did not want to consider soldiers and civilians equals.

n Paragraph 7: Women who suffered mental trauma were ignored and untreated, even now, not much is known about them.

n Paragraph 8: Women who were a part of the war effort, nurses and ambulance drivers, experienced the same conditions as soldiers.

n Paragraph 9: Female nurses and ambulance drivers were sent home if they suffered mental trauma but, unlike soldiers, they were not treated.

n Paragraph 10: Many women wrote about their mental conditions in diaries, letters, and books like Not So Quiet.

n Paragraph 11: Women’s mental health during World War I is overlooked.

n Paragraph 12: Women have suffered severe mental trauma that has largely been forgotten because of their sex.

Facilitate a whole-group discussion of students’ paragraph summaries and chart student responses.

Collaboratively develop a three-sentence summary of the whole article. Prompt students to suggest transitions to incorporate in this group summary.

n Women and men, civilians, soldiers, nurses, and ambulance drivers all suffered the same mental trauma from the war.

n However, because soldiers were considered special, doctors only wanted to use the term shell shock for soldiers and made other categories for mental trauma for other groups, especially women.

n Because of these different categories, women suffered from extreme mental trauma that was never treated and is largely forgotten today.

Students copy the group summary in their Response Journal.

DEFINE KEY WORDS AND PHRASES

Small Groups

Distribute Handout 31A: Frayer Models.

15 MIN.

Students develop their understanding of what is happening in the article by looking more closely at two key terms the author uses to build her argument: shell shock and hysteria.

Students work in their squads to complete these Frayer Models.

Students complete two Frayer Models for shell shock and hysteria

Then, ask: “How do these two mental conditions compare?”

n Shell shock was a mental condition that only affected soldiers.

n Hysteria was a mental condition that only affected women.

n Both mental conditions were used to describe mental trauma or suffering.

n The main difference between shell shock and hysteria was the doctors’ invention of the terms. Shell shock was considered a tough trauma that only affected soldiers, while hysteria was a weak trauma that only affected women.

EXPERIMENT WITH WRITING A THESIS STATEMENT

Individuals

Display the Craft Question:

10 MIN.

Experiment: How does developing a thesis statement using a broad category work?

Display the following phrases from the article for students:

“For centuries, hysteria was thought of as a uniquely female condition” (paragraph 2).

“[T]hen not only would men no longer be the only ones ‘under fire;’ women’s minds could be seen as equivalent to men’s, and their suffering just as great” (paragraph 5).

“Many women were on the firing line, suffering their own psychological trauma at the front” (paragraph 6).

“If a female ambulance driver or nurse could not stand the strain of war, she was simply sent home” (paragraph 9).

“[T]he diaries and letters of women stationed on the front reveal countless instances of women discussing their ‘shock’ and reaction to the emotional stress around them” (paragraph 10).

Instruct students to use these key phrases to develop two thesis statements that use a broad category. Instruct students to write at least one Setting the Stage and one Defines the Significance of a Category thesis statement. Remind students to refer to their notes from Lesson 27 for support.

Students complete two thesis statements.

4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Organize: What’s happening in “The Forgotten Female Shell-Shock Victims of World War I”?

Students write one sentence in response to the following question: “What is the reason female shellshock victims of World War I have been forgotten?”

Wrap

1 MIN.

ASSIGN HOMEWORK

Students reread “The Forgotten Female Shell-Shock Victims of World War I” and annotate for conditions and symptoms of those conditions that are mentioned in the article.

TEACHER NOTE

The article uses conditions to describe psychological trauma like shell shock and neurosis, it may be helpful to inform students that this is very similar to what they have been calling psychological effects in the class analysis.

Analyze

Context and Alignment

Students describe the definitions of shell shock and hysteria using Frayer Models as a template (RI.8.1, RI.8.3, L.8.4.a). Students read and summarize an article about female shell-shock victims in World War I to understand the scope of the psychological victims of the war. By examining the effects of war on women of the time, students gain an understanding of a neglected corner of history and also gain first-hand knowledge about the devastating effect of sexism in the past.

Next Steps

If students have difficulty developing a Frayer Model, consider facilitating whole-group work with one of the models to scaffold student understanding. It may be best to work with hysteria, as it is isolated in one paragraph. For students’ summary work, consider modeling the paragraph summarization activity before students begin. Consider reminding students that topic sentences and transitions between paragraphs often signal the author’s central ideas in a paragraph.

Examine and Experiment: Ellipsis to Indicate Omission

ƒ

Time: 15 min.

ƒ

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Text: “The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley

Style and Convention Learning Goal: Identify the purpose of ellipses in incorporating evidence from a text, and with support, use an ellipsis to indicate an omission (L.8.2.b).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 33

Examine and Experiment: Why are ellipses important? How do ellipses work when incorporating evidence into my writing?

Launch Display:

“‘Was she in any way akin to those on the battlefields who suffered from similar war or fearinduced mental anguish? ... Under these circumstances—and it is hard to know to what extent Elizabeth Huntley was unique … the blurring of the line indicating who exactly was under fire seems fully accomplished’” (Groch-Begley par. 5).

Allow students to reread the quotation from “The Forgotten Female Shell-Shock Victims of World War I.” Then, instruct students to Stop and Jot what they think the purpose of the ellipses are in this excerpt. Conduct a Give One–Get One–Move On.

Using Equity Sticks, call on several students to share their responses or responses that they heard.

n I think the ellipses are indicating a pause for dramatic effect since it’s about the suffering this woman endured.

n I heard that the ellipses are there to show that a part of the text has been left out.

n The ellipses might be there to slow down our reading because the information is important.

Reveal that in the example above, the ellipses are present to indicate that a portion of the original text has been omitted or left out. Show that the single quotation marks are a clue that the text in between them is from an outside source, so the author of the article chose to use only parts of that source that best support her ideas.

Tell students that when they use evidence from an outside source in their writing, they can omit portions of the quotation that aren’t relevant, but they have to let readers know that they made an omission.

Display: “Their experiences included tremendous violence and physical suffering; their diaries and letters home include descriptions of being fired on by enemy forces, who used the ambulances to gauge distance to the trenches; spending long nights trapped in No Man’s Land; suffering amputations and broken bones from crashes and falling shells; and even getting hit with ‘secondary gas,’ as the acrid fumes clinging to the victims they were helping could burn their eyes” (Groch-Begley par. 8).

Instruct students to Think–Pair–Share, and say: “Pretend you are writing an informative essay about the role of female nurses in World War I. You want to use this quotation to provide examples of the gruesome violence these women witnessed. However, this quotation is too long to insert into your essay. What portions of this quotation would you include to prove your point?”

n We would include “suffering amputations and broken bones from crashes and falling shells” because they provide disturbing visual images.

n We included “being fired on by enemy forces” because it shows women got shot at, too.

n We would use “even getting hit with ‘secondary gas’” because the descriptions in the novel and poem of what happens when someone is gassed are pretty gross.

Conduct a Think Aloud to model using an ellipsis.

“I want to give examples of the violence women saw, so I will use some of the examples you listed. First, I want to introduce the quotation somehow.

In Hannah Groch-Begley’s article, she notes that women’s diaries revealed that they experienced just as many atrocities as men like ‘being fired on by enemy forces.’

OK I don’t think I need to include ‘who used ambulances to gauge the distance to the trenches’ or the section about ‘No Man’s Land.’ We didn’t choose those parts. I’ll put my ellipsis and then continue with the quotation.

The article on female shell-shock victims notes that women’s diaries revealed that they experienced just as many atrocities as men, like ‘being fired on by enemy forces … suffering amputations and broken bones from crashes and falling shells; and even getting hit with secondary gas …’ (Groch-Begley par.8).

I put an ellipsis at the end because I don’t need to use the rest of the quotation from the text. Notice that when I use an ellipsis at the end of my sentence, I still place a period after the in-text citation.”

TEACHER NOTE

Land Display:

Please note that because this article has no page numbers, we have inserted paragraph numbers and used the paragraph for the citations.

“Groch-Begley makes a strong case that men and women experienced similar mental distress. She writes .”

Direct students to paragraph 5 of “The Forgotten Female Shell-Shock Victims of World War I,” to the sentence that begins with “If a woman at home in London.”

Pairs incorporate the sentence from paragraph 5 after the displayed introduction, making at least one omission and correctly using an ellipsis.

Remind students to only select parts of the sentence that highlight the main idea of the introductory sentence.

Allow pairs to compare responses.

Possible responses include:

n Groch-Begley makes a strong case that men and women experienced similar mental distress. She writes, “If a woman home in London could experience comparable mental distress … women’s minds could be seen as equivalent to men’s …” (par. 5).

n Groch-Begley makes a strong case that men and women experienced similar mental distress. She writes, “If a woman home in London could experience comparable mental distress to those in France and elsewhere … women’s minds could be seen as equivalent to men’s …” (par. 5).

n Groch-Begley makes a strong case that men and women experienced similar mental distress. She writes, “If a woman home in London could experience comparable mental distress to those in France and elsewhere … women’s minds could be seen as equivalent to men’s and their suffering just as great” (par. 5).

FOCUSING QUESTION: LESSONS 27–33

What are the psychological effects of war?

33 34 2 1 3 5 6 7 15 26 11 19 30 9 17 28 13 24 21 32 8 16 27 12 23 20 31 10 18 29 14 25 22 4 37 36 35 WIT & WISDOM®

Lesson 32

TEXT G8 M2 Lesson 32 © 2023 Great Minds PBC

Lesson 32: At a Glance

AGENDA

Welcome (3 min.)

Share Homework Launch (7 min.)

Learn (60 min.) Prepare for a Focusing Question Task (5 min.)

Categorize Ideas (17 min.)

Create: Focusing Question Task (38 min.)

Land (4 min.) Answer the Content Framing Question

Wrap (1 min.)

Assign Homework Style and Conventions Deep Dive: Execute: Use an Ellipsis to Indicate an Omission (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RI.8.1, RI.8.2, RI.8.3

Writing

ƒ

W.8.2.a, W.2.b, W.8.2.f, W.8.4, W.8.9

Speaking and Listening ƒ SL.8.1

Language ƒ

L.8.2.c, L.8.4.a, L.8.5.c, L.8.6 ƒ L.8.2.b

MATERIALS ƒ

Assessment 32A: Focusing Question Task 4 ƒ

Handout 32A: Using an Ellipsis ƒ Chart paper

Learning Goals

Explain the ways an informational text makes connections and distinctions among ideas about the psychological effects of war on men and women (RI.8.3, W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9, L.8.2.c, L.8.4.a, L.8.6).

Complete Assessment 32A.

Employ an ellipsis to indicate an omission in textual evidence (L.8.2.b).

Complete PART 2 of Handout 32A.

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 32

Distill: What are the central messages of “The Forgotten Female Shell-Shock Victims of World War I”?

CRAFT QUESTION: Lesson 32

Execute: How do I use a thesis statement with a broad category in an explanatory essay?

Students focus on a single text for their fourth Focusing Question Task, examining connections and distinctions among ideas in “The Forgotten Female Shell-Shock Victims of World War I.” In their task, students examine the way the author connects the psychological effects of war on different groups of people, connecting the trauma experienced by men and women during World War I. Students first work in groups to collect evidence, then complete their Focusing Question Task independently. Students consider why the historical dismissal of women’s experience needs to be corrected, which supports their work with conclusions and connects their analysis to larger ideas in the EOM Task.

Welcome

SHARE HOMEWORK

3 MIN.

Students circulate and share their homework annotations with at least two peers.

Launch

7 MIN.

Draw a T-chart on the board, labeling one side Conditions and the other Symptoms.

Instruct students to share their annotations, and record the conditions and symptoms.

Conditions Symptoms

Air raid shock shaking, delusions, depression, nervous breakdown

Shell shock hysterical paralysis, deafness, mutism, arthritis, facial spasms, fear, disgust, fatigue, delirium, suicidal thoughts, stammer

War neurosis same as shell shock

Hysteria fainting, sexual desire, similar symptoms to shell shock, temporary deafness, vision trouble, mental instability

Civilian war neurosis same as air raid shock

Then, ask: “What do you notice about these conditions and their symptoms?”

Guide students to the understanding that though there were five different terms used to describe these conditions during World War I, they all share almost exactly the same symptoms.

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson, they analyze the connections and distinctions “The Forgotten Female Shell-Shock Victims of World War I” makes about the various groups of people who were affected by the war.

60 MIN.

Whole Group Distribute Assessment 32A: Focusing Question Task 4, and read the task aloud to students.

Display the Craft Question:

Execute: How do I use a thesis statement with a broad category in an explanatory essay?

Have a student restate the purpose of writing a thesis with a broad category.

Ask: “Why might it be effective to write a thesis using the category of ‘people affected by the war’?”

Guide students to the understanding that this category allows them to discuss both men and women, at home and on the front. The category of men would exclude women, and vice versa.

CATEGORIZE IDEAS 17 MIN.

Small Groups

Distribute chart paper.

Instruct students to take out “The Forgotten Female Shell-Shock Victims of World War I” by Hannah GrochBegley.

Remind students of their work making connections among all the various terms for psychological effects presented in this article.

Instruct students to label each term on their T-chart with either M for men or W for women.

Then, ask: “What do you notice about which terms were ascribed to which group?”

n Shell shock and war neurosis were ascribed to men.

G8 M2 Handout 32A WIT & WISDOM

Handout

Claim:

Evidence 1: “We are insensible, dead men, who through some trick, some dreadful magic, are still able to run and kill” (116).

Evidence 2: “The blast of the hand-grenades impinges powerfully on our arms and legs; crouching like cats we run on, overwhelmed by this wave that bears us along, that fills us with ferocity, turns us into thugs, into murderers, into God only knows what devils” (114).

PART 2

Directions: Read the claim that the student wants to support in their essay. Then read the sentences from All Quiet on the Western Front that the student is considering using in their essay. Select the best quotation, and write it on the lines. Use an ellipsis to indicate portions of the quotation that do not support the student’s claim.

Claim: Paul’s growing disillusionment is presented through figurative language.

Evidence 1: “Leer groans as he supports himself on his arm, he bleeds quickly, no one can help him. Like an emptying tube, after a couple of minutes he collapses” (284).

Evidence 2: “Just as we turn into animals when we go up to the line, because that is the only thing which brings us through safely, so we turn into wags and loafers when we are resting” (138–139).

Evidence 3: “We will be superfluous even to ourselves, we will grow older, a few will adapt themselves, some others will merely submit, and most will be bewildered” (294).

Great Minds PBC

Page of

n Civilian war neurosis and hysteria were ascribed to women. Civilian leaves out the women who worked on the front, and hysteria has negative connotations about how people at the time thought women were weaker or less mentally capable than men.

