Differentiation

Sample Differentiated Lesson Plans **
 * To Illustrate how we as teachers have developed our ability to recognize those students who, due to learning disability or emotional disturbed students, require support that a general lesson plan cannot deliver, we have included samples of differentiated lesson plans, as well as a glossary of differentiated education terms. In addition, rationale for the procedures and strategies used is provided through linking to pertinent educational theorists.

** First Lesson ** A. 9th Grade English Language Arts

B. * Differentiated Strategies are explained in the Summative Report

Learning Goal: Students will begin to understand the depth of poetic expression by analyzing the use of imagery. Students will recognize descriptive words and be able to articulate how such words create images. Students will understand how imagery plays a vital role in poetic expression.

a. SWBAT: i. Articulate a clear concise definition of imagery as a literary device. ii. Create an example of language that incorporates imagery. iii. Identify the use of imagery in “The Raven //. // ” iv. Evaluate the effectiveness of imagery in the poem. b. Aim Question: How does Poe’s use of a raven conjure the image/feeling of anguish stemming from a death or loss in the poem?

c. Do now: (1) List three emotions you have had during a time of loss or suffering. Draw a picture or use words to describe or define each feeling. (2) Review: In your note book, write the definition of imagery and provide two examples.

i. __//__ //I. Alpha: “Do Now Log”// // II. Michael: Draw faces representing the "Do Now" answer

d. Materials: Poem “The Raven,” T-chart graphic organizer. e. Bridge: If you could bring someone you loved dearly back to life, would you do it? i. I. Alpha: Provide discussion cue cards to Alpha previous to the lesson. Have him write out the answers and instruct him that he will be called on in class to offer his opinion. f. Procedure:i. What was the narrator doing when he heard the “tapping” at his door? ii. What time of day did the tapping occur? iii. In what month did the tapping occur? iv. What is the significance of the time and the month? v. What state of mind do you think the narrator was in when the tapping occurred? vi. Who is Lenore? vii. What did the Raven say when the narrator asked its name? viii. Where does the Raven land when it enters the narrator’s chamber? ix. Why is this landing place significant? x. What images does the Raven evoke?

g. Activities: i. Do Now ii. Power Point Presentation: Definition of imagery and discussion on its effect in poetic expression. I. // // a. Alpha: Podcast of lecture b. Michael: Pre-reading Outline iii. Read aloud with student volunteers. There will be pauses for clarification and definitions

iv. The students will be broken up into. Each group will be assigned 1-2 stanzas. They will work together using a T-chart to plot the various descriptive words and their relative images.

v. Presentation: The students will evaluate the images and be able to articulate how the image reflects the narrator’s sense of loss/sorrow.

I. Differentiated Instruction a. Alpha: Peer/teacher modeling b. Michael: Artistic expression of themes/graphic organizer

h. Homework: Write a paragraph or short poem using as many descriptive words as possible to create imagery evoking the emotion of love. The work may be creative or based on personal experience or prior knowledge. Begin to develop a ‘slam’ version of “The Raven” or one of the other poems we will study in this unit.

__Summative Report__ Student 1: Alpha: Lesson Adaptations Alpha is a ninth grade student. He is a fourteen-year-old, Latino male. He is a former ELL student, but he also a Speech and Language impairment. (1) //Content// For this lesson, I would provide Alpha with a “Do Now” log. During the “Do Now” share out, Alpha will be a reporter and make a list of all the answers provided by his classmates. The students would be instructed to speak slowly and clearly to give our reporter time get all the responses down. This might focus Alpha’s attention on listening to the language. Alpha may be able to emulate the quality of his peers’ speech after extended exposure. Finally, I would ask Alpha to share his response to the “Do Now,” in a slow and clear manner just like his classmates. (2) //Process// In order to help Alpha overcome some of his language difficulties, it may be prudent to slow down the pacing of the class. As the teacher, I must consciously slow down my phrasing and make sure that I speak and annunciate clearly. I do not think that this would hurt the other students in this group because many of them are former ELL students. Hearing English spoken properly in a consistent manner could serve to aid their grasp on the nuances of the English language. For this lesson, I would provide Alpha access to a podcast of the Power Point lecture. This would provide Alpha with a model for good speech and allow him to review the content at the same time. (3) //Product// Each group must present their findings of imagery for their assigned stanza. I would strategically have Alpha’s group present their findings toward the end of the presentations. I would require each member of each group to present some portion of their work to the class. After having listened to his peers, Alpha would have good models on which to base his portion of the presentation. The assessment of the content in this case would not be modified. Student 2: Michael: Lesson Adaptations Michael is a ninth grade student. He is fifteen-years-old and is of the Latino ethnicity. Michael is a low-level two reader and maintains an overall average 75%. Michael has an Emotional Disturbance. (1) In order to engage Michael, I will appeal to his  Michael’s love of images could pique Michael’s interest in this lesson. Working with Michaels requires patience and a calm demeanor. He has a tendency to get angry and abrasive if pushed too hard. Michael works well when provided with guided freedom. I would privately tell Michael that he should draw his response to the “Do Now.” This would likely raise his motivation to participate in the lesson. Additionally, I will approach Michael in a very positive and supportive manner. The goal is to raise his self-efficacy for the lesson at hand so that he can feel free to participate without thinking that he’s going to get it wrong. (2) For this lesson, I would provide Michael with a pre-reading outline so that he may become familiar with some new vocabulary words and the themes expressed in the poem. The goal of this modification would be for Michael to familiarize himself with the main points of the poem before reading. Previewing the themes of “The Raven” may give him the desire to participate because of interest in items that lean toward the macabre. Previewing may also activate Michael’s prior knowledge, which would make him feel more comfortable handling the material in class discussions. (4) For this lesson, I would hone in on Michael’s love of the arts. I think allowing him to draw the images Poe’s words create could synthesize the power of poetic language for Michael. In addition to drawing the images that stem from the language, I would ask Michael to explain the significance of the images to the poem. Alternatively, I would ask Michael to focus on the emotions expressed in the poem. In a graphic organizer, I would ask Michael to demonstrate the connections between the image and feeling expressed by the poet.

