<p>This collection not only helps launch F.Scott Fitzgerald's great American novel, but introduces discussions regarding Modernism as a cultural movement, the urban environment, prohibition, and transition into the Harlem Renaissance. Use with the collection "The Gilded Age", as a conversation with students discussing the various world events prompting the emergence of Modernism.  I do not use the collection all at the same time, but rather different portions, specific paintings, etc. for certain chapters or events in <em>The Great Gatsby</em>. </p><p>The collection includes a combination of paintings from the Smithsonian's <em>National Portrait Gallery </em>and the <em>Smithsonian American Art Museum, </em> photographs I have taken, articles from the <em>Smithsonian Magazine</em> regarding <em>The Great Gatsby</em> and Fitzgerald, as well as some supplemental Google Slides presentations.  #SAAMteach</p>

<p>This lesson is used after students have finished reading William Shakespeare's "The Tempest."</p> <p>1. I print each of the paintings in this collection (most uploaded from The Folger Shakespeare Library's Digital Collection), and then post them across the board, around the room to create a "Gallery Walk" environment.</p> <p>2. I remind students, before they begin, that the keyword in this play is "art." Just as it is Prospero's "art" to control Ariel and Caliban through magic and bring his abusers to the island, so it is the dramatist's art to create an enchanted island on a simple wooden stage. I share with them that artists have been, in turn, then inspired by what has appeared on the stage during productions of "The Tempest," for centuries. The various works of art posted around them span from the 1700's through the 20th Century.</p> <p>3. Students are asked to walk through the gallery, and select one painting, one artistic interpretation of "The Tempest" that speaks to them, appeals to them, for any reason. Conversely, they should pick one they believe, for them personally, misses the mark as far as how they would interpret or envision this character, this scene, this play in general. They are to mark their names - - only their names - - on the board under the paintings.</p> <p>4. When finished, we have then have a discussion about their choices - it's quite free wheeling - - no wrong answers here - - wonderful sharing of ideas. Many of the ideas and conversations I subtly steer to reflect some of the questions they will address in the wrap up writing assignment that follows.</p> <p>5. When our conversations have finished, and after we've heard from everyone about their various interpretations, I give them the wrap up writing assignment. There are five individual response questions, with students being asked to write responses ranging anywhere from 175-200 words for each question. Three out of the five questions require them to return to this SAAM Learning Lab collection in order to write their responses, one other question is a classic literary analysis (thematic) question, while the last one is a historical context question. </p> <p>(I've attached the prompts as a resource.)</p> <p>Note: This assignment went over far better than I expected and I look forward to recreating it/adapting it for other units. </p>

<p>This is a pictorial collection of what the "Valley of the Ashes," from Chapter 2 of "The Great Gatsby," might look like. It is used for a Chapter 2 review and discussion. (Please see the attached short answer questions and assignment.) </p>

<p><strong>Text below, from The National Portrait Gallery: "Eye to I: Self Portraits from 1900 to Today."</strong></p> <p>#SAAMTeach</p> <p>Drawing from the National Portrait Gallery’s vast collection of self-portraits, this exhibition explores and thinks critically about how American artists have chosen to portray themselves over the past two centuries. Individuals featured in <em>Eye to I</em> have approached self-portraiture at various points in history, under unique circumstances, and using different tools, but their representations—especially when seen together—all raise important questions about self-perception and self-reflection. Some artists reveal intimate details of their inner lives through self-portraiture, while others use the genre to obfuscate their true selves or invent alter egos. Are we seeing mirror images? Or, are these portrayals refractions of modern identity that reveal artistry rather than personality?</p> <p>As we are confronted each day with “selfies” via social media, and as we continue to explore the fluidity of contemporary identity, this is an opportune time to reassess the significance of self-portraiture in relation to our country’s history. </p> <p><a href="https://www.si.edu/exhibitions/eye-i-self-portraits-1900-today-event-event-exhib-6263">https://www.si.edu/exhibitions...</a></p> <p></p> <p></p>

<p>While this lesson revolves around Henrik Ibsen's "A Doll's House," it can be used in conjunction with any work of literature featuring strong characters - the type who generate potentially negative reactions among students, such as: "I hate him... There's nothing good about ______....he's the villain... she's the hero, etc." The lesson is designed to push students out of their comfort zone, give themselves permission to speculate and entertain a variety of viewpoints, and as a means to step away from the literature they just read, then step back in with perhaps a more open-minded approach.</p> <p>This is a discussion-heavy lesson, requiring some patience on the part of the teacher not to jump in and fill in the gaps. But after completing it the first, second, and then third time, I could definitely sense the students were now more apt to be "risk takers" and more "open minded" with their interpretations and insight.</p> <p>Step by step instructions follow in the "Notes to Other Users" section. #SAAMTeach</p>