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Students will be undertaking the unit ‘Narratives that shape our world’. The first week the lessons
focused mainly on introducing the topic to the students. Students will be watching four short videos
on understanding narratives and its purpose in the first lesson. The videos are ‘Why do we tell
stories’, ‘Introduction to storytelling’, ‘Persuasion and power of story’ and ‘Power of fiction’.
These video are short and act as an outline for students on what to expect within this unit.
Following that students watch ‘Are you living an Insta Lie’. The main focus of this was to add to
the introduction that narrative surrounds us. Social media discussion takes place and students reflect
back on their own narratives created using social media. The task for students to undertake required
them to create social media posts with a narrative. Students continue their introduction to the topic
via exploring the syllabus rubric. This was done in order for the students to fully comprehend what
was expected of them. The rubric was explained to the students. To better understand the rubric,
students create a word collage of key terms from the rubric. During this activity students ‘often
make connections that illustrate deep and sophisticated thinking’ (Gannon, Howie & Sawyer, p.g.
289) regarding the rubric. To finish the week off, students look at the article by Emily Smith, ‘The
two kinds of stories we tell about ourselves’. The purpose of this was for students to reflect back on
The second week students focus on meta-narratives, archetypes or master plots and macro/micro
narratives. The historical, political, social and personal context is explored it the narrative. Students
look at Langton Hughes ‘Let America be America again’ and Henry Lawson’s ‘The Star of
Australasia’. Both the texts focus on historical, political, social and personal context. This provides
students opportunity to read in between the line. Students will follow on with Salinger’s ‘The
Catcher in the Rye’ and ‘Dig Down’ by the Muse. Both these were chosen to focus on the micro
narratives within two different media forms. A mind mapping of what narrative means instils in
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students the fundamental core concepts of narratives. To gain a better understanding of narrative
and intertextual links, students look at a series of powerful speeches starting with Martin Luther
King’s speech ‘I have a dream’. Followed on by Barrack Obama’s victory speech, Kevin Rudd’s
sorry speech, Julia Gillard’s misogyny speech, Malala Yousafzai’s United Nation’s speech and
Deng’s Australia Day Speech. All these speeches were powerful narratives and for students to gain
more understanding, the task prescribed to them was to produce a written task which they were
passionate about. To finish the second week off, students will look at Yeat’s ‘A Second Coming’.
Students by undertaking this task will understand the master plot and narrative types. The teacher
guides the students by annotating a portion of the poem but the students have to annotate the rest of
the poem. This particular DARTS activity was chosen to ‘improve students’ reading comprehension
and to make them critical readers and to ensure students interacted with the text’( Teaching
English).As a follow on task in the classroom, the students need to come up with their own poems
with a narrative.
Students firstly, listen to Kanye West’s ‘Jesus Walks’ followed by a video clip of the same song.
After the viewing, students form groups and compare it to Yeat’s ‘A Second Coming’. The song has
a master plot and biblical references. This provides students a clear idea of what plot means within a
narrative. This enhances their understanding. Students focus on the prescribed text Macbeth. The
expectation is that students would have finished reading the text before the lesson. This lesson
focused on how narrative conventions are used to engage readers in a narrative orientation. The task
at hand is to be in pairs and with a different character persona and to carry out a conversation being
inn character. The other activity is a worksheet that students need to complete in pairs. The
following lesson focuses on the historical, political, social and personal context of Macbeth. This is
important because to fully understand and connect with the text students need to understand
everything about it. The class was divided into four groups, each researching their respective topics.
The focus for this lesson is the study of how Shakespeare creates complex characters to connect
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with readers emotionally and intellectually in order to convey his thematic concern. The teacher
looks at two soliloquys and annotates the first with the students. The second one is done by the
students in pairs.