Conclusion The unit is designed to show students the big picture. By allowing students to grasp a larger concept it is possible to assess their readiness level for the concept to be taught. Once this assessment is made, the teacher must make specific adaptations that will attend to the specific needs of each student at their level. It is necessary to set goals for each student and to explicitly explain those goals the students. If a student can see the necessity of the content to be taught, it may provide a stronger motivation to perform well on individual tasks. Thus, it is necessary to align the method of delivery to the specific student need. This course and unit is designed to allow teacher flexibility to incorporate the use of visual aids, audio prompts, and graphic organizers, as well as for various methods for the students to submit a final product.


 * Second Lesson **

** Grade Level / Subject ** – 7th Grade ELA ** Lesson Goal / Aim / Essential Question ** – To prepare students for the concepts of “The Monsters are Due on Maple Street” / The anticipation guide / How does fear influence our behavior?
 * Student Learning Outcomes / Instructional Outcomes ** – Students will be prepared to read “The Monsters are Due on Maple Street” and understand the concepts contained therein.
 * Learning Standards ** – Students will read, write, listen, and speak for comprehension, response, and socialization.
 * Grouping ** – Students with vision problems should sit near the front since there will be notes that need to be copied written on the blackboard / SMARTBoard.

** Materials ** – For this assignment, students will need their ELA notebooks, pencils or pens, notebook paper, and copies of the day’s handouts. I will require access to either a SMARTBoard or a chalk board / white board with the appropriate writing utensil.

** Vocabulary ** – Anticipation guide, drama, paranoia, communism, paranoia.

** Prior Knowledge ** – How to fill out an anticipation guide, how to have a discussion.


 * Procedure / Instructional Plan **


 * Preparation Phase / Motivation ** – Students come in and are handed the Anticipation Guide as a Do Now. They are given five or so minutes to complete the assignment (with modifications as mentioned below) and then form into groups to discuss their answers. These groupings will be part of a classroom routine, with one student acting as leader, one as scribe, and one as sharer.


 * Description of the Instructional Procedure ** – After the groups share out their findings, we will have a short discussion of the concepts raised in the Anticipation Guide. After that, there will be a short assessment of prior knowledge about the 1950s (a short KWL chart), followed by a quick mini-lesson on life in 1950’s suburbia, a quick clip from a movie (preferably a more recent movie portraying that time period, like “Pleasantville”), communism, McCarthyism, and the concept of paranoia. Following the mini-lesson / note taking (with some guided notes for students with comprehension issues, thus modifying the process), the students will be asked to draw (visual), describe, or act out (kinesthetic) a time that they were scared / afraid and how it made them feel.

** Closure Phase ** – Homework assignment for the night – “Is fear always bad? Why or why not. Give examples to justify your choice. One paragraph.”

** Modifications for Diverse Learners ** – Students will be in flexible groups so that less advanced and/or ED or LD students can be placed with stronger or accommodating students. When completing the Anticipation Guide, some students can ask their classmates for assistance. The class work has been differentiated to allow for diverse learning styles (drawing, describing, or acting out).

** Follow Up ** – Homework assignment will be due at the beginning of class the next day.

** Informal Assessment ** – How well / how much students participated in the class discussion, check othe ability to remain on task during class work.


 * Formal Assessment ** – Collection of the anticipation guide, collection of day’s class work and the next day’s homework.

