<p>The following paintings will be used to preview a variety of selections within a "Great American Short Stories" collection. The first painting is used as a warm up activity and an introduction to the See/ Think/ Wonder strategy. We will begin as an entire class tackling this painting. Next, students will be divided into small groups, provided with a printed version of the painting, but no title, etc. They will together, create a "See/Think/Wonder." Each painting will then be shown  on the smart board, as the students share their discussion points. The class as a whole will then weigh in on the question/prediction: How do you think this painting represents a number of the ideas, story lines, themes, etc. featured in the stories you read over the summer? This is not intended to be a thorough review of the stories, but rather, prompt discussions to preview the larger unit.  As we conclude the discussion, the categories of <strong> Place, Identity</strong>, and <strong>Conflict</strong> will be introduced - - noting how these paintings embody such topics in a variety of ways. This discussion then will also serve as an introduction to the entire course - identified for students as "Conflict and Conscience in American Literature."</p> <p>For your additional information, the first eight stories featured in our collection include:<br></p> <p>Rip Van Winkle (Washington Irving)</p> <p>Young Goodman Brown (Nathaniel Hawthorne)</p> <p>Tell Tale Heart (Edgar Allan Poe)</p> <p>Ghost in the Mill (Harriet Beecher Stowe)<br></p> <p>Cannibalism in the Cars (Samuel Clemens/Mark Twain)</p> <p>A White Heron (Sarah Orne Jewett)</p> <p>An Occurrence at Owl Creek Bridge (Ambrose Bierce)</p> <p>Hills Like White Elephants (Ernest Hemingway)</p> <p>There are a wide variety of additional stories the students will study following these initial eight - highlighting the breadth and diversity of American literature across race, culture, geography, background, and socio-economic differences. </p> <p>#SAAMteach<br></p>

<p>This collection is used to help launch the Romanticism Unit for a 10th grade American Literature course. The paintings were selected for their potential to inspire conversations about various historical events, social, intellectual, and political movements which helped prompt a tremendous growth in American literature during the period between 1800 and the start of Civil War (approximately 1860's). Each work of art compliments at least one work of literature we will discuss during this time period.  Students are encouraged during class discussions to access prior knowledge of this time period, based upon what they have learned in their 10th grade U.S. History class. A one to two day lesson using this collection, and culminating in a writing assignment, follows. (See "Notes to Other Users" for further description of lesson.)</p> <p>#SAAMteach<br /></p>

<p>This collection is used to launch the novel "Perfume: The Story of a Murderer." This is a novel which nearly defies categorization. Suskind, the writer ventures into a creative territory few students read in high school. Instead of beginning the unit with general background and context about the novel, we begin from an emotional point - - what emotions and experiences are prompted by the setting, mood, atmosphere, etc.? Below are the general steps we follow:                           #SAAMteach</p> <p>1. Pairs of students are each given two different paintings (I have a very small class - 12 students - - and choose to give each group two in order to cover more; however, you could easily do this with a class of 24 and each group of two has one painting.)</p> <p>2. Each group has a graphic organizer which is a modified "See/Think/Wonder" format, coupled with a brainstorming opportunity regarding the emotions generated by this painting. They're given approximately 10 minutes to work their way through the paintings and complete the lists for each, as they discuss, etc. I print out the pictures for them because I don't want them to see the titles and any additional information they may find online.</p> <p>3. When they have about 10 minutes, the students each have an opportunity to walk their classmates through the paintings and then open up the floor for a discussion about the emotions conveyed through this work.</p> <p>4. We keep a running list of these emotions on the board. Some that have surfaced include: confusion, disgust, loneliness, repugnance, helplessness, panic, anger, fear... Next to this list we wrote some overall concepts, such as abstract mixed with realism, abandonment, intimidation, and disconnect...</p> <p>5. When completed, I'll lead the conversation to a discussion about how these very same emotions are reflected by and presented within the novel...but like the paintings, in very unique ways. I choose my words carefully so as not to give the entire first few chapters away, but at the same time, offering them a preview. We then read the first two paragraphs out loud, and discuss how so many of the elements noted on the board are present already.</p> <p>6. They're then assigned Chapters 1, 2, and 3 to read, with a "list" of suggested items to watch for, annotate, etc. as they complete their first close reading of the novel. (This assignment is attached.)</p> <p>7. Part II involves writing in response to one of the paintings, completed after students have read the novel. (See Google Doc directions)</p>