Students will look at Shakespeare’s use of narrative voice, point of view, and structure to reflect on
different thematic ideas in Macbeth. Students will fill a table using reference from Macbeth. After
that task, students are to undertake a diary writing task posing as a servant. The teacher chooses
students to read to the class. Half the class assumes the role of the director whilst the other half are
the actors. The students will put up a small performance. The director must justify why that scene
was done that way. This activity was done in order for students to understand the thematic elements
or stage directions contribute greatly towards creating a powerful narrative. Students will watch
‘Macbeth Retold’ which is a modern take on the original story. This provides students an
understanding that narratives can remain the same even with new elements. Macbeth Retold is the
same old story with a modern twist which appeals to a younger audience. The final lesson focuses
on completion of the movie Macbeth Retold and students making a comparison of certain scenes
from the text against the movie. At the end of the lesson groups will be discussing their findings.
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Teacher’s Objectives
Students will understand that narrative is a universal element of human experience and gain an
Outcomes
EA11-3 Analyses and uses language forms, features and structures of texts considering
appropriateness for specific purposes, audiences and contexts and evaluates their effects on
meaning.
EA11-6 Investigates and evaluates the relationships between texts.
Materials
Access to YouTube
Copies of the handout
Procedures
Time Organisation Teaching/ learning activities
5 mins Short explanation Mark the roll
Introduce the topic “Narratives that shape our world”
4 mins Instructions/ Mind Mapping. Explain the handout
explanation
10 mins Slides & Explain PowerPoint To be shown.
3 mins Watch video’ Why do we tell Stories’.
5 mins Engage students in Build on the idea of narratives.
discussion
3 mins Watch Introduction to Storytelling
5 mins Watch’ persuasion and power of story’
5 mins Watch Power of Fiction
20 mins Walk around Complete the handout and hand it to the teacher for
providing marking
assistance
Homework
Evaluation/ Extension
The handout to be collected, marked and returned to the students the following class.
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Resources/ Activities
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nce
Activity 2
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Now that you have been through the quotes and short videos, write two sentences about what
storytelling means to you?
Personally – You may enjoy a good story or may be a good storyteller yourself. You may have a
connection to some personal stories
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Culturally – does storytelling have a significance in your culture? If so why?
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What are TWO arguments the composer makes about how fiction can change reality?
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How does fiction reflect reality?
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Have you ever encountered a story that changed your view of the world? Briefly summarise the
story and the ways of thinking it altered for you
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Outcome
EA11-7
EA11-3
Resources/ Activities
Storytelling Today
How is a social media post a narrative?
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The nature of narrative is a continual process of revision and selection. How does this short
clip highlight this idea of selection and revision in social media storytelling.
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How do our own narratives, and the narratives of others on social media, shape our
understanding and perceptions of our world?
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Student will be looking at the syllabus rubric to gain a better understanding of the module and
recognise what is expected of them. The rubric will be explained to the students. Following which
students will form groups and undertake the task of creating a collage using words from the rubric.
They will also be doing focus questions in groups to help their learning. This task will help students
Outcome
EA11-9
Resources/ Activity
‘Narratives that shape our world’ - Syllabus Rubric
In this module, students are to explore a range of narratives from the past and the contemporary era
that illuminate and convey ideas, attitudes and values. Students are to consider the powerful role of
stories and storytelling as a feature of narrative in the past and present societies, as a way of:
connecting people within and across cultures, communities and historical eras; inspiring change or
understanding of how narrative shapes meaning in a range of modes, media and forms, and how it
influences the way that individuals and communities understand and represent themselves.
Students will analyse and evaluate one or more print, digital and/or multimodal texts to explore how
narratives are shaped by the context and values of composers (authors, poets, playwrights, directors,
designers) and responders. Students may investigate how narratives can be appropriated,
reimagined or reconceptualised for new audiences. By using narrative in your own compositions
you will increase your confidence and enjoyment and be able express personal and public worlds in
creative ways.
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Students will investigate how an author’s use of textual structures, language and stylistic features
are crafted for particular purposes, audiences and effects. Students will examine conventions of
narrative, for example setting, voice, point of view, imagery and characterisation and analyse how
these are used to shape meaning. You will also explore how rhetorical devices enhance the power of
narrative in other textual forms, including persuasive texts. Furthermore, you will develop and
apply the conventions of syntax, spelling, punctuation and grammar for specific purposes and
effect.