Ask: “What are the connotations of these terms?”

n Shell shock and war neurosis have serious connotations, including the shelling and trauma of the front lines, and suggest that these issues are specific to soldiers fighting at the front.

n Civilian leaves out the women who worked on the front, and hysteria has negative connotations about how people at the time thought women were weaker or less mentally capable than men.

Tell students that in order to understand how the article categorizes these ideas, they will need to understand the traumatic experience of men and women during World War I.

Groups divide their chart paper in two. On one side, they collect evidence about the women’s experiences of psychological trauma and on the other men’s experiences of psychological trauma.

CREATE: FOCUSING QUESTION TASK 38 MIN.

Individuals

Students independently complete Focusing Question Task 4.

Differentiation: Consider distributing To-SEEC graphic organizers like the following for students to organize their essays.

Thesis Topic Statement Topic Statement

Evidence: Elaboration: Evidence: Elaboration:

Evidence: Elaboration: Evidence: Elaboration:

Land

4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Distill: What are the central messages of “The Forgotten Female Shell-Shock Victims of World War I”?

Have students Think–Pair–Share, and ask: “How does the author’s use of the word forgotten in the title help us identify the central message of the article?”

1 MIN.

ASSIGN HOMEWORK

Students review their texts and notes on all module texts in preparation for the Socratic Seminar in the following lesson.

Analyze Context and Alignment

Students write an explanatory essay for their Focusing Question Task (RI.8.3, W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9, L.8.2.c, L.8.4.a, L.8.6). Check Appendix C for an exemplar student response and success criteria.

Next Steps

If students have difficulty drafting their essay, consider providing the paragraph organizer in the alternate activity and sentence frames.

Group students with similar needs and plan small-group support for these skills to set students up for success with their next Focusing Question Task.

Lesson 32 Deep Dive: Style and Conventions

Execute: Use an Ellipsis to Indicate an Omission

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Time: 15 min.

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Text: All Quiet on the Western Front, Erich Maria Remarque, pages 283–296

Style and Conventions Learning Goal: Employ an ellipsis to indicate an omission in textual evidence (L.8.2.b).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 32

Execute: How do I use an ellipsis in my analysis of All Quiet on the Western Front?

Launch Display:

The report of Paul’s death makes it seem as though he finally achieved peace: “He had fallen forward and lay on the earth as though sleeping … as though almost glad the end had come …” (Remarque 296).

Instruct students to read the example and decide if the ellipses are used correctly. Remind them to look the original text. Tell students to raise their hands if the ellipses are used correctly and be prepared to explain their decisions.

n The second ellipsis is not used correctly because the sentence from the book ends there. The author of the essay isn’t omitting anything.

n The ellipses are used correctly; there are three periods to show text has been omitted.

n The first ellipsis is used correctly because the author leaves out a part of the novel he or she is quoting.

Explain that the first ellipsis is used correctly since the author omits a portion of the original text, but the second ellipsis is not necessary since the original sentence ends there. The author, therefore, is not omitting anything.

Learn

Ask: “Why use an ellipsis at all to indicate an omission in textual evidence? Why not use the whole quotation?”

n It’s better to use short pieces of textual evidence to avoid a shift in voice.

n Our essays have to be mostly our own writing, not another authors.

n Sometimes a part of a quotation doesn’t tie to your main idea, so it’s better to leave it out.

Explain that purposefully using an ellipsis can show their understanding of a text because they can discern what is important from what is not.

Distribute Handout 32A. Tell students to complete PART 1 and compare answers with a partner.

Volunteers share their answers and rationales.

Correct misunderstandings as needed.

TEACHER NOTE

It may be helpful to reveal to students that the best omission in Evidence 1 would be “through some trick, some dreadful magic” and Evidence 2 would be “crouching like cats we run on, overwhelmed by this wave that bears us along that fills us ferocity” (116, 114). However, other answers are not necessarily wrong. In the first piece of evidence, the idea that they are dead, yet can still kill is what shows they are no longer in touch with humanity. In the second piece of evidence, the comparisons to cats or thugs and murderers all demonstrate this same idea.

Land

Students complete PART 2 of Handout 32A.

TEACHER NOTE

The first two pieces of evidence are best suited for the claim because they include figurative language. If students need a reminder about what constitutes figurative language, ask students to list types of figurative language and write their responses on the board.

Lesson 33

What are the psychological effects of war?

Lesson 33: At a Glance

AGENDA

Welcome (5 min.)

Examine a Photograph

Launch (5 min.)

Learn (60 min.)

Write to Learn for a Socratic Seminar (5 min.)

Engage in a Socratic Seminar (31 min.)

Excel at Synthesizing Perspectives (5 min.)

Evaluate a Text (9 min.)

Express Knowledge (10 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

Style and Conventions Deep

Dive: Excel: Use an Ellipsis to Indicate an Omission (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.1, RL.8.2, RI.8.1, RI.8.3

Writing

ƒ W.8.10

Speaking and Listening

Learning Goals

Synthesize an understanding of the ways the module texts illuminate the effects of World War I through collaborative conversation with peers (RL.8.1, RL.8.2, RI.8.1, RI.8.3, SL.8.1, SL.8.6).

Participate in a Socratic Seminar.

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SL.8.1, SL.8.1.d, SL.8.2, SL.8.6 Language ƒ L.8.2.b

Revise Focusing Question Task 4 to use an ellipsis to indicate an omission in textual evidence (L.8.2.b).

Incorporate an ellipsis within textual evidence in Focusing Question Task 4.

Prepare

FOCUSING QUESTION: Lessons 27–33

What are the psychological effects of war?

CONTENT FRAMING QUESTION: Lesson 33

Know: How do the module texts build my knowledge?

CRAFT QUESTION: Lesson 33

Experiment: How do I revise and reinforce my thinking aloud?

In this final lesson before the EOM Task sequence, students integrate their understanding of the psychological effects of war throughout the module. Students begin this lesson by examining a photograph that depicts a shell-shocked soldier, which engages their thinking about factual and artistic representations of the psychological effects of war. Students then participate in a Socratic Seminar to analyze the ways in which literature, art, and informational texts do distinct work to illuminate the psychological effects of war, but also build on and develop ideas from other texts and genres. Then students revise their thinking aloud in groups and integrate their understanding by completing a Knowledge Journal activity, which prepares them to begin work with the EOM Task in upcoming lessons.

Welcome

5 MIN.

EXAMINE A PHOTOGRAPH

Display the following photograph: http://witeng.link/0029.

Students write a sentence explaining what is going on in the photograph.

Launch

5 MIN.

Facilitate a brief whole-group discussion about student sentences.

Post the Focusing Question and Content Framing Question.

Tell students that in this lesson, they integrate their understanding of psychological effects of war from across the art, literature, and informational texts they have read in this module.

Learn

60 MIN.

WRITE TO LEARN FOR A SOCRATIC SEMINAR 5 MIN.

Individuals

Have students write responses to the following Socratic Seminar questions in preparation for their discussion. Explain that the goal of this prewriting is for students to organize their thinking around the topics they will discuss; therefore, they may use phrases, bullet points, or full sentences to write their responses.

The seminar revolves around the following questions:

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According to the different texts you have studied, is it possible to overcome the psychological effects of war? Consider what texts have to say about the possibilities for an individual, a group, or society itself.

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What other effects of war do the texts portray?

Based on its portrayal of the effects of war, is All Quiet on the Western Front an effective antiwar novel? Or, is it one-sided propaganda?

Circulate to gain a sense of differing opinions and preliminary responses.

ENGAGE IN A SOCRATIC SEMINAR

Whole Group

31 MIN.

Display the Speaking and Listening Goal: “Listen from a speaker’s perspective.” Remind students to practice the goal during the seminar.

Students participate in a Socratic Seminar on the ways art, literature, and informational texts illuminate psychological effects of war by addressing the questions listed above.

Ask an individual student to begin the Socratic Seminar. After the first student shares, prompt a student with a different opinion to respond.

Students participate in a Socratic Seminar.

EXCEL AT SYNTHESIZING PERSPECTIVES 5 MIN.

Pairs

Display the Craft Question:

Experiment: How do I revise and reinforce my thinking aloud? Ask: “How did practicing our Listening Goal help you learn?”

n Listening from a speaker’s perspective helped me understand my peers’ ideas more clearly.

n Listening from a speaker’s perspective helped me revise or reinforce my own thinking.

n Listening from a speaker’s perspective helped me realize all the different perspectives people can have about these ideas.

Display the following sentence frame: First I thought . Now that I have listened to my peers, I think

Students review their Socratic Seminar prewriting and use the sentence frame to communicate orally their synthesis of perspectives to their partner.

EVALUATE A TEXT

Individuals

9 MIN.

Students write a paragraph in response to the following question, incorporating one piece of evidence to support their choice: “Of all the texts you have studied in this module, which one most effectively illuminates the effects of war? Why?”

EXPRESS KNOWLEDGE 10 MIN.

Individuals

Have students take out their Knowledge Journal.

After reviewing their notes and work from the entire module, students write at least two things they have learned about:

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Psychological effects of World War I (in Knowledge of the World or Knowledge of Ideas).

Skills of writing or speaking and listening (in Knowledge of Skills).

Students record their learning in the appropriate section.

Encourage students to synthesize what they have learned and express observations and connections not discussed in class.

Sample student response:

Knowledge of the World Knowledge of Ideas Knowledge of Skills

War can devastate not only the people who fight at the front lines, but people at home or people who work in hospitals. War affects everyone.

Shell shock is an example of a psychological disorder that was not well understood at the time. Doctors assumed that men and women had different psychological ailments because of their gender, even though the symptoms were exactly the same.

Dehumanization describes the different ways war strips people of their humanity. Enlisted soldiers can feel like animals, focused only on basic survival, and they can feel like machines, forced to perform actions dictated by someone else. This dehumanization makes them estranged from themselves because they no longer have individuality or make their own decisions.

It also estranges them from others because they no longer feel connected to anyone around them.

So, the psychological effects we have studied relate to one another.

Categories are an effective way to organize information in writing, and they help your reader understand connections across a text.

A “setting the stage” thesis helps explain the significance of your category to your reader.

4 MIN.

Know: How do the module texts build my knowledge?

Conduct a Whip Around, with every student naming the text they wrote about and, briefly, one reason it is most effective at illuminating the effects of war.

1 MIN.

ASSIGN HOMEWORK

Students review their notes and annotations in preparation for their work with the EOM Task, which begins in the following lesson.

Analyze

Context and Alignment

Students synthesize an understanding of the ways the module texts illuminate the effects of World War I through collaborative conversation with peers (RL.8.1, RL.8.2, RI.8.1, RI.8.3, SL.8.1, SL.8.6). Refer to Appendix C for a speaking and listening rubric. During this Socratic Seminar, check for the following success criteria:

ƒ Makes connections across the module texts.

ƒ Expresses an overall understanding of how literature and art reveal the psychological effects of war.

ƒ Listens from a speaker’s perspective.

Next Steps

If students have difficulty individually preparing for the Socratic Seminar, consider posting some sentence starters. Consider posting a list of module texts and having pairs brainstorm ideas about what each revealed about effects, and how their specific form (e.g., abstract art, film, poetry, informational text) contributed to their meaning.

Lesson 33 Deep Dive: Style and Conventions

Excel: Use an ellipsis to indicate an omission

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Time: 15 min

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Text: “The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley (http://witeng.link/0014)

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Style and Conventions Learning Goal: Revise Focusing Question Task 4 to use an ellipsis to indicate an omission in textual evidence (L.8.2.b).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 33

Excel: How do I improve my use of textual support using an ellipsis?

Launch Display:

“If the only available terms for describing the mental trauma brought on by war are shell shock—a term only applicable to men—and civilian war neuroses, then women who served at the front have no place in the psychological understanding of warfare” (Groch-Begley par. 12).

Ask: “Where would you put an ellipsis?”

TEACHER NOTE

Some students will raise their hands, venture guesses, and provide reasons for their choices. However, if a student does not make the observation, note that they actually cannot answer the question. Without knowing the reason an author wants to use this textual evidence as support, it’s impossible to know what information is crucial and what isn’t.

Emphasize that the purpose for using textual evidence should be the most important factor in determining when and if an omission is needed.

Learn

Instruct students to Think–Pair–Share, and ask: “When we are proofreading our work, how will we know if we need to use an ellipsis to strengthen our textual evidence?”

Call on student pairs to share their thinking.

n If a quotation is really long, that could be a sign that we might need to omit a part of it.

n If we see that a large portion of the quotation isn’t related to our main argument, we should omit that part of the quotation.

n If we only comment on a small section of the quotation, we should omit the sections we don’t analyze.

Ask partners to switch Focusing Question Task 4 responses. Students read their partner’s response and circle any textual evidence that is either too long or doesn’t clearly connect to the main argument.

Tell students to return their partner’s response and explain their thinking.

Land

Students reread their Focusing Question Task writing, paying close attention to their use of textual evidence and their partner’s annotation.

Individuals identify one piece of textual evidence that can be strengthened by omitting an irrelevant or less powerful portion. Students edit that piece of textual evidence using an ellipsis to omit the unnecessary information.

Lesson 34

How

Quiet

effects of World War

of World War One,”

Lesson 34: At a Glance

AGENDA

Welcome (5 min.)

Analyze the Title

Launch (7 min.)

Learn (60 min.)

Examine the EOM Task (7 min.)

Deconstruct the EOM Task Exemplar Essay (22 min.)

Express Knowledge (18 min.)

Identify a Psychological Effect for an Explanatory Essay (13 min.)

Land (2 min.)

Answer the Content Framing Question Wrap (1 min.)

Assign Homework

Vocabulary Deep Dive: Vocabulary Assessment (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3, RL.8.4, RL.8.7

Writing

W.8.2.a, W.8.2.b, W.8.5

Speaking and Listening ƒ SL.8.1, SL.8.2

Language ƒ L.8.6

MATERIALS

Assessment 34A: End-of-Module Task

Handout 34A: End-of-Module Planning Packet

Handout 34B: End-of-Module Exemplar Essay

Handout 34C: Explanatory Writing Checklist

Assessment 34B: Vocabulary Assessment 2

Handout 13A: Transitions in Writing

Learning Goals

Identify a broad category and subcategories in the EOM Task exemplar essay (W.8.2.a, W.8.5).

Annotate the EOM Task exemplar essay.

Identify a psychological effect of World War I on Paul (RL.8.1, RL.8.2, RL.8.3, RL.8.4, W.8.2.b, L.8.6).

Complete Step One of Handout 34A.

Demonstrate acquisition of grade-appropriate academic and domain-specific words (L.8.6).

Create accurate definitions for vocabulary words in context.

Prepare

FOCUSING QUESTION: Lessons 34–37

How does All Quiet on the Western Front illuminate the effects of World War I?

CONTENT FRAMING QUESTION: Lesson 34

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

CRAFT QUESTION: Lesson 34

Examine: Why is using categories and subcategories to structure an explanatory essay important?

Experiment: How does structuring an explanatory essay using categories and subcategories work?