<p>This collection will be used to supplement students' rhetorical analysis of The Declaration of Independence. Earlier in the year, students discussed the paradoxical nature of the Puritans arriving in the New World to escape religious intolerance, yet they were exceedingly intolerant of other religions (i.e., Quakers). In a similar fashion, we'll examine the Declaration of Independence and a critical portion deliberately removed: references to abolishing slavery. We will examine a variety of works of art, noting the clues they give us regarding our founding fathers' often complex ideologies. <strong>#SAAMteach</strong></p> <p>A Detailed lesson plan follows in the "Notes to Other Users."</p>

<p>"European sailors told of being able to smell the pine forests of North America before they were within sight of land. Early explorers sometimes described possible settlements along the coast in tempting terms. Captain John Smith of Virginia made a whaling expedition to New England [which he is credited with naming] in 1614; he subsequently published a book describing the region's genial climate, fair coasts, and natural harbors...Immigrants endured hardships on their journeys and in their first years in America. Some portion of each new settlement perished from hunger, exposure, disease, or conflict, yet the stream of settlers kept coming. They crossed the Atlantic for many reasons: some for wealth, some to escape political or religious institutions they saw as oppressive or corrupt."</p> <p>However, some "early colonists came to the New World expecting to gain wealth through some combination of luck and hard work and return to their home cities or towns to enjoy their prosperity. The names of the places they settled - New Spain, New England, New York, Nova Scotia - and the nature of the portraits they commissioned tell us that they did not think of themselves as Americans, but as transplants."</p> <p>The artistic world and the literary world share much in common with respect to this approach. They were not writing "American literature" yet - - because in a sense such literature did not yet exist. Rather they were writing as transplanted Europeans, in a European voice and style. However, many American literature courses will begin with this period because in a sense, works such as John Smith's <em>Historie of Virginia</em> and William Bradford's <em>Of Plymouth Plantation</em> became our nation's first attempt at literature.</p> <p><em>* All quoted material from the <strong>Smithsonian American Art Museum's America's Art" #SAAMteach</strong></em></p>

<p>Images to use as a discussion launch before each selected poem, addressing elements related to the creation of mood, atmosphere, and sensory imagery (among other topics). #SAAMteach</p>

<p>This is a short unit, intended to reflect various elements of, and stages of, Native American culture and life in North America, including the interaction/domination by those who settled the United States. They are used in cooperation with various representative works of literature. The first picture is used as a brainstorming tool before reading a classic Native American Creation Myth - - "Earth on Turtle's Back." The painting used is " Mamakadendagwad" by Tom Uttech. The second painting introduces the natural conflict arising from forced assimilation ("Wi-jun-jon, Pigeon's Egg Head (The Light) Going to and Returning from Washington").  The third painting, "Ha-tchoo-tuck-knee, Snapping Turtle, a Half-breed." - is helpful in a discussion about stereotypes and offensive terms used to label one another. I will direct students to the painter, and note how there were those who made efforts to document and protect the Natives' way of life. Note interesting facts about Caitlin's background and work. Still, as we know - genocide, forced relocation, and oppression came. Painting will be used to introduce Chief Joseph's "An Indian's View of Indian's Affairs." Students will read an excerpt and discuss use of emotional, ethical, and logical appeals. </p> <p>Students will finish the short unit by reading Sherman Alexie's "Superman and Me."</p><p>#SAAMteach<br /></p>

<p>This collection of paintings and photos are used in conjunction with a variety of Civil War era works of literature, specifically those featuring elements of the following literary movements:</p> <p>* Realism</p> <p>* Psychological Realism</p> <p>* Naturalism</p> <p>* Impressionism</p> <p>Works to be used in conjunction with artistic examples include:</p> <p>1. Occurrence at Owl Creek Bridge, by Ambrose Bierce</p> <p>2. An Upturned Face, by Stephen Crane</p> <p>3. An Episode of War, by Stephen Crane</p> <p>The first two works ("The Girl I Left Behind" and "Departure for the War")  will be used to launch/introduce "Occurrence at Owl Creek Bridge." As a class, we'll complete a "See/Think/Wonder" and then read the short story. After completing the story, we'll return to both pictures and discuss how we could imagine such works of art illustrating this particular work.</p> <p>We will then look through the small collection of photos from the Civil War, and discuss how such images would inspire a writer. I'll then introduce students to the Naturalism and Impressionism literary styles. We'll then read two Stephen Crane short stories, noting his "artistic" use of color, for example, and the despair evident in his naturalistic stories - - which could also be reflected in the photographs. </p> <p>#SAAMteach</p>

<p>Paintings used to launch 6th grade short story unit, "Sweet Music in Harlem," written by Debbie A. Taylor</p> <p>#SAAMteach</p>