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1.5 Defining Experiences: Marigolds pages 14-24

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1 1.5 Defining Experiences: Marigolds pages 14-24

2 In your spiral… Brainstorm a list of things you might write about if you were asked to write a “coming of age” story. Give students time to write lists- then pair-share or ask for volunteers, etc.

3 When does the process of “coming of age” start and end?
Instruct kids to draw a timeline. Work together to determine when “coming of age” starts and ends (likely around 12 to 30). It doesn’t have to be exact and not everyone has to agree- think approximate ages.

4 Class Definition of “Coming of Age”
Refer students back to their notes for the Essential Question on page 4. Ask for volunteers to offer up possible definitions. Write 3 up on the board/screen. Ask for input on any natural combining. Arrive at a workable class definition. HAVE STUDENTS COPY THE CLASS DEFINITION INTO THEIR COMPBOOKS. THIS WILL COME UP AGAIN LATER.

5 Timeline: The Heartbeat of Your Life (12yrs old- 30 yrs old) 1
Timeline: The Heartbeat of Your Life (12yrs old- 30 yrs old) 1. Brainstorm milestones in addition to those we noted as a class. 2. Place dots for positive milestones above the line with the associated age, dots for negative below the line, and dots for neutral on the line Connect the dots with straight lines to show the “heartbeat” of your life. The teacher-wrap says to color code- not the heartbeat. However- this can be a faster way to get through the activity without having to pass out 3 colors, etc. Have students share- if time.

6 Academic Vocabulary: DENOTATION & CONNOTATION Literary Terms: DICTION
Link the positive and negative heartbeat/color-coding with the idea of connotation. Read the Academic Vocab box aloud. Use the next set of slides to review/introduce the concept. If your students have already studied this, then skip the next set of slides.

7 Connotation & Denotation Connotation is the emotional and imaginative association surrounding a word. Denotation is the precise dictionary meaning of a word. Example: inexpensive : cheap Add these to Academic Vocab. Explain how inexpensive and cheap both mean the same thing, but inexpensive is rather neutral/denotation compared to the connotation of cheap.

8 Cars of the 1960s: Thunderbird, Falcon, Charger, Comet, Mustang, Barracuda.
Talk about how cars are named purely based on the connotations of words They know that people load their own associations onto these words. Funny, also, to look at the muscle 60s ands the hippie granola 70s names for the cars.

9 Thunderbird falcon mustang barracuda

10 Cars of the 1970s: Rabbit, Pinto, Colt, Civic, Starlet, Gremlin.

11 Pinto starlet gremlin



14 You can delete this one- it’s our car and it makes me laugh to hear what the kids infer about the driver before I tell them 

15 In your table groups: For each list, choose the word that is mostly neutral (the denotation of all the other words) and which is the most positive and negative in terms of connotation List One: Thin, slim, lanky, skinny, gaunt, slender List Two: Aggressive, assertive, domineering, dynamic, pushy, forceful List Three: Bright, clever, brilliant, cunning, smart, intelligent, brainy As a large group, have kids choose which word in each list is mostly neutral/the denotation of all of the other words, and which is the most positive and most negative in terms of connotation.

16 LEARNING TARGETS 1. Explain how a writer creates effects through the connotations of words and images. 2. Use textual details to support interpretive claims.

17 BEFORE READING Complete prompts 1-4 on Page 14
BEFORE READING Complete prompts 1-4 on Page 14. Be prepared to share your work. Read the intro to “Before Reading” aloud to students before they work on Questions The teacher-wrap doesn’t suggest a particular way of doing these questions, but it seems they would be best done together somehow. Have students write them independently, and then go over them with them- sharing out the answers to the large group

18 About the Author: Eugenia Collier Introduction: A Shared Reading
Read the author info aloud.

19 DURING READING As you read, highlight and annotate the text for examples of diction, syntax, and imagery that create the narrator’s voice. Use the “My Notes” (and other margins) to annotate the connotative effect of word choices, and explain the inferences they lead you to make regarding the tone, character, or the significance of the event. Stop reading to respond in writing to “Key Ideas and Details” when you are prompted. Do a Shared Reading of the first 7 paragraphs, stopping to fill in the Key Ideas and Details- discuss them before moving on. Use the Teacher-Wrap to be sure students are notes important aspects of the 1st 7 paragraphs. They can read the rest independently, Then, using the next slides which include the only “directions” in the teacher-wrap (all other notes in the wrap are suggested responses to the Key Ideas and Details prompts as they read), I am going to go back and close read a few sections with them.

20 Literary Term: FORESHADOWING a literary device in which a writer gives an advance hint of what is to come later in the story

21 Close Reading: Page 18 In Paragraph 22, why are the marigolds so important to Miss Lottie, and why do the children hate them? You can put students in groups to share these responses with one another, or draw popsicle sticks/names/etc for students to share their written responses with the large group. The poverty and hopelessness represented by the dust is highlighted by its juxtaposition against the hope and beauty represented by the Marigolds. The children can’t understand the need for beauty or hope as a way to break through the impoverished and ugly situation of their lives. The marigolds confuse them with false hope and anger them as a reminder of the beauty that seems beyond their reach.