** Application / Extension / Enrichment ** – This lesson is to prepare the students for the reading of the play “The Monsters are due on Maple Street” over the next two class periods.
 * Third Lesson Plan **

** Previous Day’s Aim: ** How do we ask yes/no questions in French? ** Previous Day’s Instructional Objective: ** SWBAT ask and understand yes/no questions in French.

** Subject: French ** ** Grade Level: 9h ** ** Aim: ** How can we review for our quiz using Living Sentences? ** Instructional Objective: ** SWBAT use the components of basic French phrases to translate and construct basic phrases using properly conjugated –er verbs, negations, and interrogatives.

** Text: ** Chapter 4 of ‘French is Fun’

** Do Now: ** Translate the following into English. - Je ne marche pas. - Est-ce qu’il pense? - Vous jouez? ** Transition: ** Now that we have studied all the elements of basic French conversation, we will practice translating them and play a game to combine all of the elements that we have learned.

** Lesson Development/Lesson Steps: ** 1. Do Now 2. Mini-lesson: Review of all concepts learned 3. Model using overhead 4. Guided practice 5. Explanation of game 6. Game: Living Sentences 7. Review/ informal assessment.

** Activities : ** Living Sentences 1. All of the following will be taped to the board on index cards (posted in no particular order): a. Je b. Tu c. Il d. Elle e. Nous f. Vous g. Ils h. Elles i. Ne j. N’ k. Pas l. Chant m. Dans n. Écout o. Jou p. Parl q. March r. Aim s. Arrive t. Ferm u. Invite v. Visit w. Travaill x. E y. Es z. Ons aa. Ez bb. Ent cc. Est-ce que dd. Est-ce qu’ 2. During Do Now, ED student from each class will be called to board to be the ‘host’. Mr. Pulwer will review the procedures with this student. He or she will call students at random from the roster. Once the students arrive at the board, the host will read them a sentence from a list prepared by Mr. Pulwer. 3. Mr. Pulwer and host will model first using the sentence ‘We are not listening’. The host will read and Mr. Pulwer will find each card and place them on the designated spot on the board so that the cards form the following sentence: a. Nous n’écoutons pas 4. Assess for understanding of rules. 5. Students called to the board will follow the model and form sentences from the premade list. 6. One student with ADHD from each class will be the recorder and be responsible for researching the answers (using the textbook) while the current student is at the board. 7. All students are to remain silent while the current student is working. After 15 seconds with no progress, he or she can call to the ADHD student for a hint. If the ADHD does not have a hint ready, the current student can defer to another student in the class.

** Inclusion Activities and Modifications ** 1. ED student will be appointed host. This will give that student a definite structure in which he or she stands little chance of becoming upset. In addition, the student is actively involved in every round of the game and will review the material but does not run the risk of making embarrassing mistakes that could lead to an emotional outburst. 2. ADHD student will act as recorder. This will give him or her a tangible task while the rest of the students’ time in between turns at the board is relatively unstructured. According to Tomlinson, the ADHD student needs activities that keep him or her on task (2004). While the other students will receive a participation grade for completing two rounds at the board, the ADHD student will receive his or her credit for successful completion of the answer sheet. This will allow the student to review and force him or her to pay attention to every question, allowing for him to make up for any time that may have been lost during normal instruction.

** Summary: ** Review rules of conjugation, making questions, and negations.

** Homework: ** Choose one: R- yourself A- a future French student F- a letter T- Explain the rules of –er verb conjugation, negation, and forming interrogatives in French so that this student can pass a quiz similar to the one you will take.

R- a rapper A- your fans F- a rap T- Your fans are interested in learning French but do not have the means to. Write a rap in which you explain to them the rules of –er verb conjugation, negation, and interrogatives.

** Fourth Lesson ** ** I. Introduction ** The two things I struggled with most as a first-year, 9th-grade English teacher were organization and differentiation. I admit, I only loosely followed my predecessor’s curriculum map, and was never able to tell my students for certain what we would cover in a month—mostly because I wouldn’t commit to a unit until I was actually using it. Differentiation wasn’t any easier. Although I scrutinized every students’ testing profile in my “data binder,” used the projector as often as I could (when the bulbs didn’t blow out), and printed every free graphic organizer in Creation, I was still painfully aware of the fact that some of my students, especially my LD kids, were nothing short of completely lost. The concomitant difficulty of dealing with some students suffering from emotional disorders was almost more than I could take this year.