In this first lesson focused on the EOM Task, students examine the EOM Task assignment—an explanatory essay in which they analyze one psychological effect of the war through Paul’s experience. Students begin with a review of the module’s craft instruction by deconstructing an exemplar EOM Task essay. Their next work, examining and experimenting with structuring their essays with categories and subcategories, completes the craft instruction necessary for them to begin to conceptualize their own essays, which they do in the last part of the lesson. Immediately preceding this activity, students review an article that they read at the beginning of the module and reflect on the development of their thinking since their first reading, especially in relation to central ideas identified in the article and explored in All Quiet on the Western Front. Collectively, the learning in this lesson establishes a solid foundation for students’ success in their own writing.

5 MIN.

ANALYZE THE TITLE

Display a photo of the original cover of All Quiet on the Western Front (http://witeng.link/0032), along with the literal translation of the German title: “In the West Nothing New.”

Have partners brainstorm, and ask: “Now that you have finished reading the novel, why do you think A. W. Wheen chose to translate the title as All Quiet on the Western Front?”

Launch

7 MIN.

Partners share their observations.

Possible responses may include:

n All Quiet on the Western Front includes the detail “western front,” which represents the importance of the unique warfare introduced in World War I. The use of the phrase “the West” in the literal translation is very general. It does not suggest that this is a novel about World War I.

n All Quiet on the Western Front includes the word “quiet,” which adds a sensory detail to the title that complicates a reader’s expectation of what war was like.

n By saying there is “nothing new,” the literal title suggests all of the events in the book were typical of an experience in the war. Maybe the title is suggesting that “nothing new” is the death and destruction of war. That could sound very cynical, and maybe the translator did not want that attitude to be so explicit.

Post the Essential Question, Focusing Question and Content Framing Question.

Tell students that in this lesson they begin their work on the EOM Task.

Have a student restate the Essential Question and another read the new Focusing Question.

Ask: “How does the Essential Question relate to the Focusing Question?”

n The Essential Question and Focusing Question both talk about “illuminating effects of war.”

n The Focusing Question is more narrow. It identifies a specific book from the Essential Question’s category of “literature.”

Now have a student read the Content Framing Question. Tell students that the Content Framing Question identifies their focus for their EOM Task.

Ask: “How does the Content Framing Question develop the focus of the Essential and Focusing Questions?”

n The Content Framing Question narrows the focus even further to “the representation of Paul’s experience” during World War I.

n The Content Framing Question reveals that we will use Paul’s experience as our example to show how literature illuminates the effects of World War I.

n The Content Framing Question indicates that we will trace and analyze the development of a psychological effect across the entire novel.

Tell students that in this lesson, they begin planning for their EOM Task by reviewing the task, deconstructing an exemplar, reflecting on their learning since the beginning of the module, and choosing a broad category as the focus for their EOM Task essay.

60 MIN.

EXAMINE THE EOM TASK 7 MIN.

Whole Group

Display, distribute, and review Assessment

34A and Handout 34A: End-of-Module Planning Packet.

Explain that students will work with a planning packet, both in class and for homework, to guide the development of their EOM Task over these final four lessons.

this effect in your essay.

How this effect develops across multiple incidents in the novel. An ellipsis to omit irrelevant or redundant information and highlight well-chosen evidence. Active and passive voice to emphasize either the actor or the action. Consistent verb mood.

Name Date Class

Handout 34A: End-of-Module Planning Packet

Directions: Step 1: Review the Psychological Effects Anchor Chart, and choose one effect to write about for your End-of-Module Task. This effect will be your broad category. Complete a Frayer Model for your chosen effect below.

Characteristics: Nonexamples:

Page of 1

DECONSTRUCT THE EOM TASK EXEMPLAR ESSAY

Whole Group

Display and distribute Handout 34B: End-of-Module Exemplar Essay.

Explain that students will read the essay independently before participating in a whole-group discussion about the exemplary craft components of this essay.

Students silently read the essay on Handout 34B.

22 MIN.

In the first stanza of “Dulce et Decorum Est,” the speaker describes in detail his poor state and that of his fellow soldiers. A simile in the first line compares the physical condition of the soldiers to “old beggars” who are hunched and walking without strength (1). In the same way, the speaker of the poem further develops this physical weakness by saying the men “limped on” and were all “lame” (6). The speaker is one of these men, a man who, after his involvement in the fighting, is so beaten down and exhausted he cannot perform a basic function like walking properly. The speaker’s inability to move is only one damaging effect of the war. The speaker’s sense of hearing also has been damaged. The speaker is so tired that he is “deaf” to the sound of the “gas-shells” that threaten to kill (7, 8). By using the word “deaf,” Owen shows that the effect on the speaker’s senses is not temporary but a change that will last a lifetime (7). As a result of the atrocities of war, the soldiers’ vitality is gone and they are now powerless old men.

This feeling of utter powerlessness is further developed in the poem through figurative language related to disease. The language of sickness illuminates the emotional ailments of war. In the fourth stanza, Owen uses similes and metaphors to describe the scarring image of the dying soldier. The sound of the dying man’s lungs is like “gargling from froth-corrupted lungs … incurable sores on innocent tongues” (22–24). By saying the sores are “incurable,” the speaker shows that, like cancer, they will never go away (24). Like the “corrupted” lungs, his memories will be forever distorted (22). These diseases mentioned in the poem change a body forever. Similarly, the war permanently changes the speaker, who sees the dying man in “all his dreams,” indicating that he can never forget this horrifying experience (15). Most importantly, the speaker goes on to say the dreams are “smothering” because they are horrifying and oppressive (17). The speaker has been changed, yet he is aware there are still “children” who have not been broken by the war (26). The speaker wants others to avoid his experience, which proves to be toxic and unchangeable to not just his body, but his mind.

At the start of the poem “Dulce et Decorum Est,” the speaker is already weak and lame because of his participation in World War I. After the gas attack and the dying man, the language of the poem makes comparisons to terminal, fatal diseases. By using such strong comparisons, the poem conveys the way the speaker has lost all his power and iscompletely destroyed—physically and emotionally—by his experiences. Thankfully, the speaker’s reference © Great Minds PBC

Display and distribute Handout 34C: Explanatory Writing Checklist. Allow time for students to review the checklist. Explain that this checklist will guide their writing and revision for the EOM Task and their discussion about the exemplary components of this essay.

TEACHER NOTE

To effectively model the explanatory writing in this EOM Task without previewing or limiting students’ responses, the exemplar essay is on the psychological effect of powerlessness in the poem “Dulce et Decorum Est.” Therefore, this exemplar essay does not fully align to the Reading Comprehension section of Handout 34C: Explanatory Writing Checklist.

Direct students to the Structure section of Handout 34C, and ask: “Underline the thesis of this essay. What is this essay about?”

n This essay is about how figurative language develops the idea of powerlessness in “Dulce et Decorum Est.”

n This essay is about the speaker’s experience and feeling of powerlessness in “Dulce et Decorum Est.”

n The thesis is that last line of the introduction: “The figurative language in ‘Dulce et Decorum Est’ illustrates the speaker’s feeling of powerlessness, a common psychological effect of individuals caught up in the World War I who were ultimately crushed by modern warfare.”

Ask: “What kind of thesis statement does this essay use? What is the effect of this statement?”

n This thesis statement is explaining the significance of the category of powerlessness.

n This thesis statement explains that the essay will explore the way powerlessness is communicated in “Dulce et Decorum Est” and that this psychological effect was common among individuals who participated in World War I.

n The thesis statement reminds me of the destructive power of modern warfare as explored in some of the art and literature of the time.

Have students take out Handout 13A and reread the exemplar essay, highlighting any transitions.

Ask: “What transitions did you identify in the exemplar essay, and what are the effects of the transitions?”

Responses should include:

n “In the same way.”

n “As a result.”

n “Similarly.”

n “Most importantly.”

n “Ultimately.”

n The transitions highlight links between ideas.

n A transition indicates the significance of an idea.

n A transition sums up the essay in the conclusion.

Handout

Name

Reread the conclusion of the exemplar essay aloud, and ask: “What is the ‘So what?’ of this conclusion? How does it suggest a broader significance on society?”

n The conclusion of the essay reminds the reader the speaker of the poem has been “completely destroyed” by his experiences and that ultimately the war was not a noble endeavor.

n The conclusion of the essay reminds the reader that the figurative language of the poem develops the psychological effect of powerlessness.

n The conclusion of the essay suggests that the poem’s reference to children means there may be some broader hope for the future.

Display the Craft Question:

Examine: Why is using categories and subcategories to structure an explanatory essay important?

Have a student read the Craft Question aloud. Instruct students to Think–Pair–Share, and ask: “What might be the purpose of using a subcategory, a part of a category, to structure an explanatory essay?”

Possible responses:

n Using a subcategory might provide a focus for the essay.

n Using a subcategory might help your reader understand the specifics of a category.

n Using a subcategory might show your reader you know the category really well.

n Using a subcategory might help you write body paragraphs.

Explain to students that the exemplar essay focuses on powerlessness as its broad category.

Instruct students to reread the exemplar essay, and underline any subcategories related to powerlessness.

Ask: “What are the subcategories, and how do they help structure this explanatory essay?”

n The subcategories in this essay are physical weakness and disease.

n The subcategories provide a focus for each body paragraph.

Ask: “How do the subcategories develop the broader category?”

n The subcategories demonstrate a deeper understanding of how powerlessness is developed in the poem.

n The subcategories develop the broader category by organizing evidence to help the reader better understand powerlessness in the poem.

Point out that subcategories allow writers—and readers—to go beyond a general understanding of a category. Then explain that there are multiple ways a writer could develop a broad category. Therefore, identifying one or two subcategories is a way to organize evidence that gives the evidence a specific focus.

Students record notes from their discussion in their Response Journal.

EXPRESS

KNOWLEDGE 18 MIN.

Individuals

Have students take out their Knowledge Journal and the informational article “The Teenage Soldiers of World War One” that they studied at the beginning of the module.

Remind them that the Essential Question emphasizes the ways literature and art, not just informational texts, can illuminate the effects of World War I.

Have students reread the article, and ask: “How has your study of the novel All Quiet on the Western Front illuminated, that is, deepened, expanded, clarified, or challenged the information and ideas in this article?”

Instruct students to record their learning in two sections: Knowledge of the World and Knowledge of Ideas.

Review the scope of each section to clarify how students should organize their learning. Remind students that Knowledge of the World focuses on concrete, factual information, and Knowledge of Ideas focuses on more abstract information such as theories, concepts, and general ideas.

Share, or solicit from students, the learning for Knowledge of the World. Possible topics include World War I, identities and experiences of soldiers, and trench warfare.

Share, or solicit from students, the learning for Knowledge of Ideas. Review the first paragraph of “The Teenage Soldiers of World War One,” and ask students to identify specific ideas—as opposed to factual information—that appear in the paragraph. Possible ideas include, “true meaning of fear,” “capacity for courage,” and “the limits of human endurance, physical and mental.”

Differentiation:

Workshop one example of an idea as a whole group. For instance, ask students how their reading of All Quiet on the Western Front deepened, expanded, or challenged their understanding of “the limits of human endurance, physical and mental.”

Encourage students to synthesize what they have learned, and express observations and connections not discussed in class.

Students record their learning in the appropriate sections of the Knowledge Journal.

Identify a Psychological Effect for Explanatory Essay 13 MIN.

Small Groups

Display the Craft Question:

Experiment: How does structuring an explanatory essay using categories and subcategories work?

Tell students that they will now choose one psychological effect as the focus of their EOM Task essay. This psychological effect represents the broad category they will use to structure their essay.

Have students review their Knowledge Journal entries, their notes, and the Psychological Effects Anchor Chart and identify psychological effect, highlighting the ones that interest them the most. Display the following questions and have students Stop and Jot notes in their Response Journal.

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What psychological effect would you like to explore and analyze in more depth?

ƒ

ƒ

Which one seems like the best way for you to explain Paul’s experience in the war?

What interested you the most in your reading of All Quiet on the Western Front? Which psychological effect lines up with your interests in the novel?

Students review their responses and choose a psychological effect to focus on for their EOM Task essay. If time allows, have students discuss their responses with a partner to help them make their choice.

Organize students into small groups so each group has a variety of psychological effects. During the EOM Task sequence, students can return to these home groups to support their EOM Task planning.

Direct students to Handout 34A and explain that students will complete step one and briefly explain their psychological effect to their home group. Explain that for the Examples (Possible Subcategories), students should freely brainstorm any components of their category that come to mind.

Students complete step one of Handout 34A and discuss their effect in groups.

2 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Students write an Exit Ticket in response to the following question: “Why is the psychological effect you chose an effective one to analyze Paul’s experience in All Quiet on the Western Front?”

1 MIN.

ASSIGN HOMEWORK

Students complete Step 2 of Handout 34A for homework.

Analyze

Context and Alignment

Students determine a psychological effect of World War I on Paul to write about in an explanatory essay (RL.8.1, RL.8.2, RL.8.3, RL.8.4, W.8.2.b, L.8.6). After examining the EOM Task, deconstructing an exemplar essay, and reflecting on an informational article from the start of the module, students consider their own interests and understandings from All Quiet on the Western Front in order to decide a psychological effect to write about for their explanatory essay. Check for the following success criteria:

ƒ Completes the Frayer Model for their psychological effect.

ƒ Demonstrates an understanding of the effect by providing examples and explaining the effect orally in their small groups.

Next Steps

If students have difficulty determining a psychological effect, consider reviewing the Psychological Effects Anchor Chart from the fourth Focusing Question arc and having a wholegroup review of each of the effects. It may also be beneficial to model a Think Aloud with the self-reflection questions in the final activity based on the exemplar essay of the effect of “powerlessness” in “Dulce et Decorum Est” in order to stimulate students’ thinking about their own interests from All Quiet on the Western Front. Additionally, consider providing students with sentence frames for their small group discussion.

Lesson 34 Deep Dive: Vocabulary

Vocabulary Assessment

ƒ

Time: 15 min

ƒ

ƒ

Text: N/A

Vocabulary Learning Goal: Demonstrate acquisition of grade-appropriate academic and domain-specific words (L.8.6).

You will now take the second vocabulary assessment. All the words on the assessment have been discussed in class. This handout is not a test of your reading, writing, or spelling ability. Its purpose is to measure your understanding of the words we studied. If you need me to pronounce a word for you or you need help with spelling, raise your hand.

For each sentence, consider the word in bold and the context around it. Write a definition for the word. It doesn’t have to be in complete sentences or spelled perfectly. I won’t be grading your writing skills or punctuation, just whether you can prove, through your definition, that you know what each word means.

The words for this unit have been split into two tests; you’ll take half now and half in the next lesson.

Students create accurate definitions for vocabulary words in context.

Pass out Assessment 34B: Vocabulary Assessment, circulating to answer questions, pronounce words, or give spelling support.