22 Close Reading: Page 19 Describe the internal conflict going on in the narrator, Lizabeth. What textual evidence did you find to support your statement? You can put students in groups to share these responses with one another, or draw popsicle sticks/names/etc for students to share their written responses with the large group. Lizbeth does not want to be seen as a coward; Lizabeth is young enough to be driven by childish ignorance, yet old enough to be ashamed; Lizabeth has inklings that her conflict is an attempt to strike out with a hopelessly desperate act

23 Close Reading: Page 20 Put a box around the entire overheard conversation between the parents. How does this make Lizabeth feel, and what is the consequence of her hearing this conversation? The box will go around Paragraphs Students can identify it on their own, or you can tell them right away so their box is accurate. You can put students in groups to share these responses with one another, or draw popsicle sticks/names/etc for students to share their written responses with the large group.

24 Close Reading: Page 21 Paragraphs Highlight the phrases in the text, describing the incident of destruction, that give clues to the reasons for her actions. You can put students in groups to share these responses with one another, or draw popsicle sticks/names/etc for students to share their written responses with the large group.

25 Literary Term: JUXTAPOSITION the arrangement of two or more things for the purpose of comparison

26 Close Reading: Page 21 Paragraph 60 is especially rich in juxtaposition. What textual examples of this did you find? You can put students in groups to share these responses with one another, or draw popsicle sticks/names/etc for students to share their written responses with the large group.

27 Close Reading: The Last Sentence Discuss in your groups: Is the narrator speaking literally, metaphorically, or both? You can put students in groups to share these responses with one another, or draw popsicle sticks/names/etc for students to share their written responses with the large group.

28 Think-Pair-Share What are some ways in which people plant metaphorical marigolds?
This refers back to the Key Idea on Page 18 about why the marigolds are so important- symbol of hope, etc. What are some ways in which people try to hold onto hope?

29 1.5 Springboard: Marigolds In Groups
Share examples of diction and imagery from your annotations. Work together to complete the Graphic Organizer worksheet (add your names to the worksheet) CYU: Discuss the voice of the narrator and how the use of vivid imagery and diction is effective in conveying this significant incident (see page 24 if needed). Write your group response on the back of the worksheet. Be prepared to share with the class! You can use the organizer on Page 23, but the teacher wrap suggested a 3rd column, so I made a new one. Separate Word document.

30 Revisiting the ESSENTIAL QUESTION page 4 What does it mean to “come of age”? How did the narrator of “Marigolds” define “coming of age”? After discussion, have students go back to the class definition of “coming of age” and add another definition including the new elements after having read this story. This list of possible definitions will help them later.

31 WORD WALL Check-In After having completed this analysis, do you better understand the concept of VOICE? What can you add to your Word Wall definition? Teachers may need to revise these 2 slides based on the initial approach used to set these up!

32 QHT Review your QHT Chart in your Journal
QHT Review your QHT Chart in your Journal. Are there any words you need to move into a different column?

33 1.5 “Marigolds” Check Your Understanding Paragraph

34 Check Your Understanding page 24
Describe the voice of the narrator. Then, explain how the writers dictionand imagery create this voice. You might also mention other literary elements, such as juxtaposition, and syntax (i.e. parallel structure, hyphens, etc.) that contribute to the narrator’s voice or point of view. You paragraph must: Begin with a clear thesis (claim) for your position. Include multiple direct and indirect quotes to support your claim, and punctuate them correctly. Include transitions and a concluding statement.

35 What is the prompt? The prompt asks to describe the NARRATOR’S voice, not the author’s The author did not have this childhood experience, it is a fictional story, her character, Lizabeth, experiences this event Diction, imagery, syntax & other elements used that fall within one of these categories (parallel structure is an example of syntax)

36 How to begin (see scaffolded thesis handout)
Introduce the title and author and give a little background on the main character NOT A SUMMARY (this is only one sentence) Write a thesis (see scaffolded thesis on worksheet as well) -The narrator, Lizabeth’s ______________ (insert word or phrase)voice is developed through the use of diction and imagery to reflect her _________ (adjective; description of voice) tone.

37 How to integrate quotes
Use manageable quotes, one or two phrases If it is longer than a sentence, then break up the quote into manageable pieces (use ellipses…) Integrate each quote into your writing Analyze different parts of the quote in depth, choose one or two words to analyze at a time

38 Example of integrating quotes
The narrator conveys a reflective voice by using imagery such as “everything was suddenly out of tune, like a broken accordion.” The narrator uses a simile to compare her life to a broken accordion. Her worldview shatters because the problems of her father gives her a glimpse of reality. The narrator’s diction further conveys feelings of confusion and frustration, through words such as “broken” and “bewilderment.”

39 Tips Further elaborate
Analysis, not summary (why), reference “coming of age” moment WITHOUT saying “coming of age” Talk about narrator’s voice How is it conveyed: through imagery and diction, you can also use other literary elements to discuss, figure of speech, figurative language (metaphor, simile, hyperbole, etc.), characterization, dialogue, syntax etc. End with conclusion, restate what the voice is, and how you can tell (uses diction and imagery, etc.)

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