** II. Student Profiles ** Two students who could have and should have received more support from me this past year are fifteen-year-old Ashley and sixteen-year-old Namon. Ashley, disarmingly cute and playful when she’s happy, is learning disabled and reads at third-grade level. Her smile quickly turns to frowns, lost looks, and sometimes foul language when she becomes frustrated by her lack of understanding. What Namon lacks in self control, he makes up for in intellect: he’s intelligent, creative, and quick witted; but he suffers from an emotional disorder, and sometimes he has fits of rage that can be directed at classmates or me, depending on the situation. After many meetings with colleagues in my school’s English Department, a curriculum for the ninth grade has been established. It is well-developed, aligned with state standards, and packed with texts that I’m excited about sharing with the incoming freshmen in September. As I created my course organizer, unit organizer, lesson plan, and lesson concept map for this project, I kept students like Ashley and Namon in mind, and I indicated modifications for students like them in italics on the attached lesson plan.

According to Deshler & Lenz (2004), “Establishing goals in a course means that teachers know what they want students to learn and that students know what they are expected to learn.” Course and unit organizers would be tremendously helpful for students like Ashley and Namon who are easily frustrated because they clearly outline learning goals and expectations (they also specifically appeal to the visual nature of Namon’s learning style). My course organizer indicates my theme for the year: “Connecting our own experiences to literature throughout history and across cultures”; it also lists essential questions related to personal and academic development, thematic issues, writing and literary analysis. It also lists my community principles (AKA the rules) in an acrostic format, my grading policy (in a color-code pie-graph format), and units of study. The course organizer will give my students a clear understanding of what issues we will be exploring and what will be expected of them. Like the course organizer, my unit organizer provides students with a “big picture” of the unit; it visually outlines the major concepts for the unit (Exploring the Folk Tradition), lists the related texts and corresponding lesson dates, references essential questions for the unit, indicates key vocabulary, and lists assessment options.
 * III. Unit and Course Organizers: Rationale & Explication **

** IV. Introduction to Unit: Purpose and Goals: ** The ten-lesson unit below is a foundational literature unit entitled “Exploring the Folk Tradition.” The anchor text for this unit is //Literature and the Language Arts: Experiencing Literature,// Second Edition (EMC Paradigm, 2009). The unit will allow students to access prior knowledge of stories and storytellers from their individual cultures/ethnic backgrounds, communities, and religions. Students will connect their own experiences, and those of their families, cultures and communities to the literature of various cultures & religions (e.g. Greek, North African, Chinese, Irish, Judeo-Christian). The unit begins with an introduction to the oral tradition of literature and the elements of oral literature including myth, folk tales, fairy tales, legends, parables, and epics. The lessons that follow provide specific examples of the various types of folk literature, while incorporating scaffolded instruction on key literary terms and themes. SWEAT: read and understand the literature in the unit; demonstrate mastery of key concepts and terms; identify recurring themes and connect them to their own lives, their communities, and contemporary society as a whole.

** V. Unit: Exploring the Folk Tradition: ** SWEAT: understand that literature was first transmitted orally in various parts of the world; know that every early civilization developed its own set of oral/folk literature; discuss elements of oral literature including myth, folk tales, fairy tales, legends, parables and epic; discuss the role of a storyteller in a family/community/culture; identify a storyteller in their own circle (family/community/religious group); identify and discuss/visually depict a “story” unique to their own culture/country of birth/community/family.
 * Lesson 1 ** : Introduction to the Folk Tradition & Oral Literature

** Lesson 2: ** Myths: “Echo & Narcissus,” “Poseidon”, & “Icarus & Daedalus” SWEAT: understand and define “myth”, “mythology,” and “phenomena” (see definitions under “related vocabulary”); identify elements of a myth; understand that every early culture developed its own set of myths (albeit some shared a mythology, e.g. Greek & Roman); connect myths to contemporary culture (e.g. art, film, medicine); create story boards for myths read in small groups that identify a) the supernatural beings or events in the myth, and b) the purpose of the myth, i.e. what occurrence in nature or natural phenomena is explained by the myth.

** Lesson 3 ** :Folk Tales: “Goha and the Pot” retold by Mahmoud Ibrahim Mostafa SWEAT: read and understand “Gohan and the Pot”; identify the story as a North-African “trickster” tale; review definition of folk tale; define and indentify personification and moral; using laptops, find folk tales (on the internet) from various parts of the world; in groups of two to four, present and explain folk tale, country/culture of origin, purpose, lesson (moral).

** Lesson 4 ** : Fairy Tales:”The White Snake” SWEAT: read and understand “The White Snake”; identify elements of the fairy-tale genre; make comparisons to commonly recited/read Western fairy tales; define and identify motif (number three); discuss significance of the number three as a motif in the white snake (religious connection to the Trinity); define characterization and stock character; use character maps to identify and map qualities of the Princess and the Servant.