Lesson 35

How

does All Quiet on the Western Front illuminate the effects of World War I?

Lesson 35: At a Glance

AGENDA

Welcome (5 min.)

Discuss Homework Launch (5 min.)

Learn (60 min.)

Identify Subcategories from Evidence (25 min.)

Evaluate and Refine Evidence (15 min.)

Execute a Thesis Statement (20 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

ƒ

RL.8.1, RL.8.2, RL.8.3, RL.8.4

Writing

ƒ

W.8.2.a, W.8.2.b

MATERIALS

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Handout 34A: End-of-Module Planning Packet

Learning Goals

Evaluate and refine evidence by selecting the examples that best exemplify two subcategories of the psychological effect of World War I on Paul (RL.8.1, RL.8.2, RL.8.3, W.8.2.b).

Complete Step 3 of Handout 34A.

Execute a thesis that integrates two significant subcategories of the effect of World War I on Paul (RL.8.3, W.8.2.a).

Complete Step 4 of Handout 34A.

Prepare

FOCUSING QUESTION: Lessons 34–37

How does All Quiet on the Western Front illuminate the effects of World War I?

CONTENT FRAMING QUESTION: Lesson 35

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

CRAFT QUESTION: Lesson 35

Execute: How do I identify subcategories for an explanatory essay?

Excel: How do I improve my use of well-chosen evidence in an explanatory essay?

Execute: How do I write a thesis using a category?

Students develop a deeper understanding of their psychological effect by creating two subcategories based on the strongest connections between three incidents in All Quiet on the Western Front that develop their psychological effect. After analyzing their psychological effect in detail, students execute a thesis statement that either “sets the stage” or states the significance of their broader category.

Welcome

DISCUSS HOMEWORK

5 MIN.

Pairs discuss their homework from the previous lesson, sharing the incidents they evaluated in Step 2 of Handout 34A.

Launch

5 MIN.

Post the Focusing Question and Content Framing Question.

Explain that in this lesson, students focus on identifying subcategories and evaluating their evidence in preparation for drafting their explanatory essay.

Ask: “Why is evaluating your evidence before you begin drafting your explanatory essay an important step of the writing process?”

n Evaluating evidence before writing can help me identify if I have strong evidence, or if I need to go find additional evidence.

n Evaluating evidence before writing can help me determine the relationships between evidence and help me make a plan for what I would like to write.

n Evaluating evidence before writing saves me time, since I know when I start to write that I have the strongest evidence and I do not have more evidence than I can use.

60 MIN.

IDENTIFY SUBCATEGORIES FROM EVIDENCE

Individuals

Display the Craft Question:

25 MIN.

Execute: How do I identify subcategories for an explanatory essay?

Tell students that to identify subcategories in the evidence they collected for homework, they will need to look for further commonalities among the evidence they collected. Remind students that all the evidence is connected under their broader category, but there may be more specific connections between one or more pieces of evidence. For example, within the topic of trench warfare, there could be evidence that explains the physical conditions of the trenches, whereas other evidence explains the illnesses that developed in the trenches.

Instruct students to use two colored highlighters to identify connections between related evidence on step two of Handout 34A.

Remind students of their work with distilling the psychological effects in Lesson 32. Explain that, in order to evaluate and refine evidence, students must also distill an explanation of the connections between their related evidence. These are the subcategories students will be writing about in their essay.

Ask: “What word or phrase could you use to describe, or distill, the specific connections between the evidence?”

Students record their subcategories on step two of Handout 34A.

EVALUATE AND REFINE EVIDENCE 15 MIN.

Individuals

Display the Craft Question:

Excel: How do I improve my use of well-chosen evidence in an explanatory essay?

Tell students now that they have identified subcategories for their evidence, they must evaluate and refine their evidence in order to determine which evidence provides the strongest support for their ideas.

Students complete step three of Handout 34A.

EXECUTE A THESIS STATEMENT 20 MIN.

Individuals

Display the Craft Question:

Execute: How do I write a thesis using a category?

Remind students of their work with thesis statements using a broad category in the fourth Focusing Question. Students will now write either a Setting the Stage thesis or a Broader Significance of the Category thesis.

Students complete Step 4 of Handout 34A.

Land4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Students write an Exit Ticket in response to the following question: “How has identifying subcategories deepened your understanding of your psychological effect?”

ASSIGN HOMEWORK

Students complete Step 5 in Handout 34A.

Analyze

Context and Alignment

Students refine evidence by selecting three incidents that best exemplify two subcategories of the psychological effect of World War I on Paul (RL.8.1, RL.8.2, RL.8.3, W.8.2.b). Students continue their module-long work with RL.8.3 and also deepen their understanding of their psychological effect. The incidents and subcategories identified in this lesson are the basis for students’ body paragraphs in their EOM Task. Check for the following success criteria:

ƒ Evaluates incidents in the novel to determine which best reveal and develop a psychological effect.

ƒ Delineates between different aspects of a psychological effect to identify distinct subcategories.

Next Steps

If students have difficulty with identifying connections among their pieces of evidence, consider pairing students based on common psychological effects in order to support students’ analysis of their chosen incidents. Have pairs discuss all of their incidents and then collaboratively decide which incidents best support their understanding of their psychological effect. For the thesis writing, consider reviewing the exemplar essay and the expectations for thesis writing from the fourth Focusing Question arc.

*Note that there is no Deep Dive in this lesson. Use any additional time to support practice of the vocabulary and/or style and conventions skills introduced in the module.

Lesson 36

How

does All Quiet on the Western Front illuminate the effects of World War I?

Lesson 36: At a Glance

AGENDA

Welcome (5 min.)

Discuss Homework Launch (5 min.)

Learn (60 min.)

Create: Draft an Explanatory Essay (35 min.)

Explore Broader Impacts of and Ideas about World War I (10 min.)

Execute a Concluding Statement (15 min.)

Land (4 min.)

Answer the Content Framing Question

Wrap (1 min.)

Assign Homework

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Reading

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RL.8.1, RL.8.2, RL.8.3

Writing

ƒ

W.8.2.c, W.8.2.f

Speaking and Listening

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SL.8.1, SL.8.6

MATERIALS

Learning Goals

Analyze how a psychological effect illuminates a broader impact of World War I (RL.8.2, W.8.2.f).

Complete Step 6 of Handout 34A.

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Handout 34A: End-of-Module Planning Packet ƒ

Handout 13A: Transitions in Writing ƒ

Handout 34C: Explanatory Writing Checklist

FOCUSING QUESTION: Lessons 34–37

How does All Quiet on the Western Front illuminate the effects of World War I?

CONTENT FRAMING QUESTION: Lesson 36

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

CRAFT QUESTION: Lesson 36

Execute: How do I use a concluding statement to express the broader implications of my category?

In this penultimate lesson of Module 2, students begin drafting their explanatory essays, drawing on their analysis and planning from the previous EOM Task lessons. Students structure their drafts using the subcategories they identified in the previous lesson. Along with drafting, students also synthesize their understanding of a psychological effect of war as seen through Paul’s experience. Students are expected to demonstrate an understanding of this psychological effect in a broader context in their explanatory essay’s conclusions. Students engage in a collaborative discussion that serves to elicit their thinking about a larger impact of the war, like social or political impacts, or on an important idea such as time, life, patriotism, or tradition. Students draft a conclusion based on their thinking from this discussion, and then they evaluate their initial drafts against the conclusion from the exemplar essay from Lesson 34.

DISCUSS HOMEWORK

Pairs discuss their homework from the previous lesson, sharing their planning from Step 5 of Handout 34A.

Launch

5 MIN.

Post the Focusing Question, and Content Framing Question.

Explain that in this lesson, students begin drafting their EOM Task essay, as well as brainstorm ways their chosen psychological effect might illuminate impacts of World War I beyond Paul’s experience.

60 MIN.

CREATE: DRAFT AN EXPLANATORY ESSAY 35 MIN.

Individuals

Inform students that they are now ready to begin drafting their EOM Task explanatory essay.

Students use their planning from Handout 34A to compose a first draft of their EOM Task explanatory essay. Remind students of their work with transitions in this module and to refer to Handout 13A and Handout 34C to support their writing.

fact, to demonstrate, specifically Conclusion or Summary in conclusion, to summarize, in the end, when it is all said and done, finally, all together, overall

Students gather their notes, get comfortable, and begin drafting their explanatory essay.

TEACHER NOTE

Students must begin drafting in this lesson. Any work they do not complete in class, they must finish before the following lesson. You may decide to identify an aspect of the draft to complete for homework. Depending on the makeup of your class, it may be helpful for students to work in pairs or small groups to discuss and receive feedback on their plan before beginning to draft.

TEACHER NOTE

Set a goal of interacting with each student at least once. Keep conferences brief and specific, focusing on one or two areas for improvement and providing cues that take students back to the text, previous writing lessons, or exemplars as necessary.

EXPLORE BROADER IMPACTS OF AND IDEAS ABOUT WORLD WAR I 10 MIN.

Small Groups

Tell students that their work with Paul’s experience is an important way to examine a psychological effect of war, but their analysis is not limited to Paul’s experience.

As students move into composing their concluding statements, they need to consider the “So what?” of their analysis of Paul’s experience. Remind students that Paul is just one man among the many millions who died during the war, and so it is important to think about how Paul’s experience might illuminate ideas that go beyond his experience.

Groups brainstorm a list of broader impacts and big ideas that they have encountered in this module: Possible responses include:

n The importance of comradeship and friendship.

n The dangers of patriotism.

n The impact of technological advancements in war.

n The Modernist art movement, including Cubism.

n The senselessness of military authority.

Ask: “How does Paul’s experience illuminate a broader impact of World War I? How does it connect to bigger ideas about war in general?”

Working in the groups established in Lesson 34, students brainstorm at least two broader impacts of the war and one important idea that are illuminated by their chosen psychological effect.

EXECUTE A CONCLUDING STATEMENT 15 MIN.

Individuals

Display the Craft Question:

Execute: How do I use a concluding statement to express the broader implications of my category?

Remind students of their work with concluding statements in this module.

Remind them that two important strategies for addressing the “So what?” question in their conclusion is to make a connection between their topic and a bigger idea (as they did in their work above) or to show their audience how their topic is relevant to their readers’ experiences.

Tell students to consider reviewing the sentence stems they worked with in Lesson 25.

Students complete Step 6 of Handout 34A.

4 MIN.

ANSWER THE CONTENT FRAMING QUESTION

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Students choose one of the paragraphs from their portfolio and consider their use of a subcategory in comparison to a paragraph from the exemplar essay on Handout 34B.

Students individually complete a Quick Write in response to the following question: “How does your use of a subcategory compare to the exemplar essay?”

1 MIN.

ASSIGN HOMEWORK

Students complete a full draft of their EOM Task explanatory essay.

ultimately crushed by modern warfare.

The speaker compares himself and his fellow soldiers to old men to show their helplessness. In the first stanza of “Dulce et Decorum Est,” the speaker describes in detail his poor state and that of his fellow soldiers. A simile in the first line compares the physical condition of the soldiers to “old beggars” who are hunched and walking without strength (1). In the same way, the speaker of the poem further develops this physical weakness by saying the men “limped on” and were all “lame” (6). The speaker is one of these men, a man who, after his involvement in the fighting, is so beaten down and exhausted he cannot perform a basic function like walking properly. The speaker’s inability to move is only one damaging effect of the war. The speaker’s sense of hearing also has been damaged. The speaker is so tired that he is “deaf” to the sound of the “gas-shells” that threaten to kill (7, 8). By using the word “deaf,” Owen shows that the effect on the speaker’s senses is not temporary but a change that will last a lifetime (7). As a result of the atrocities of war, the soldiers’ vitality is gone and they are now powerless old men.

This feeling of utter powerlessness is further developed in the poem through figurative language related to disease. The language of sickness illuminates the emotional ailments of war. In the fourth stanza, Owen uses similes and metaphors to describe the scarring image of the dying soldier. The sound of the dying man’s lungs is like “gargling from froth-corrupted lungs … incurable sores on innocent tongues” (22–24). By saying the sores are “incurable,” the speaker shows that, like cancer, they will never go away (24). Like the “corrupted” lungs, his memories will be forever distorted (22). These diseases mentioned in the poem change a body forever. Similarly, the war permanently changes the speaker, who sees the dying man in “all his dreams,” indicating that he can never forget this horrifying experience (15). Most importantly, the speaker goes on to say the dreams are “smothering” because they are horrifying and oppressive (17). The speaker has been changed, yet he is aware there are still “children” who have not been broken by the war (26). The speaker wants others to avoid his experience, which proves to be toxic and unchangeable to not just his body, but his mind.

At the start of the poem “Dulce et Decorum Est,” the speaker is already weak and lame because of his participation in World War I. After the gas attack and the dying man, the language of the poem makes comparisons to terminal, fatal diseases. By using such strong comparisons, the poem conveys the way the speaker has lost all his power and iscompletely destroyed—physically and emotionally—by his experiences. Thankfully, the speaker’s reference Page of 2

Analyze

Context and Alignment

Students analyze how a psychological effect illuminates a broader impact of World War I in their conclusions (RL.8.2, W.8.2.f). In their discussion and drafts of their conclusions, students demonstrate the deep thinking about their psychological effects and all of the big ideas about the broader effect of World War I they encountered in this module. Check for the following success criteria:

ƒ Identifies a specific effect on society or perception of an idea.

ƒ Analyzes a broader effect of World War I on society or on a change in perception of an important idea.

Next Steps

If students have difficulty identifying and analyzing the broader effect of World War I, consider reviewing evidence from the texts in this module that explains the broader impact of the war. Additionally, consider leading a whole-group discussion about the different big ideas that changed as a result of the war. If students need support with the drafting of their conclusions, consider providing sentence frames and reviewing the craft instruction from the third Focusing Question arc.

*Note that there is no Deep Dive in this lesson. Use any additional time to support practice of the vocabulary and/or style and conventions skills introduced in the module.

Lesson 37

How

does All

Quiet

on the Western Front illuminate the effects of World War I?

Lesson 37: At a Glance

AGENDA

Welcome (5 min.)

Discuss Homework Launch (5 min.)

Learn (55 min.)

Self-Assess Explanatory Writing (15 min.)

Create: Finalize Explanatory Essay (40 min)

Land (9 min.)

Reflect on the Module Wrap (1 min.)

Style and Conventions Deep Dive: Excel: Peer Edit (15 min.)

STANDARDS ADDRESSED

The full text of ELA Standards can be found in the Module Overview.

Writing

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W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9

Language

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L.8.1.b, L.8.1.c, L.8.1.d, L.8.2.b

MATERIALS

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Handout 34C: Explanatory Writing Checklist

Learning Goals

Finalize the draft of an explanatory essay (W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9).

Finalize EOM Task explanatory essay using Handout 34C.

Demonstrate an understanding of verb mood, active and passive voice, and ellipses (L.8.1.b, c, d, L.8.2.b).

Revise EOM Tasks based on peer feedback and language criteria.

Prepare

FOCUSING QUESTION: Lessons 34–37

How does All Quiet on the Western Front illuminate the effects of World War I?

CONTENT FRAMING QUESTION: Lesson 37

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

CRAFT QUESTION: Lesson 37

Excel: How do I improve my draft using the explanatory writing checklist?

In the final lesson of this module, students apply their understanding of all the explanatory writing and analysis they have completed in a round of self-assessment. Students use the explanatory writing checklist and self-assessment checklist to finalize their work and apply their understanding of using broad categories as an organizational technique throughout the module, as well as verify their understanding of their analysis of content in All Quiet on the Western Front.

Welcome

DISCUSS HOMEWORK

5 MIN.

Pairs discuss the homework from the previous lesson, sharing one broader implication of their category.

Launch

5 MIN.

Post the Essential Question, Focusing Question, and Content Framing Question.

Tell students that in this lesson they self-assess and finalize their EOM Text explanatory essay.

Instruct students to Think–Pair–Share, and ask: “How can self-assessment help you become a better writer of explanatory essays?”

n Self-assessment gives me a last chance to correct any errors before finalizing my explanatory writing.

n Self-assessment asks me to be a reader of my own writing, which helps me identify patterns in my own work around what is working and what is not.

n Self-assessment gives me an opportunity to clarify any misunderstandings with my teacher and feel confident that I am turning in my best work.

55 MIN.

SELF-ASSESS EXPLANATORY WRITING 15 MIN.

Individuals

Display the Craft Question: Excel: How do I improve my draft using the explanatory writing checklist?

Review Handout 34C with students, and allow time for any questions or clarification.

Students complete Handout 34C. Extension

If time allows, have students complete a peer review of drafts with a partner after self-assessing and before finalizing their EOM Task essay. CREATE: FINALIZE EXPLANATORY ESSAY 40 MIN. Individuals

finalize their EOM Task explanatory essays.

9 MIN.

REFLECT ON THE MODULE

Know: How does the representation of Paul’s experience in All Quiet on the Western Front build my knowledge?

Have students record responses in the Reflections section of their Knowledge Journal, and ask: “How did writing an essay about Paul’s experience build your knowledge? What was your favorite thing you learned in this module? What knowledge will you carry forward?”

Facilitate a discussion.

Wrap

1 MIN.

Congratulate students on their successful completion of this module!

Analyze

Context and Alignment

Students engage in self-assessment and complete their draft of an explanatory essay (W.8.2.a, W.8.2.b, W.8.2.f, W.8.4, W.8.9). By reviewing their drafts with Handout 34C, students ensure they have all the necessary components for success and have thoroughly understood the expectations for this writing task. Refer to annotated exemplar explanatory essay in Appendix C for criteria of an essay that effectively meets the EOM Task criteria.

Next Steps

If students have difficulty engaging in self-review, consider modeling an effective self-assessment for the whole group. It may be helpful to provide students with cues and sentence frames to help facilitate their analysis of their own work if Handout 34C does not provide enough structure. Consider reviewing the exemplar essay (Handout 34B) with students before they begin finalization in this lesson.

poor state and that of his fellow soldiers. A simile in the first line compares the physical condition of the soldiers to “old beggars” who are hunched and walking without strength (1). In the same way, the speaker of the poem further develops this physical weakness by saying the men “limped on” and were all “lame” (6). The speaker is one of these men, a man who, after his involvement in the fighting, is so beaten down and exhausted he cannot perform a basic function like walking properly. The speaker’s inability to move is only one damaging effect of the war. The speaker’s sense of hearing also has been damaged. The speaker is so tired that he is “deaf” to the sound of the “gas-shells” that threaten to kill (7, 8). By using the word “deaf,” Owen shows that the effect on the speaker’s senses is not temporary but a change that will last a lifetime (7). As a result of the atrocities of war, the soldiers’ vitality is gone and they are now powerless old men.

This feeling of utter powerlessness is further developed in the poem through figurative language related to disease. The language of sickness illuminates the emotional ailments of war. In the fourth stanza, Owen uses similes and metaphors to describe the scarring image of the dying soldier. The sound of the dying man’s lungs is like “gargling from froth-corrupted lungs … incurable sores on innocent tongues” (22–24). By saying the sores are “incurable,” the speaker shows that, like cancer, they will never go away (24). Like the “corrupted” lungs, his memories

Lesson 37 Deep Dive: Style and Conventions

Excel: Peer Edit

ƒ

Time: 15 min.

ƒ

ƒ

Text: Student-generated response, EOM Task

Style and Conventions Learning Goal: Demonstrate an understanding of verb mood, active and passive voice, and ellipses (L.8.1.b, L.8.1.c, L.8.1.d, L.8.2.b).

STYLE AND CONVENTIONS CRAFT QUESTION: Lesson 37

Excel: How do I improve the clarity of my ideas and the support of my claims?

Launch

Display the language criteria for the EOM Task:

ƒ

Maintains consistent verb mood.

ƒ Uses active and passive verb voice to emphasize either the actor or the action.

ƒ Employs an ellipsis to omit irrelevant information from textual evidence.

Ask: “How can you check your essays to see if you met these criteria?” Use Equity Sticks to call on students. Write responses on the board.

n To check for verb mood, you can look at the punctuation marks. For instance, the interrogative verb mood requires a question mark.

n Sentences using the imperative verb mood begin with a verb, so you can look for sentences that start with a verb.

n To check for passive voice, I can look for forms of the verb to be and the word by.

n It should be easy to find an ellipsis, but if I didn’t use one, I should check my textual evidence to see if they are too long or if I included any irrelevant information.

Scaffold

If students do not make the suggestions above, write these on the board before the peer edit. Consider creating a peer edit checklist.

Learn

Tell students to switch papers with a partner. Instruct students to underline an inappropriate shift in verb mood, circle an inappropriate shift in verb voice, and star a piece of textual evidence that could use an ellipsis to make it stronger.

Tell students to return their partner’s papers. Emphasize that students should only make changes that they understand and agree upon with their partner.

Students revise EOM Task responses based on peer feedback and language criteria.

Appendix A: Text Complexity

Great Minds® carefully selects content-rich, complex module texts. Module texts, especially the core texts, must be appropriately challenging so that students develop their literacy skills and progress toward meeting Anchor Standard for Reading 10 by year’s end. Great Minds evaluates each core module text using quantitative and qualitative criteria outlined in both the Common Core State Standards (CCSS) (http://witeng.link/0483) and the updated CCSS Appendix A guidance on text complexity (http://witeng.link/0093).

This Appendix provides text-complexity details for each core text in order of appearance in the module. The analysis supports teachers and administrators in understanding the texts’ richness and complexity and the module’s knowledge building and goals. Alongside the Family Tip Sheets, this information can also support conversations with families about texts.

Core Module Text

Title and Author All Quiet on the Western Front, Erich Maria Remarque

Description of Text Translated from German, All Quiet on the Western Front is a rich and evocative journey into the madness and horrors of World War I. Beautifully written, even if horrific, the novel details, through its narrator, Paul, the experience of fighting on the front line. Paul reflects upon others’ actions and responses to the war and describes daily life on the front as an absurd combination of the mundane and brutal. Halfway through the novel, Paul takes a leave, and his record of his own personal thoughts and experiences increase as he wrestles firsthand with the profound estrangement he feels and his inability to convey the true cost of the war to those around him.

Complexity Ratings Quantitative: 830L

Qualitative:

Meaning/Purpose: The meaning and purpose in this text is directly stated at the outset of the novel. While the novel centers on a specific character, time, and place, the text also feels ephemeral and timeless—as if the suffering of war continues regardless of when, where, and who is doing the fighting.

Structure: The author conforms to the conventions of a novel set in first person. At the outset of the text there are many flashbacks, which could be a bit disorienting, but the only major structural shift occurs on the last page.

Language: The author uses detailed, vivid, poetic descriptions and figurative language to convey the experiences of being on the front. This translation includes words common in British English, a lot of military vocabulary, and some idioms that may be unfamiliar. The novel is told in the present tense. Because of the many references to places, objects, events, and ideas unfamiliar or archaic or foreign, the text demands a lot from a reader, even as the storyline itself is not complicated.

Knowledge Demands: References to military equipment and groups, German culture, historical events, and medical terminology will likely be unfamiliar to students and, thus, may pose challenges to comprehension not conveyed by the quantitative complexity level.

Text-ReaderTask Considerations

Remarque illuminates the physical and psychological effects of war; students will have a real sense of war’s devastating impact on Paul and his peers. While historical fiction offers a pathway for students to explore difficult subjects, some situations may be disturbing, particularly for students who may have lost loved ones to war. The novel’s realistic, poignant look at wartime requires a sensitive approach by the teacher. In addition, lessons focus on chapters which contribute to students’ exploration of themes of camaraderie and resilience.

Rationale for Placement

All Quiet on the Western Front is an enduring classic war novel that shines a light on the horrors of war—rather than celebrating the glories of war. Written in the first person, the novel feels like an eyewitness account of the trauma of battle that helps students imagine the experiences of individual soldiers in war. Students’ work with All Quiet on the Western Front is an important part of the Grade 8 set of module topics that represents a culmination of students’ work begun in the early elementary grades exploring the effect on humans of conflicts that have shaped world history.

Appendix B: Vocabulary

Great Minds English focuses on teaching and learning words from texts. Students develop an awareness of how words are built, how they function within sentences, and how word choice affects meaning and reveals an author’s purpose.

The purpose of vocabulary study in Great Minds English is to achieve the following three key student outcomes: ƒ Improve comprehension of complex texts. ƒ Increase students’ knowledge of words and word parts (including affixes, Latin or Greek roots, etc.). ƒ Increase students’ ability to solve for unknown words on their own.

In order to achieve these outcomes, vocabulary study in Great Minds English emphasizes the following three categories of vocabulary words:

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Content Vocabulary: Necessary for understanding a central idea of the domain-specific text and/ or module topic).

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Academic Vocabulary: “High-priority” words that can be used across disciplines and are likely to be encountered in other texts. Often abstract and with multiple meanings, these words are unlikely to be known by students with limited vocabularies.

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Text-Critical Vocabulary: Words and phrases that are essential to students’ understanding of a particular text or excerpt.

Vocabulary study in Great Minds English will occur within the following types of instruction:

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Core 75-min. daily lessons: Vocabulary study that is essential to understanding the text at-hand. Instructional strategies are explicitly introduced and practiced during vocabulary instruction and put into practice during a reading of a text.

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Vocabulary Deep Dives: Vocabulary instruction and practice that advances students’ knowledge of high-value words and word-solving strategies, focusing on aspects such as abstract or multiple meanings, connotation, relationships across words, and morphology.

Vocabulary learning is assessed indirectly through application, and directly through two-question assessments (Grades K-2) and sentence assessments (Grades 3-8).

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Indirect Assessment: Students are expected to use and incorporate words from the following list into their academic discourse, through speaking and listening (during Socratic Seminars) and writing (during formal writing tasks, such as the EOM Task).

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Direct Assessment: Students’ word knowledge will also be evaluated directly through definition assessments. Assessment words are selected because of their importance to the module’s content as well as their relevance and transferability to other texts and subject areas. Teachers should make this list of assessed words available to students through the Vocabulary Glossary. (List of assessment words can also be broken down into smaller word banks for ease of use.)

Module Word List

The following is a complete list of all words taught and practiced in the module. Those that are assessed, directly or indirectly, are indicated.

“The War to End All Wars,” Shari Lyn Zuber

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment

1 alliance    Teacherprovided definition

1 ultimatum   Teacherprovided definition

1 neutrality   Teacherprovided definition

“The Peace President Goes to War,” Duane Damon

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment

2 factor  

Teacherprovided definition; apply understanding

2 DD nationalism   Apply understanding Direct Assessment in Deep Dive 34

2 DD patriotism   Outside-In Direct Assessment in Deep Dive 17

“The Teenage Soldiers of World War One,” BBC Magazine

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment

3 confers 

Apply understanding; TDQ 3 monotonous 

Teacherprovided definition

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment 4, 4 DD exhorted  

Teacherprovided definition; word line

Direct Assessment in Deep Dive 17 4 righteous  Apply understanding; activity 4, 4 DD initiated 

Teacherprovided definition; word line

Direct Assessment in Deep Dive 17 4, 4 DD coerced  

Teacherprovided definition; word Line

Direct Assessment in Deep Dive 17 4 patriotic   Apply understanding; activity 4 derision  Apply understanding; activity 4 criticism  Apply understanding; activity All Quiet on the Western Front, Erich Maria Remarque (translator A. W. Wheen)

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment 1 fatuous 

Teacherprovided definition 1 superficial 

Teacherprovided definition 1 abyss 

Teacherprovided definition

Annotate for word meaning; apply understanding

Direct Assessment in Deep Dive 17 7 bombardment  

Teacherprovided definition 8, 8 DD threshold  

Annotate for word meaning; apply understanding

Direct Assessment in Deep Dive 17 8 melancholy  Annotate for word meaning 8 embittered  

Annotate for word meaning 8 indifferent  

Teacherprovided definition 8, 22 DD protrude 

Outside-In Direct Assessment in Deep Dive 17 8, 25 comradeship, comrade  

Teacherprovided definition; TDQs 9 decorum  

Teacherprovided definition 9 absurdity 

Teacherprovided definition 10, 10DD punctually   

Outside-In; apply understanding

Direct Assessment in Deep Dive 17 10, 10 DD punctuated  

Direct Assessment in Deep Dive 17 G8 M2 Appendix B: Vocabulary WIT & WISDOM® 430

Teacherprovided

Teacherprovided definition;

Assessment; CFU in lesson 24

Teacherprovided definition; apply understanding

Direct Assessment in Deep Dive 17

22 DD

interject

Teacherprovided definition; apply understanding TDQ

TDQ; Outside-In

Teacherprovided definition

Teacherprovided definition

Direct Assessment in Deep Dive 34

“Fighting from the Trenches,” Kathryn M. Horst

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment

12, 12 DD elaborate 

12 depleted  

12 scale   

Teacherprovided definition; multiple meanings

Teacherprovided definition

Teacherdefined; apply understanding; TDQ

Direct Assessment in Deep Dive 17

“Dulce et Decorum Est,” Wilfred Owen

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment

18, 18 DD zest 

18, 18 DD ardent 

All Quiet on the Western Front, Lewis Milestone (1930) (film excerpt)

Teacherprovided definition; word line

Teacherprovided definition; word line

Direct Assessment in Deep Dive 34

Direct Assessment in Deep Dive 34

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment

21, 22, 23, 24, 25, 26

Film techniques vocabulary (Handout 21A)   

CFUs (21, 22, 24) FQT 3 G8 M2 Appendix B: Vocabulary WIT & WISDOM® 433

“The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley

Lesson Number Word ContentSpecific Academic Text Critical Teaching Strategy Assessment 31 shell shock  

Annotate for word meaning; apply understanding

FQT 4 31 hysteria  

Annotate for word meaning; apply understanding

FQT 4 31 emasculating  

Annotate for word meaning 31 effeminate   Annotate for word meaning

General Words

ContentSpecific Academic Text Critical Teaching Strategy Assessment 1 illuminate 

Lesson Number Word

Teacherprovided definition; apply understanding 1 affect 

Teacherprovided definition; apply understanding

Direct Assessment in Deep Dive 17 1 effect 

Direct Assessment in Deep Dive 17 6 conditions  Apply understanding G8 M2 Appendix B: Vocabulary WIT & WISDOM® 434

Teacherprovided definition, TDQ 6 status report  

Teacherprovided definition

Teacherprovided definition

Teacherprovided definition; apply understanding

Teacherprovided definition; multiple meanings; apply understanding

DD disillusion  Apply understanding Direct Assessment in Deep Dive 34

Teacherprovided definition; apply understanding

defined;

Teacherdefined; apply understanding; TDQ

Teacherdefined; apply understanding; TDQ

23, 24 humanity  

Teacherdefined; apply understanding CFU, Socratic Seminar

27 psychological   Apply understanding

Words to Know

Understanding vocabulary and building background knowledge are essential for students’ comprehension of complex text. WIT & WISDOMTM students study topics for an extended period of time, building background knowledge. However, students may need additional support with unfamiliar vocabulary as they access complex text.