** Lesson 5 ** : Fairy Tales: “Yeh-Shen” retold by Ai-Ling Louie SWEAT: review definition of fairy tale, theme, characterization and stock character; review traditional Western telling of “Cinderella” by Charles Perault and compare to “Yeh-Shen” retold by Ai-Ling Louie; recognize recurring themes in “Cinderella tales” across cultures (e.g. fairy-god mother); identify stock characters (e.g. wicked step mother and sisters, oppressed step daughter, handsome prince, etc.); write a poem, a song or act out a monologue from either Cinderella or the wicked step mother’s perspective.

** Lesson 6: ** Legends: “The Silver Pool” from //The Tangle-Coated Horse and Other Tales//, by Ella Young: listen, read and comprehend “The Silver Pool”; review element of legends; identify the story of Fionn MacCumhail as a legend, i.e. understand what make his story “legendary”; discuss other Irish/Celtic legends, e.g. leprechauns; define irony and identify use of irony; use laptops and internet to research and discuss Irish surnames and the Giant’s Causeway in Ireland.

** Lesson 7: ** Parable: “The Prodigal Son” (King James, New International Version (NIV), and English Standard Versions (ESV) of the //Holy Bible//) SWEAT: read and understand “The Prodigal Son”; recognize the literary and cultural importance of//The Bible// and its influence in myriad texts and visual literature//;// define parable; define and identify symbols (e.g. coins, Sheppard, sheep, father, etc.) and review stock characters (e.g. the forgiving father & the good and bad sons); define and identify themes; discuss and debate true remorse vs. desperation, forgiveness vs. punishment.

** Lesson 8: ** Epic: The Odyssey, Book 9 SWEAT: review definition of epic as a long-narrative poem; see epic in the context of oral literature; recognize Homer as most famous of Greek bards (poets); review definition of hero, deity; view a map of the Mediterranean and Aegean Seas, ancient Greece, and Turkey, and identify significant places in Odysseus’ journey; review personification & foreshadowing; define and identify invocation; read and understand Homer’s //Odyssey//, Book 9, lines 1-281).

** Lesson 9 ** : Epic: The Odyssey, Book 9 SWEAT: read and understand Homer’s Odyssey, Book 9, lines 282- 484); review definition of epic and hero; define monster; discuss literal and figurative monsters; discuss the roles of Define and identify hero; make comparisons to heroic figures across cultures and throughout history (including contemporary heroes); define invocation and discuss its relevance in epic poetry.

SWEAT: define all related vocabulary and key terms and identify devices, themes, motifs, etc; answer essential questions for the unit in small groups and share-out information; Select a formal, project-based assessment and share ideas and information with peers. Project options are: 1) Creating a mythology for a fictitious civilization with invented supernatural beings and a cast of deities. 2) Letter: Write a letter to another student about the legend of Fionn MacCumhail and compare him to an American legendary figure. Be sure to include relevant details about both legends, including setting (place/time) and the impact the legends have had on their respective societies/cultures. 3) Triptych poster: Using pictures and text from newspapers and magazines, catalogue the stories we read in class. You may also choose to use the text of a poem or song to describe the story. For example, find an example of a Narcissus (the flower), or a picture of a very handsome man and a shy-looking woman; then find passages from a newspaper, magazine, or a song about a man who is a “narcissist”, or a woman that is in love with a man that doesn’t lover her back.
 * Lesson 10: ** Review: Bringing it all together:

** VI. Differentiating for Diverse Learners and Students with High Incidence Disabilities: ** ** A. Differentiating Content : ** For Ashley, I differentiated content largely based on readiness level, because she is reading so far below grade level. For Namon, I differentiated based on interest and learning style, because he is at grade level and mostly acts out when he feels forced into things, becomes frustrated, or strongly dislikes something (or someone). These modifications, however, benefit all learners in my classrooms, including advanced and struggling learners, learners of varying intelligences, and students with diverse learning styles. I differentiated content several ways: in some cases I chose different texts to teach the same skill based on readiness levels and student interests. For example, in my “Myth” (L2) lesson, I used three myths (“Echo & Narcissus”, “Poseidon”, & “Icarus & Daedalus”) which are at three different levels of complexity (this was especially designed to meet the needs of struggling readers like Ashley). I also used different texts in my second “Fairy Tale” (L4) lesson; this lesson allowed students to explore the fairy tale genre from different historical and cultural perspectives. Using different texts also allow me to give ED students, like Namon, a choice. According to Salend (2008), we should give our ED students as many opportunities to make choices as possible. Sometimes, I chose different versions of the same text in my lessons, as in the various versions of the Bible I used for “The Prodigal Son” (L7). The King James Version is slightly ore difficult than the ESV and NIV versions of the story. Specific lesson modifications:

** B. Differentiating Process: ** Differentiating process is effective for students at varied readiness levels, and students who have diverse interests, intelligences and learning styles. I find that process is the most effective way to differentiate for kids like Ashley and Namon. Content-enhancement routines such as double-entry journals, T-Charts, Y-Charts, and Word Walls are extremely helpful for Ashley because they afford her many opportunities and avenues to seeing the material/concepts, and practicing them. They are helpful for Namon because they provide structure and organization, two things he craves. I routinely use charts and other visual aids in my lessons to find explicate concepts, to make comparisons, and to help my visual learners “see” the material. I use T-Chart in my “Myth”(to identify cause & effect) and “Parable”(to identify symbols) lessons; I incorporate maps in my “Epic” lessons (8 &9); I incorporate technology and the internet in my “Myth” (L2), “Fairy Tale” (L4), “Folk Tale” (L3) and “Legend” (L6) lessons; I use debate as a learning strategy in my “Legend” lesson (L6); I also allow my students to research and learn about a concept from historical and cultural bents in my “Parable” (L7) and “Legend” (L6) lessons. I use graphic organizers as often as I can for all students; but I find them especially helpful for students with disabilities. In my “Myth” (L2) and “Epic” (L8 79) lessons, I have a GO for the Greek & Roman gods, and a concept map that lists the key terms for the lesson. I also use a character map GO in my “Fairy Tale” lesson. I also provide visual images for the texts associated with each lesson, e.g. Landscape with the Fall of Icarus, by Brueghel for “Icarus & Daedalus” (L2), The Return of the Prodigal Son by Rembrandt for “The Prodigal Son” (L7)

** C. Differentiating Produc t : ** Developing varied assessment to measure my students’ understanding and mastery has been one of my biggest challenges this year. With students like Ashley, it’s important to keep IEP goals in mind and to find a challenging, but not frustrating assignment. When developing assessments with kids like Namon in mind, providing choices and structure, and delivering clear instructions is essential. The informal assessments scattered through my unit allow my students to demonstrate their knowledge in a variety of ways, including visually, electronically, creatively. In Lesson 2 (Myth), I allow my students to either demonstrate their understanding in written paragraph or bullet form, to draw pictures or to use visual images they find in newspapers and magazine. In my “Fairy Tale” lessons (L4 & 5), I allow my students to either write a poem or song (Namon would love either because he is creative & gifted writer), or act out a monologue (this would work well for Ashley, who is outgoing, is very self-conscious about her penmanship and writing abilities) from the perspective of a either a “Cinderella” or “Wicked-Step-Mother” stock character. My summative project-based assessments for the unit are differentiated as follows: A) Students will have a choice (however, some students will be strongly encouraged to select certain options, especially very high and very low-functioning students). B) Some projects are writing based, others incorporate the use of visual images and pre-printed materials. C) Several projects require students to demonstrate in-depth knowledge of complex concepts, some will require synthesis of historical/cultural knowledge; one will require that students demonstrate understanding of only the most essential concepts of the unit and basic understanding of the texts.

** VII. Reflection ** : One day, not very long ago, I began to take inventory of the successes and failures of my first year of teaching. It goes without saying, especially to another educator, that my failures unquestionably outweighed my successes. But I took solace in the mantra I adopted mid-way through the school year: next year, I will be a better teacher. I promised this to myself, to my principal, and to the students who are probably celebrating their middle school graduation this week. What I learned as I did this project is that all of the index cards, folders and labels I created for myself and my kids didn’t either of us organized because I was never entirely certain about the content and skills I wanted to cover. Creating the Course and Unit Organizers will be, I’m convinced, the most useful tool for me next year. They will also clearly delineate to my kids the concepts I expect them to master, the texts we will read, and my goals and expectations for them. I also, in this process, took a great deal of time to reflect on my practices as an instructor in an inclusive classroom. I reviewed highlighted notes and articles, reflected on my kids’ strengths, weakness, and behavior; and I realized that what I teach, how I teach it, and the options I give kids to show me they “get it” are all important and can greatly influence their learning and their performance in my classroom. For them, and for myself, I will be a better teacher next year.


 * Third Lesson Plan **

**Grade Level/Subject** 12th Grade/ English 07
 * Unit** Unlocking the Underlying Symbolism and Themes of a Dramatic Work
 * Lesson Goal/Aim/Essential Question**

AIM: To understand what elements comprise setting, and how it impacts characters.