The words listed here may pose a challenge to student comprehension. Provide definitions or a glossary for these challenging words so that students will comprehend complex text. Use a free resource such as Wordsmyth (http://witeng.link/wordsmyth) to generate glossaries for students.

“The War to End All Wars,” Shari Lyn Zuber

empire, paragraph 1

accumulate, paragraph 2

ethnic, paragraph 3

territory, paragraph 4

bolstered, paragraph 11

negotiate, paragraph 12

“The Peace President Goes to War,” Duane Damon

province, page 1

heir, page 1

diplomat, page 1

ancestry, page 1

“Your Country Needs You: Why Did So Many Volunteer in 1914?” Toby Thacker

surge, paragraph 2

casualties, paragraph 2

enlisted, paragraph 2

consensus, section title, paragraph 5

campaign, paragraph 4

discourse, paragraph 5

conscription, paragraph 5

countenance, paragraph 8

pacifists, paragraph 8

derision, paragraph 9

exemption, paragraph 11

succumbing, paragraph 13

“The Teenage Soldiers of World War One,” BBC Magazine

resonant, paragraph 5

scrupulous, paragraph 8

militarism, paragraph 12

mutilated, paragraph 18

desertion, paragraph 21

“Voices of the Great War,” PBS

withered, “Kaiser Wilhelm II”

demeanor, “Kaiser Wilhelm II”

metropolis, “Ludwig Meidner”

dynamism, “Ludwig Meidner”

probing, “Ludwig Meidner”

All Quiet on the Western Front, Erich Maria Remarque (translator A. W. Wheen)

voracity, chapter 1 ƒ foresight, chapter 1 ƒ sector, chapter 1

novelties, chapter 1

confounded, chapter 1

martinets, chapter 1

tactless, chapter 1

implored, chapter 1

morphia, chapter 1

renunciation, chapter 2

grievous, chapter 2

convalescent, chapter 2

discomfiture, chapter 2

vacancies, chapter 3

canteen, chapter 3

concord, chapter 3

indefatigable, chapter 3

allotted, chapter 3

lorry, chapter 4

vortex, chapter 4

bellowing, chapter 4

indignant, chapter 4

barrage, chapter 4

baseness, chapter 4

suffocating, chapter 4

louse, chapter 5

tedious, chapter 5

laconically, chapter 5

court-martialed, chapter 5

loaf, chapter 6

embankment, chapter 6

onslaught, chapter 6

automata(on), chapter 6

entanglements, chapter 6

sentry, chapter 6

poplars, chapter 6

apparitions, chapter 6

liberation, chapter 6

allurement, chapter 6

dilate, chapter 6

brimstone, chapter 6

depot, chapter 7

canal, chapter 7

exasperate, chapter 9

stark, chapter 9

implacable, chapter 9

placate, chapter 9

stratagem, chapter 9

provision, chapter 10

surreptitiously, chapter 10

proffered, chapter 10

ƒ solidarity, chapter 11 ƒ banal, chapter 11 ƒ evasively, chapter 11 ƒ aberration, chapter 11 ƒ emaciated, chapter 11 ƒ dysentery, chapter 11

“Fighting from the Trenches,” Kathryn M. Horst ƒ stronghold, paragraph 3 ƒ parapet, paragraph 5 ƒ ammunition, paragraph 6 ƒ artillery, paragraph 7

“Dulce et Decorum Est,” Wilfred Owen ƒ lame, stanza 1 ƒ ecstasy, stanza 2 ƒ floundering, stanza 2

“World War I: The War That Inspired Innovative Art,” Hillel Italie ƒ armistice, page 1 ƒ upended, page 1 ƒ hierarchy, page 4 ƒ surreal, page 4 ƒ atonal, page 4

“The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley ƒ delusions, page 1 ƒ dichotomy, page 3 ƒ attrition, page 4

Rubrics,

Appendix C: Answer Keys, Rubrics, and Sample Responses

TABLE OF CONTENTS

Assessment 5A: Focusing Question Task 1 Sample Response

Assessment 10A: New-Read Answer Key

Assessment 16A: Focusing Question Task 2 Sample Response

Assessment 17A: New-Read Answer Key

Assessment 17B: Vocabulary 1 Answer Key

Assessment 26A: Focusing Question Task 3 Sample Response

Assessment 32A: Focusing Question Task 4 Sample Response

Assessment 34A: End-of-Module Task Annotated Sample Response

Assessment 34B: Vocabulary 2 Answer Key

End-of-Module Task Writing Rubric

Socratic Seminar Tracking Sheet

Grade 8 Speaking and Listening Rubric

Assessment 5A: Focusing Question Task 1 Sample Response

Texts: Choice of: “The War to End All Wars,” “The Peace President Goes to War,” “Your Country Needs You,” “The Teenage Soldiers of World War One.”

Focusing Question: Why did countries and individuals join World War I?

Prompt: The date is April 2, 1917 and the United States has declared war on Germany. Three years prior, Britain declared war on Germany. Write two paragraphs that explain two perspectives on the reasons for joining the war. First, explain why so many British men joined the fight in World War I and, second, the reasons the United States has decided to declare war at this particular moment. Write for an audience that has a limited understanding of World War I. Develop your response using two effective types of evidence (fact, definition, first-person account, etc.) from two texts in this Focusing Question arc that most strongly support an explanation of the British and American decisions to fight in World War I (RI.8.1; RI.8.2, W.8.2.a, W.8.2.b, W.8.2.d, W.8.4, L.7.3.a, L.8.6).

Sample Response:

n Britain and Germany have been at war for three long years. From the start, Englishmen have believed in their duty to participate. When England declared war on August 4, 1914, British men had a duty to sign up and fight this “righteous war” (Thacker). Belief in Britain’s cause fueled men to fight and protect the sovereign rights of their country. There were casualties and defeat spurred men to volunteer. After “the fall of Antwerp” in October of 1914, as many as “10,000 men enlisted” per day and joined the cause (Thacker). These losses and casualties showed the reality of war and the strength of Britain’s foe. The fallen could not return to life but British men could help save their brothers who were still fighting Germany.

Today, that same fighting spirit has captured American comrades in arms. They were not eager to join the conflict, even after 128 innocent Americans died aboard the Lusitania, although there were many people who wanted to join the war at that time (Damon). Two years have passed since that tragedy. It took a German plot to involve Mexico in the war and the sinking of “three U.S. merchant ships” to push President Wilson to bring the Americans into the Great War (Damon). No European countries would listen to the president’s call for peace. It took him three years to realize what the British knew at the start of the war: “the right is more precious than peace” (Damon). The war has been a brutal, tragic affair, but now that the United States has entered the conflict, perhaps it will soon come to a close.

Assessment 10A: New-Read Answer Key

Multiple-Choice Answer

1. D

2A. A

2B. B 3A. C 3B. Verb 4. D 5. D 6A. B 6B. B 7. D

8. Sample Response:

Answers will vary, but should identify a category and use two to three pieces of well-chosen evidence from All Quiet on the Western Front

My category is beauty.

ƒ Descriptive and sensory language illustrate the soldiers’ experience of beauty on the front. Even though the front is dangerous, there are instances that are visually stunning to Paul, such as the soldiers’ helmets that gleam softly in the moonlight” (57). The beauty is not only limited to objects that protect the soldiers but also of the tools of the enemy: rockets. Paul describes the explosions in language that could also be used for a Fourth of July parade: “Balls of light rise up high above it, silver and red spheres which explode and rain down in showers of red, white, and green stars” (58). The soldiers’ experience in All Quiet on the Western Front may have many challenges but even in the gears of warfare there lie appealing images.

Relevant Standards

1. RL.8. 2, RL.8.4

2A. RL.8.2

2B. RL.8.1, RL.8.2 3A. RL.8.4 3B. RL.8.4

4. RL.8.4, L.8.5.b

5. RL.8.1, RL.8.2, RL.8.3

6A. RL.8.4

6B. RL.8.1, RL.8.4 7. RL.8.4

RL.8.1, RL.8.2, W.8.2.a, L.8.5.a

Assessment 16A: Focusing Question Task 2 Sample Response

Texts: All Quiet on the Western Front, Erich Maria Remarque, “Fighting from the Trenches,” Kathryn M. Horst

Focusing Question: How did conditions on the front affect soldiers?

Prompt: Write a one-page letter from the point of view of Albert Kropp or Müller from All Quiet on the Western Front, in which the soldier describes and reflects on his experiences fighting on the front line in World War I. Write this letter to a friend who has just joined the army but has not yet come to the front lines. Include at least one incident or particular line of dialogue from the novel that propels the plot, reveals aspects of a character, or provokes a decision. Use at least three specific details of evidence from one or both of the supplementary texts in this Focusing Question arc (RL.8.3, W.8.3.a, W.8.3.b, W.8.3.d, W.8.4, L.8.1.c, L.8.1.d, L.8.6).

Sample Response: Dear Roland, How is your first week of basic training? I know you were not eager to sign up. You resisted the allure that took hold of so many of us at school. All I can say about life in training is that it’s much easier than being out on the front. Get to know the men in your company quickly—be good to them—because soon they become like brothers. They will be the ones who see you make it through this conflict. If it weren’t for my friends, I wouldn’t have had the courage to stand up to our abusive commanding officer Corporal Himmelstoss, a short dwarf with a greasy mustache, when he threatened to throw us in the clink. When he asked what I’d do in an inquiry I told him, “Show you up, Corporal” (Remarque 25). He couldn’t stand being talked to in that way! I don’t think it should be a rule to back talk your commanding officer, but Himmelstoss was not merely strict but abusive. And that bit of courage helped all of us break his authority. That moment felt so liberating. Sometimes small, weak men try to take advantage of their commanding position. Don’t let them rule you; show them you have a strength they cannot control.

In your last letter, you asked about life on the front. I have to tell you there’s not much good about being out in the trenches. The machine guns from both sides fire constantly like loud wasps buzzing (Horst). The humming stays in your ears for days after leaving the front. The sounds of the bombardments are even worse. The shells drop and explode like thunder and the mud, dirt, and debris sprays much like a garden hose shoots water; dirty, dark water that could contain shrapnel. Losing your eyesight is a major concern. You remember Behm? He got hit in the eye. It wouldn’t have been fatal if he would have made it back to our side but he couldn’t see and got picked off by the French.

Much of the time I am bored in the trench (Horst). Not an idle boredom, but a nervous waiting, until we finally hear the approach of the enemy. One of my best talents is throwing hand grenades. I throw sixty yards and it disrupts the enemy’s charge. These are the kind of things you learn when you live on the front. During the last attack, I threw almost all my grenades and still the French came running. During those charges, I lose control of my senses and become like an animal, acting only on instinct. This is something they don’t teach you Roland, but you’ll have to understand that staying alive out here means letting your muscles work, even when you feel stiff and tired; dead as a corpse, you fire your rifle and crack open skulls with a spade. Blood flows freely into the mud, and often it is hard to

tell if you are wounded until you strip off your uniform (Horst). German and French blood all looks the same.

But you must try your best to learn how to use a gas mask, to put it on quickly, and only take it off when you’re out of the holes or the trenches. The gas scares me more than anything. The hiss more dangerous than a coiled cobra will strike your lungs and melt them until you’re dead. Sometimes men cough for days before they die. My worst fear, the nightmare I have every night, is coughing. First, coughing up my lungs, then my liver, then my intestines—all shriveled up like earthworms—and finally my heart, my sputtering heart. I know it’s hard for you to understand. They talk of glory at home, but out here is only fear and death. I just hope I can get some sleep tonight without the dream.

Your friend, Albert Kropp

Assessment 17A: New-Read Answer Key

Multiple-Choice Answer

1. C 2. D 3. C 4. B 5. A 6. A 7. A

Relevant Standards

1. RL.8.1, RL.8.3

2. RL.8.2, RL.8.3

3. RL.8.1, RL.8.3

4.RL.8.1, RL.8.3

5.RL.8.3

6. RL.8.2, RL.8.3

7. RL.8.3, L.8.5.b

8.

Sample Response:

Answers will vary but may include:

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“I would like to hit him in the face, but control myself, for my leave depends on it” (162).

RL.8.1, RL.8.3, L.8.5.b

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“I cannot get on with the people” (165).

ƒ “I realize he does not know that a man cannot talk of such things” (165).

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“I feel annoyed and smoke like a chimney as hard as I can” (166).

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“I prefer to be alone, so that no one troubles me” (168).

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“[T]hey have worried, aims, desires, that I cannot comprehend” (168).

9. Sample Response:

Answers will vary but may include:

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“Thank God, we have discipline here!” (163).

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“The best for our soldiers every time, that goes without saying” (166).

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“Smash through the johnnies and then there will be peace” (167).

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“[F]irst of all, the enemy line must be broken through in Flanders and then rolled up from the top” (167).

10. Sample Response:

Answers will vary but may include:

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The conflict between Paul and his German master reveals the difference between the realities of war and the way that civilians think about the war at home. Paul’s German master thinks that it should be easy to win trench warfare, saying “Smash through the johnnies and then there will be peace” (167).

Paul tries to explain that the war is a bit different because “The enemy may have too many reserves” (167). However, his German master rejects Paul’s opinion. This exchange shows that the civilians at home are arrogant about the war and will not even listen to someone who is fighting on the front!