Do Now: How does the setting affect a work of literature? Give an example of how the setting affects your favorite book or film.
 * Student Learning Outcomes/Instructional Objectives**

SWBT define setting and recognize the effect that setting has on a work of literature. SWBT analyze and thoughtfully disseminate constructive criticism of others’ work. __Reading__ Students recognize the elements of setting and connect that to prior knowledge and personal experience. Students respond to an author’s writing and discuss his work. __Writing__ The various elements of setting become clear to students. Students identify purpose and write their perspectives. __Listening__ Students listen to analyze an author’s writing. Students will relate new information to prior knowledge and experience. __Speaking__ Students respond respectfully. They initiate communication with peers and the teacher.
 * Learning Standards**
 * Materials**

From //A Doll’s House// by Henrik Ibsen: //A comfortable room, tastefully but not expensively furnished. A door to the right in the back wall leads to the entryway; another to the left leads to HELMER’s study. Between these doors, a piano. Midway in the left-hand wall a door, and farther down a window. Near the window a round table with an armchair and a small sofa. In the right-hand wall, toward the rear, a door, and nearer the foreground a porcelain stove with two armchairs and a rocking chair beside it. Between the stove and the side door, a small table. Engravings on the walls. An étagère with china figures and other small art objects; a small bookcase with richly bound books; the floor carpeted; a fire burning in the stove. It is a winter day.// Computers. Internet connection.

During the //Do Now//, remind students that setting includes the time, location, and circumstances in which the story takes place.
 * Prior Knowledge**


 * Procedure/Instructional Plan**


 * Preparation Phase/Motivation:**

During the //Do Now//, remind students that setting includes the time, location, and circumstances in which the story takes place. (5 minutes). Because the //Do Now//invites them to consider what they’re favorite book or film, the students will be engaged and actively involved.
 * 1** **Do Now**.

Ernesto and Waneesha will find that the directions of the //Do Now// are not specific enough and they might not understand what I am asking. Instead, they should be provided with a worksheet that has the definition of setting at the top, with several pictures of setting that they would find interesting, perhaps a picture of an old room that looks mysterious or dangerous- something that would engage them. On the worksheet, I would ask specific fill-in-the-blank questions. For example, “In the picture, the setting is __.” Make sure that the font on the worksheets is large enough that it is easy to read.__
 * Differentiated Instruction:**


 * 2 Share Out.**

Ask several students to share their answers to how setting affects a work of literature. Write those answers on the board. Also, ask students to discuss the setting of their favorite book or film (5 minutes).


 * 1) 3 **Description of the Instructional Procedure:**

Ask students to open //A Doll’s House// to Act One. By this time, student should have finished reading the drama. Explain that the description at the beginning of Act One is an //excellent// example of descriptive setting. Read aloud. Ask what the following items tell about the setting: (5-10 minutes)

· the many chairs in the room · the porcelain stove · engravings on the walls · china figures and small art objects · fire burning in the stove

Students should come to the conclusion that the items in the house suggest that the story transpires in the not recent past, and that the people who live in the house are relatively wealthy.

Because Ernesto reads at an eighth-grade level, he should be provided with a handout with the excerpt that defines the words he might not know, such as “porcelain.” Waneesha will be provided with an iPod with the spoken word excerpt and a handout that asks several questions about the people who might live in the house. She should deduce that the house’s inhabitants are moderately wealthy.
 * Differentiated Instruction:**

1800’s. Next, the students will be presented with the following questions on the board: (3 minutes)
 * 4** Students will be told that the setting of //A Doll House// (1879) is Norway, in the late

· What rights do women have now that they did not have in Norway in 1879 concerning voting, property ownership, and employment?

· What was the accepted opinion about women’s responsibilities in Norway in 1879? What were women expected to do? How are these beliefs similar to or different than, current beliefs?

also includes the //circumstances// in which the story takes place. Unless we understand the context of a story, we cannot entirely understand the story (2 minutes).
 * 5** Students will be reminded that setting is more than just a time and a location; setting

//Circumstances// and //context// must be clearly defined for Ernesto.
 * Differentiated Instruction: **


 * 6** Next, students will be presented with the answers to the above questions: (2 minutes)

· A woman could not vote (1913), a wife was not legally permitted to borrow money without her husband’s consent, and employment opportunities were limited to low-paying domestic jobs, teaching, or clerical work (nothing was available for a middle-class woman like Nora). Divorce was available only if both partners agreed.

Modeling what is expected of students is a best practice for every student but especially students with learning disabilities.
 * Differentiated Instruction: **

understanding of how setting affects a work of literature, students will research other countries during the same time period. Students will be assigned to groups of four or five and made to research the answers to these questions for other countries. Students will be allowed to choose which country they’d like to research and must understand that they are answering these questions in the context of the year 1879. They may use the computers in the classroom to help with their assignment. Students will answer the following questions: (20 minutes)
 * 7** In order to reinforce the definition of setting and to give students a broader

· Can women vote? If not, what year did they obtain this right? If so, what year did they obtain this right? · Are women allowed to have a paying job? Are there any specific circumstances that govern if or what kind of job women can hold? What kinds of jobs are open or closed to women? · Can women own property? If not, are there any extenuating circumstances that allow women to own property?