Assessment 17B: Vocabulary 1 Answer Key

Instructions: Under each sentence below, write a brief definition of the bolded word. If a part of the word is bolded, only define that word part (morpheme).

TEACHER NOTE

The sample answers below are only illustrations: answers of course will vary, as there are many acceptable ways to define each word. When evaluating student responses, consider what level of specificity you will require for a correct answer. For example, “The mother beckoned to her son,” might provide enough context for a student to easily answer “waved,” but to demonstrate understanding of the particular meaning of beckoned, a student would need to indicate that the gesture requests someone to move closer or follow.

1. The mother beckoned to her son from across the room. (gesture requesting someone to move closer or follow)

2. They stood on the threshold of the room. (a strip of metal, wood, or stone forming the bottom of a door, must be crossed to enter a room or house)

3. He arrived punctually. The punctuated strumming was heard in the audience. She showed her the puncture in his leg. (pierce, point, prick)

4. The leader managed to affect changed across the nation. (to influence, cause a change in, or have an impact on)

5. He initiated contact with her after several years. (to cause to begin, start, originate)

6. He always felt ostracized by the popular kids. (to exclude or shun)

7. No one could doubt the eager soldier’s patriotism. (love for, or loyalty to, one’s country)

8. The teacher exhorted her students to study for the final exam. (to urge, advise, or incite with great seriousness)

9. The side effects of the medicine are nearly as bad as the illness. (something that happens because of something else)

10. I’d like you to elaborate on your answer. (to add details to something; to explain more fully)

11. The commander coerced his men into obedience. (to persuade, or pressure a person to do something by using threats, intimidation, or the like)

Assessment 26A: Focusing Question Task 3 Sample Response

Texts: All Quiet on the Western Front, Erich Maria Remarque, All Quiet on the Western Front, Lewis Milestone (1930) (excerpts)

Focusing Question: How do literature and art depict attitudes toward the war and its effects?

Prompt: Writing for an audience that has studied the novel and film as closely as you have, write a three-paragraph informative essay that explains how the film scene “Forgive Me, Comrade” conveys the film’s attitude about the war’s effects on humanity. Then evaluate this depiction in relation to the attitude about war’s effects on humanity conveyed in the same scene from the novel (RL.8.3, RL.8.7, W.8.2.b, W.8.2.d, W.8.2.f, L.8.1.b, L.8.1.d, L.8.6).

Sample Response:

n In “Forgive Me, Comrade,” from Lewis Milestone’s 1930 All Quiet on the Western Front, the shot selection, acting, and lighting demonstrate that although soldiers’ duties require them to deny their humanity, in the end, they cannot be fully stripped of human compassion. In the film, the director uses close-ups, counter shots, and high and low camera angles to provide a clear, visual message to the reader: Paul is emotionally ruined because he cannot deny his humanity and accept what he’s done to the French soldier. In the beginning of the scene, the close-up shots and counter shots between Paul’s frantic, sad face and the happy, calm one of the dead soldier are used to show viewers that Paul is the damaged one. Also, these close-ups force viewers to see the similarities: they are just two human beings, not enemies. This choice emphasizes their common humanity. At first, the actor spits his lines at the dead man, almost as though the soldier is still alive, which provides a sharp contrast when Paul accepts that the man is dead. The actor weeps at the end of the scene. His weeping is the final, strong display of his compassion and guilt. In addition to shot selection and acting choices, the director uses camera angles and lighting. He uses a high-angle shot and bright lighting as Paul begs the dead soldier and pleads with God to show Paul’s hope for forgiveness and innocence. Paul craves forgiveness because he sees that he has killed another man, not some vague idea of the concept. Unfortunately, the scene in the film ends with a low-angle shot, showing Paul in darkness near the bottom of the hole. The angle and lighting signal Paul’s despair and hopelessness; either he cannot be forgiven or he cannot forgive himself. This scene from the movie is very emotional and shows just how low Paul has fallen.

The novel and the film capture Paul’s intense reaction to killing the French soldier, but the film is much more heart-wrenching, appealing to the viewer’s sense of compassion and sympathy. The novel focuses more on Paul’s mental deterioration. One major difference between the two works is the movie’s use of the word enemy instead of abstraction. When Paul apologizes to the soldier in the novel, he says, “But you were only an idea to me before, an abstraction that lived in my mind and called forth its appropriate response” (223). The use of abstraction, here, demonstrates that Paul’s shock is a result of seeing a human being up close, in the flesh, which is very different from killing an enemy from a distance. He recognizes their shared humanity for the first time and is forced to see the consequence of his actions. On the other hand, when he uses the word enemy in the film, the negative connotation of the word helps readers sense the fear that caused Paul to kill him. The actor is already speaking in a pleading tone, which highlights his desire for forgiveness. Paul’s decisions and reactions seem like emotional responses in the film, but in the novel, Paul’s mental state is the culprit as he tries to come to terms with reality. Seeing Paul stuck in the trench in the eye-level medium shot allows the viewers to feel the confined space and Paul’s despair, but the novel provides many specific details about Paul’s

internal battle. Both show the negative impact of war, but the novel focuses on the facts of being human and the film on the emotional struggles of humanity.

While some may think these films are only violent entertainment, war films provide viewers with realistic, multi-sensory glimpses into the horrors of war, which helps end the vision of the glory of war that many real soldiers come to despise.

Assessment 32A: Focusing Question Task 4 Sample Response

Texts: “The Forgotten Female Shell-Shock Victims of World War I,” Hannah Groch-Begley

Focusing Question: How do literature, art, and informational texts depict the psychological effects of war?

Prompt: Writing for an audience that has read and studied this text as you have, write a fourparagraph informative essay that explains the ways “The Forgotten Female Shell-Shock Victims of World War I” by Hannah Groch-Begley makes connections and distinctions among ideas about the psychological effects of war on men and women (RI.8.3, W.8.2, L.8.2.b, L.8.6).

Sample Response:

Thesis statement: While it appears as though men and women, both civilians and soldiers, experienced similar mental trauma as a result of World War I, categorization and treatment greatly differed depending on sex.

The violence of World War I physically and psychologically affected men that served at the front and even those that were never directly under fire. As men returned home from the front, they had to be treated for their “mental distress”, and a new condition emerged. Men’s, especially male soldiers’, suffering was defined and treated as “shell shock” (Groch-Begley 3). Shell shock included symptoms like “hysterical paralysis, deafness … suicidal thoughts” (3). However, it wasn’t just men who served at the front that experienced these symptoms. Therefore, shell shock appeared to be an incorrect term to describe the condition, but the “memorable alliteration” kept the term in use for years to come. Though there was a focus on treating soldiers with shell shock, eighty-seven percent were returned to the front lines after only a month of leave (2; 5). The need for soldiers was too great to allow sufficient treatment and rest. Male soldiers and civilians were both dramatically affected by the war despite the doctors’ focus on those men who fought in the line of fire.

Even though women often experienced identical symptoms as men, the terms used to describe their conditions and treatments were different because the female mind was considered more fragile than the male. In addition, women did not serve as soldiers. So, although they were stationed at the front, their experiences were not considered as intense. Most female neuroses were called hysteria, which was a feminine term that covers everything from “fainting” to “sexual desire” (4). It was considered too “emasculating” a term to describe male soldiers’ reactions to the front (4). After incidences like Elizabeth Huntley’s murder of her child due to her fear during air raids, and accounts like those of Tommy the female ambulance driver who developed a stutter because of her experiences at the front, psychologists developed the terms “air raid shock” and “civilian war neuroses” to label women’s psychological trauma (2; 3). Doctors seemed unwilling to give women’s suffering the same term as a man’s.

Concluding statement: Since psychologists and doctors separated women’s mental suffering from men’s and, in turn, largely ignored it, little is known today of women’s experience during World War I or of the impact of warfare on women in general.

Assessment 34A: End-of-Module Task Annotated Sample Response

Disillusionment as Destruction

The events of World War I not only destroyed countless cities and millions of soldiers but also profoundly ruined the lives of those soldiers that survived the war. Historical texts convey important details like the dates, locations, and descriptions of the major events of World War I. However, art and literature of the time illuminate the emotional and psychological experiences of the individual at war. For instance, Erich Maria Remarque’s novel All Quiet on the Western Front takes readers into the trenches through the eyes of Paul Bäumer who becomes disillusioned, first with authority and eventually with life itself because of his experiences.

Paul’s disillusionment with authority develops because of his superiors’ insistence on strict military protocols and the older generation’s glorified view of war.

Paul’s disillusionment with authority is a consequence of the superfluous routines in the army and the misconceptions about the war he encounters from both his teachers and even his father. At the beginning of the novel, Paul describes life in the front. He specifically recalls the abuses of power and insistence on decorum in the army. Paul remarks that “drill ceases only in the front-line and begins a few miles behind, with all the absurdities of saluting and parading” (45). Because marching and saluting do not take place in the front where the actual fighting happens, Paul becomes skeptical about the point of these exercises. His description of the actions as “absurdities” demonstrates this feeling of disillusionment with military authority. In addition, Paul’s father makes him feel disillusioned with the wisdom of that generation because of their idealistic view of war. When Paul is on leave, his father wants to hear all about the fighting Paul has experienced, not knowing that Paul cannot talk about these horrors. His father’s eagerness makes Paul feel that his father’s curiosity is “stupid and distressing,” and Paul decides that he will “no longer have any real contact with him (165). Since Paul’s father cannot understand the true terror of warfare, Paul can no longer relate to him. Paul’s decision to no longer interact with his father reveals his detachment from his elders. Paul, like many soldiers, loses faith in authority.

Sadly, Paul becomes disillusioned with life in general. Paul’s disillusionment with his future results from the violence he causes and witnesses. Throughout the novel, Paul narrates the annihilation that takes place in the front. He and the other soldiers become so accustomed to the violence that Paul worries they are ruined for peacetime. While Paul recovers in the Catholic hospital, he is a witness to constant deaths caused by injuries in battle, which causes him to ponder his future: “Through the years our business has been killing; —it was our first calling in life…[a]nd what shall come out of us?” (264). Paul and his peers were forced to kill the enemy and witness the deaths of their friends; therefore, Paul is apathetic toward life during peacetime since he feels he has no skills or understanding of it. His questioning of what will become of him and his friends shows that he doesn’t think they will survive life as civilians. Paul doesn’t seem to have a future after the war because of this violence.

Paul and his friends are ruined because of the senselessness and cruelty they experience during World War I. The war has caused them to question their elders and the value of their beliefs. They no longer care about their lives and cannot see futures for themselves. Paul’s disengagement is a result of the absurd views that the officers and older generation have of war. Also, the brutal violence and horror he’s seen and caused destroys his hopes for the future. Paul’s story highlights a scary truth for World War I soldiers and perhaps all soldiers: surviving a war does not mean that a soldier has escaped destruction. In fact, if war shatters your belief in what is good and valuable, perhaps it is harder to live through and after war.

W.8.2.A: This thesis sets the stage for the rest of the essay and includes the broad category of disillusionment.

W.8.2.D: Bold and underlined words inform about or explain the topic effectively. In particular, the word chosen as the label for the broad category (here it is “disillusionment”) is appropriate for the category chosen.

W.8.2.C: This transition clarifies the shift from one supporting idea to another, additional supporting idea.

W.8.2.B: This well-chosen evidence explicitly shows a poignant result of Paul’s disillusionment: separation from his father.

L.8.2.B: An ellipses omits irrelevant or over-long portions of evidence, and allows for the inclusion of only the most effective portion of the quote.

W.8.2.F: This conclusion suggests a broader impact of the psychological effect of disillusionment, a destabilization of a person’s perspective about what is good in life.

Content knowledge: The essay explains how Paul’s story in All Quiet on the Western Front develops the psychological effect of disillusionment. The essay is organized by the broad category of disillusionment and further delineated by two subcategories: disillusionment with authority and disillusionment with life in general. By explaining these two subcategories with relevant evidence from the text, the author demonstrates a strong understanding of how key incidents in the novel develop Paul’s disillusionment. This tightly organized essay finishes by broadening the scope of the psychological effect and considers how the rest of an individual’s life can be marred by their experiences in war.

Assessment 34B: Vocabulary 2 Answer Key

Instructions: Under each sentence below, write a brief definition of the bolded word. If a part of the word is bolded, only define that word part (morpheme).

TEACHER NOTE

The sample answers below are only illustrations: answers of course will vary, as there are many acceptable ways to define each word. When evaluating student responses, consider what level of specificity you will require for a correct answer. For example, “The mother beckoned to her son,” might provide enough context for a student to easily answer “waved,” but to demonstrate understanding of the particular meaning of beckoned, a student would need to indicate that the gesture requests someone to move closer or follow.

1. From where they stood they could see the degeneration of the bridge. The class watched the cell regeneration. The generator ran through the night. (birth, kind, creation)

2. My sister’s zest for writing is apparent in her blog. (a sense of great pleasure or enjoyment)

3. There can be no insubordination in the ranks. (unwillingness to submit to order; disobedient)

4. We tried to interject. No one heard his conjectures. They rejected the proposal. (to throw)

5. After years at the company, he felt disillusioned. (disappointed; without false dreams and hopes)

6. Feelings of nationalism contributed to the start of war. (a feeling of being proud of one’s country with the belief it is better than others; national superiority)

7. He has always been an ardent fan of classic rock music. (having or showing very strong feelings of passion, desire, and loyalty)

8. The loud music intruded on his studies. (to enter or thrust oneself when uninvited or unwelcomed; barge in)

Rubric

Grade 8–Informative/Explanatory Writing

1 (Does Not Yet Meet Expectations)

ƒ Does not respond to prompt; off-topic. ƒ Piece lacks focus on topic. ƒ Does not introduce topic. ƒ Ideas are disorganized. ƒ Does not provide a conclusion. ƒ Does not use transitions to connect ideas.

2 (Partially Meets Expectations)

ƒ Responds to some elements of prompt. ƒ Often departs from focus on topic. ƒ Introduces topic in an incomplete or unclear way. ƒ Organizes ideas inconsistently. ƒ Provides a conclusion that is incomplete or may not follow from the focus. ƒ Inconsistently uses transitions to connect ideas.

3 (Meets Expectations)

ƒ Responds to all elements of prompt. ƒ Maintains focus on topic throughout piece with occasional minor departures. ƒ Introduces topic clearly, previewing what is to follow. ƒ Organizes ideas clearly and effectively. ƒ Provides a conclusion that follows from and supports the focus. ƒ Uses appropriate transitions to create cohesion and clarify relationships.

4 (Exceeds Expectations)

Responds thoroughly to all elements of prompt. ƒ Maintains focus on topic throughout piece. ƒ Introduces topic clearly and thoroughly, previewing what is to follow. ƒ Organizes ideas clearly and effectively into broader categories. ƒ Provides a strong conclusion that follows from, supports, and expands on the focus. ƒ Uses appropriate and varied transitions to create cohesion and clarify relationships.

Structure

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ƒ Develops topic with sufficient, relevant evidence from text(s). ƒ Elaborates upon evidence with accurate analysis.

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ƒ Does not use relevant evidence from text(s). ƒ Does not elaborate upon evidence. G8 M2 Appendix C: Answer Keys, Rubrics, and Sample Responses WIT & WISDOM® 455 This page may be reproduced for classroom use only.

ƒ Does not use relevant evidence from text(s). ƒ Does not elaborate upon evidence. © 2023 Great Minds PBC

Development

Sentence patterns are basic and repetitive. ƒ Uses limited vocabulary inappropriate to the content. ƒ Language is imprecise and lacks concision, often wordy or redundant. ƒ Uses an inappropriately informal style. ƒ Writing is inappropriate to audience.

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Varies sentence patterns occasionally for clarity or interest. ƒ Uses general vocabulary with a few domain-specific words. ƒ Language is occasionally precise and may be unnecessarily wordy. ƒ Attempts to use a formal style but with many lapses. ƒ Writing is somewhat appropriate to audience.

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Varies sentence patterns for clarity and interest. ƒ Uses domain-specific vocabulary. ƒ Mostly expresses ideas precisely and concisely. ƒ Establishes a formal style, with occasional minor lapses. ƒ Writing is appropriate to audience.

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Varies sentence patterns for clarity, interest, emphasis, and style. ƒ Uses precise language and domainspecific vocabulary. ƒ Consistently expresses ideas precisely and concisely. ƒ Establishes and maintains a consistent, formal, and engaging style. ƒ Writing shows exceptional awareness and skill in addressing audience’s needs.

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Style

Shows consistent command of grammar, mechanics, spelling, and usage; occasional errors do not significantly interfere with meaning.

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Shows strong command of grammar, mechanics, spelling, and usage; errors are minor and few.

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Conventions

ƒ Does not show command of grammar, mechanics, spelling, and usage; errors significantly interfere with overall meaning, and writing is difficult to follow. G8 M2 Appendix C: Answer Keys, Rubrics, and Sample Responses WIT & WISDOM® 456 This page may be reproduced for classroom use only.

Listening

1 (Does not yet meet expectations)

ƒ Does not yet pose questions. ƒ Does not yet respond to questions. ƒ Does not connect relevant information. ƒ Does not yet analyze information connected to the topic of study.

2 (Partially meets expectations)

ƒ Poses questions. ƒ Responds to questions with relevant observations. ƒ Sometimes connects relevant information. ƒ Analyzes information and connects it to the topic of study.

3 (Meets expectations)

ƒ Poses questions that connect the ideas of several speakers. ƒ Responds to questions and comments with relevant evidence. ƒ Organizes relevant and related well-chosen details. ƒ Analyzes the purpose of information presented.

Coherently presents claims and findings emphasizing salient points. ƒ Prepares in advance for discussions and draws on evidence from that preparation. ƒ Logically orders contributions. ƒ Evaluates the soundness and validity of others’ reasoning. ƒ Modifies own views in response to new, stronger ideas. ƒ Analyzes the motives behind presentations.

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Grade 8—Speaking and Listening Rubric 4 (Exceeds expectations)

ƒ Poses probing questions that connect the ideas of several speakers. ƒ Adeptly responds to questions and comments with relevant evidence. ƒ Organizes relevant and related well-chosen details to strong effect. ƒ Effectively analyzes the purpose of information presented.

Structure

Coherently and effectively presents claims and findings emphasizing salient points. ƒ Prepares thoroughly in advance for discussions and draws extensively on evidence from that preparation. ƒ Logically and strategically orders contributions. ƒ Effectively and strategically evaluates the soundness and validity of others’ reasoning. ƒ Effectively reflects on and modifies own views in response to new, stronger ideas. ƒ Effectively analyzes the motives behind presentations.

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Development

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ƒ Does not yet present claims. ƒ Does not prepare for discussions. ƒ Does not yet use logic. ƒ Does not yet respond to other’s reasoning. ƒ Does not yet acknowledge new ideas. ƒ Does not yet acknowledge the motives behind presentations. G8 M2 Appendix C: Answer Keys, Rubrics, and Sample Responses WIT & WISDOM® 458 This page may be reproduced for classroom use only.

ƒ Does not use multimedia components. ƒ Word choice doesn’t yet enhance expression. ƒ Does not yet use inflection. ƒ Does not yet speak formally. ƒ Does not yet adapt inflection, tone, or non-verbal expression to audience or purpose.

ƒ Uses multimedia components when speaking. ƒ Chooses words to express ideas and feelings. ƒ Adapts inflection, tone, or nonverbal expression to audience or purpose. ƒ Speaks formally in academic conversations.

ƒ Uses multimedia components to add detail and interest to spoken descriptions. ƒ Chooses strong words to express ideas and feelings clearly. ƒ Adapts inflection, tone, and nonverbal expression to audience and purpose. ƒ Varies formality of speech to context.

ƒ Uses multimedia components to strengthen and add interest to spoken descriptions. ƒ Chooses precise and meaningful words to express ideas and feelings clearly. ƒ Optimally adapts inflection, tone, and non-verbal expression to audience and purpose. ƒ Effectively varies formality of speech to context.

Style

ƒ Expresses clearly with effective volume. ƒ Speaks in coherent and complex sentences. ƒ Paces speech dynamically for meaning. ƒ Uses effective eye contact. ƒ Pronounces words clearly and accurately.

ƒ Does not yet speak audibly or clearly. ƒ Does not yet speak in complete sentences. ƒ Speaks too fast or too slow. ƒ Does not yet make eye contact. ƒ Rarely, if ever, pronounces words clearly. G8 M2 Appendix C: Answer Keys, Rubrics, and Sample Responses WIT & WISDOM® 459 This page may be reproduced for classroom use only.

ƒ Speaks audibly or clearly. ƒ Speaks in complete sentences. ƒ Sometimes speaks at an understandable pace. ƒ Occasionally makes eye contact. ƒ Occasionally pronounces words clearly. © 2023 Great Minds PBC

Conventions

ƒ Does not yet contribute both questions and statements in conversations. ƒ Follows few, if any, agreed-upon rules for conversations. ƒ Does not yet set goals or deadlines. ƒ Does not yet link comments to comments of others. ƒ Does not yet indicate agreement or disagreement. ƒ Does not yet acknowledge when the discussion is off topic.

ƒ Contributes both questions and statements in conversations. ƒ Follows rules for collegial discussions or defines individual roles. ƒ Sets goals or deadlines. ƒ Links comments to comments of others. ƒ Agrees and disagrees respectfully. ƒ Acknowledges when the discussion is off topic.

Comments balance questions and statements that contribute to discussion. ƒ Follows rules for collegial discussions and defines individual roles. ƒ Sets goals and deadlines. ƒ Builds and elaborates on other’s comments. ƒ Agrees and disagrees respectfully and strategically. ƒ Identifies and refocuses irrelevant and off-topic discussion.

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ƒ Comments effectively balance questions and statements contribute significantly to discussion. ƒ Upholds rules for collegial discussions for self and others and carries out defined individual roles.

ƒ Sets specific and effective goals and deadlines. ƒ Builds and elaborates on other’s comments and contributes positively to a collaborative group process. ƒ Agrees and disagrees respectfully and strategically, using knowledge of common categories of disagreements. ƒ Routinely and adeptly identifies and refocuses irrelevant and offtopic discussion.

Sometimes track speakers. ƒ Attends in a structured conversation for less than 20 minutes. ƒ Does not yet give the speaker cues. ƒ Does not yet reflects or paraphrases to consider multiple perspectives.

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ƒ Tracks speakers. ƒ Attends in a structured conversation for at least 20 minutes. ƒ Sometimes gives the speaker cues. ƒ Reflects or paraphrases to consider multiple perspectives.

ƒ Eye contact and body language demonstrate attention. ƒ Attends in a structured conversation for at least 30 minutes. ƒ Cues the speaker with gestures and/or facial expressions. ƒ Reflects and paraphrases to consider multiple perspectives.

Facial expressions and body language demonstrate curiosity. ƒ Attends in a structured conversation for as long as needed. ƒ Listens actively and cues the speaker with gestures and facial expressions. ƒ Reflects and paraphrases strategically to consider multiple perspectives.

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Listening

Appendix D: Volume of Reading

Students may select from these recommended titles that support the module content or themes. These texts can be used as part of small-group instruction or as part of an independent and/or choice reading program. Volume of Reading Reflection questions can be found in the back of the Student Edition document.

Lexile measures are listed below when available. The Lexile code AD (Adult Directed) refers to a book that is usually read aloud to a child and includes difficult language or text elements. A text labeled with NC (Non-Conforming) Lexile indicates a developmentally appropriate text that is better suited for high-ability readers.

Novels

ƒ (580L) War Horse, Michael Morpurgo

(800L) Wolf Hollow, Lauren Wolk

(860L) Private Peaceful, Michael Morpurgo

(870L) Soldier Dog, Sam Angus

Historical, Scientific, and Technical Accounts

(820L) World War I: The Cause for War, Natalie Hyde

(950L) The Family Romanov: Murder, Rebellion, and the Fall of Imperial Russia, Candace Fleming

(990L) Dazzle Ships: World War I and the Art of Confusion, Chris Martin

(1220L) The War to End all Wars, Russell Freedman

(1350L) The Guns of August, Barbara Tuchman

(N/A) The Yanks Are Coming: The United States in the First World War, Albert Marrin* * This title is currently out of print.

Appendix E: Works Cited

1970gemini. “Kitchener-leete.” Wikimedia Commons, 21 Apr. 2015. Accesses 1 July 2016.

Bidou, Henri. “Battle of Verdun.” Encyclopædia Britannica Online, 4 Mar. 2016. Accessed 1 July 2016.

Damon, Duane. “The Peace President Goes to War.” Cobblestone, June 1986. Cricket Media. Accessed 1 July 2016.

Docson4. “Dulce et Decorum Est by Wilfred Owen: Read by Christopher Eccleston | Remembering World War 1 | C4.” YouTube, 7 Nov. 2013. Accessed 1 July 2016.

Groch-Begley, Hannah. “The Forgotten Female Shell-Shock Victims of World War I.” The Atlantic, 8 Sept. 2014. Accessed 1 July 2016.

Horst, Kathryn M. “Fighting from the Trenches.” Cobblestone, June 1986. Accessed 1 July 2016.

H.-P.Haack. “Remarque Im Westen nichts Neues 1929.” Wikimedia Commons, 15 May 2008. Accessed 1 July 2016.

Ideru~commonswiki. “Western Front 1914.” Wikimedia Commons, 2 May 2006. Accessed 1 July 2016.

Italie, Hillel. “World War I: The War That Inspired Innovative Art.” The Washington Times, 9 Aug. 2014. Accessed 1 July 2016.

Léger, Fernand. La Partie de Cartes. 1917, Kröller-Müller Museum, Otterlo, Netherlands. Kröller Müller. Accessed 1 July 2016.

Legion Magazine. “Leonard Cohen Recites ‘In Flanders Fields’ by John McCrae | Legion Magazine.” YouTube, 22 Oct. 2015. Accessed 1 July 2016.

McCrae, John. “In Flanders Fields.” Poetry Foundation. Accessed 1 July 2016.

McMullen, Roy Donald. “Fernand Léger.” Encyclopædia Britannica Online, 2016. Accessed 1 July 2016.

Moir, Matt. “Desertion and Shell Shock.” Esprit de Corps Canadian Military Magazine, 22 Apr. 2015. Accessed 1 July 2016.

Movieclips. “All Quiet on the Western Front (1/10) Move CLIP—Forgive Me, Comrade (1930) HD.” YouTube, 31 May 2011. Accessed 1 July 2016.

Movieclips. “All Quiet on the Western Front (6/10) Move CLIP (1930) HD.” YouTube, 28 May 2011. Accessed 1 July 2016.

Movieclips. “The Charge—All Quiet on the Western Front (2/10) Move CLIP (1930) HD.” YouTube, 28 May 2011. Accessed 1 July 2016.

Nieuwint, Joris. “ww1-mustard-gas-attack.” War History Online, 15 Dec. 2015. Accessed 1 July 2016.

Owen, Wilfred. “Dulce et Decorum Est.” Poetry Foundation. Accessed 1 July 2016.

Remarque, Erich Maria. All Quiet on the Western Front. Trans. A. W. Wheen. 1929. Ballantine Books, 1982.

Sargent, John Singer. Gassed. 1919, Imperial War Museums, London. Accessed 1 July 2016.

“The Teenage Soldiers of World War One.” BBC News Magazine, 11 Nov. 2014. Accessed 1 July 2016.

Thacker, Toby. “‘Your Country Needs You’: Why Did So Many Volunteer in 1914?” The Conversation, 29 Aug. 2014. Accessed 1 July 2016.

Zuber, Shari Lyn. “The War to End All Wars.” Cobblestone, Mar. 1998. Accessed 1 July 2016.

CREDITS

Great Minds® has made every effort to obtain permission for the reprinting of all copyrighted material. If any owner of copyrighted material is not acknowledged herein, please contact Great Minds® for proper acknowledgment in all future editions and reprints of this module.

ƒ All material from the Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects © Copyright 2010 National Governors Association Center for Best Practices and Council of Chief State School Officers. All rights reserved.

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All images are used under license from Shutterstock.com unless otherwise noted.

Handouts 1A and 1C: “The War to End All Wars” by Shari Lyn Zuber from Treaty of Versailles, 1919, Cobblestone magazine, March 1998. Text copyright © 1998 by Carus Publishing Company. Reprinted by permission of Cricket Media. All Cricket Media material is copyrighted by Carus Publishing d/b/a Cricket Media, and/or various authors and illustrators. Any commercial use or distribution of material without permission is strictly prohibited. Please visit Cricket Media (http://witeng.link/cricketmedia) for licensing and for subscriptions

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Handout 1B: “The Peace President Goes to War” by Duane Damon from US Involvement in World War I, Cobblestone magazine, June 1986. Text copyright © 1986 by Carus Publishing Company. Reprinted by permission of Cricket Media. All Cricket Media material is copyrighted by Carus Publishing d/b/a Cricket Media, and/or various authors and illustrators. Any commercial use or distribution of material without permission is strictly prohibited. Please visit Cricket Media (http://witeng.link/cricketmedia) for licensing and for subscriptions

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Handout 12A: “Fighting from the Trenches” by Kathryn M. Horst from US Involvement in World War I, Cobblestone magazine, June 1986. Text copyright © 1986 by Carus Publishing Company. Reprinted by permission of Cricket Media. All Cricket Media material is copyrighted by Carus Publishing d/b/a Cricket Media, and/or various authors and illustrators. Any commercial use or distribution of material without permission is strictly prohibited. Please visit Cricket Media (http://witeng.link/cricketmedia) for licensing and for subscriptions

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