 * Differentiated Instruction: [[file://localhost/Differentiation#ProcessDiff|Process Differentiation]] **

Both Ernesto and Waneesha will be paired in groups with students who are highly motivated. Because Ernesto needs to be motivated to get his work done, he will be allowed to choose the country his group is studying. In addition, both students will be provided with graphic organizers that ask the same questions, but with some answers that can be circled. Waneesha, because she is easily distracted, must not be paired with any friends who will distract her.


 * Closure Phase: **
 * 8** As students work on their assignments, the teacher should rotate among the groups and offer assistance. Because this is a senior class, students should be mostly self-sufficient.


 * 9** Five minutes before the end of class, students should be told that they will be presenting their findings on the next class date.

Class writing samples. Share out. Homework assignment.
 * Assessment**

Choose three examples of settings that restrict a man character's capacity for growth and fulfillment. Pick one and write long, using details from the text. Differentiation Techniques and Terms ** Student Interest ** Acknowledgement of differences in student preferences for a certain skill or topic. Using student interest to inform content and process differentiation by sparking engagement and leveraging prior learning.
 * Application/Extension/Enrichment**

** Readiness ** Refers to a student’s knowledge and skill level prior to instruction. Assessment of student readiness can be determined through compacting. An accurate estimate of student is essential, it informs all aspects of differentiated planning, particularly flexible grouping, student growth from starting point.

** Compacting ** Assessment of student’s ability prior to unit; decisions regarding what concepts or skills are to be covered are made after this assessments.

**Graphic Organizer A means of representing relationships between objects or concepts. Templates are taught to students, who learn the necessary to demonstrate the relationships between the concepts. **  ** Growth from Starting Point ** Differentiation by product in which student success is judged by progress the student has made from their starting point; how much content knowledge or skill have they gained from the start of unit.

Bloom's Taxonomy A hierarchy of educational aims that ranges from easier cognitive functions to more challenging ones. Used in both differentiated instruction and planning for general education.

**KWL Chart Stands for "Know, Want to Know, and Learn" Chart. A graphic organizer used to activity prior knowledge. Students write what they know, what they want to know about a subject, and after the lesson or reading of selected text is complete, what they learned about the subject. Created by D.M. Ogle in 1986. **  ** Flexible grouping ** Differentiation strategy in which students are grouped by readiness, interest, learning style, intelligence (see multiple intelligences), not to create homogenous units, but engaged, challenged, learning communities that work in concert to meet complementary goals.

** Multiple Intelligences ** A theory of learning developed by Dr. Howard Gardner, Professor of Education, which proposes several ways that intelligence is manifested; Gardner’s theory describes eight different ways in which humans can evidence intelligence: Linguistic, Logical-Mathematical, Spatial, Bodily-Kinesthetic, Musical, Interpersonal, Intrapersonal, and Naturalist. Gardner also posits that standard methods of gauging intelligence only measure (or more accurately, detect,) linguistic and mathematical-logical intelligence.

** Process Differentiation ** Students have different learning styles, and come with various degrees of readiness. Process differentiation seeks lessons designed so that each student can glean the essential content and skills needed to meet instructional aims. Ways that process differentiation can achieved is through: identifying if students are proficient and deficient, and preparing activities that allow for those students who need more support, while still creating challenges for those students who are more advanced. For example, a less developed reader would need a more direct activity that has smaller steps between stages, more defined methods, seeks lower level Blooms’s Taxonomy responses, and provides more scaffolding. A more developed reader would benefit from the reverse; more opened ended questions that demand higher level, complex, and abstract cognition.

** Product Differentiation ** In a differentiated classroom, product is one of the most important elements. As a summative assessment that will show the student’s comprehension of concepts and fluency with skills, product, just like process, must take into account student learning styles, readiness, intelligences, and interest. Examples of how this can be achieved is by allowing for a menu of choices for product, including but not limited to presentations, essays, performances, songs, poems, stories, 3-D models, picture books, pamphlets, group or individual. While the product choice is a collaborative effort between student and teacher, standards and are still observed, and the assessment retains is rigor by demanding that students demonstrate content and skills.

** Content Differentiation ** Not all students read at the same pace, and not all students are interested in the same topics. If a concept or skill can be taught through various texts or other media, then teachers can allow for students to use leveled texts, audio/visual augmentation, and reinforcement of texts with graphic organizers and/or supplemental direct instruction that defines or explains more challenging vocabulary, unfamiliar dialects, or shifting points of view.

Tomilson, C.A. (2001). //How to Differentiate Instruction in Mixed-Ability Classrooms.// ASCD: Alexandria, VA