Students will work individually and collaboratively to evaluate and refine your own use of narrative
devices to creatively express complex ideas about your world in a variety of modes for a range of
purposes and critically evaluate the use of narrative devices by other composers.
Key terms:
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● What are the conventions of narrative and how are they crafted to tell speculative stories?
● How do the composers of speculative narratives use imagined worlds to comment upon and
● How do speculative narratives have the potential to shape our perceptions of our world, and
● How do composers create complex, multifaceted characters to connect with readers for
● In what ways do composers manipulate narrative voices and point of view to reflect
different concerns?
● How and why do stories resonate with their audiences across time?
Below, record in five dot points what you expect to learn about, and record in five dot points
Students will look at the ‘The two kinds of stories we tell about ourselves’ by Emily Smith
following which a set of question will be given out to students to answer. The text is discussed with
the students. Students need to reflect upon the ideas Emily Smith raises about the role of narrative
Outcomes
EA11-7
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Resources
Article
Stocksy
We’ve all created our own personal histories, marked by highs and lows, that we share with the
world — and we can shape them to live with more meaning and purpose.
We are all storytellers — all engaged, as the anthropologist Mary Catherine Bateson puts it, in an
“act of creation” of the “composition of our lives.” Yet unlike most stories we’ve heard, our lives
don’t follow a predefined arc. Our identities and experiences are constantly shifting, and
storytelling is how we make sense of it. By taking the disparate pieces of our lives and placing them
together into a narrative, we create a unified whole that allows us to understand our lives as
identity.” McAdams describes narrative identity as an internalized story you create about yourself
— your own personal myth. Like myths, our narrative identity contains heroes and villains that help
us or hold us back, major events that determine the plot, challenges overcome and suffering we
have endured. When we want people to understand us, we share our story or parts of it with them;
when we want to know who another person is, we ask them to share part of their story.
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An individual’s life story is not an exhaustive history of everything that has happened. Rather, we
make what McAdams calls “narrative choices.” Our stories tend to focus on the most extraordinary
events, good and bad, because those are the experiences we need to make sense of and that shape
us. But our interpretations may differ. For one person, for example, a childhood experience like
learning how to swim by being thrown into the water by a parent might explain his sense of himself
today as a hardy entrepreneur who learns by taking risks. For another, that experience might explain
why he hates boats and does not trust authority figures. A third might leave the experience out of his
People who believe their lives are meaningful tend to tell stories defined by growth, communion
and agency.
McAdams has been studying narrative identity for over 30 years. In his interviews, he asks research
subjects to divide their lives into chapters and to recount key scenes, such as a high point, a low
point, a turning point or an early memory. He encourages participants to think about their personal
beliefs and values. Finally, he asks them to reflect on their story’s central theme. He has discovered
interesting patterns in how people living meaningful lives understand and interpret their
experiences. People who are driven to contribute to society and to future generations, he found, are
more likely to tell redemptive stories about their lives, or stories that transition from bad to good.
There was the man who grew up in dire poverty but told McAdams that his hard circumstances
brought him and his family closer together. There was the woman who told him that caring for a
close friend as the friend was dying was a harrowing experience, but one that ultimately renewed
her commitment to being a nurse, a career she’d abandoned. These people rate their lives as more
meaningful than those who tell stories that have either no or fewer redemptive sequences.
The opposite of a redemptive story is what McAdams calls a “contamination story,” in which
people interpret their lives as going from good to bad. One woman told him the story of the birth of
her child, a high point, but she ended the story with the death of the baby’s father, who was
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murdered three years later. The joy over the birth of her child was tainted by that tragedy. People
who tell contamination stories, McAdams has found, are less “generative,” or less driven to
contribute to society and younger generations. They also tend to be more anxious and depressed,
and to feel that their lives are less coherent compared to those who tell redemptive stories.
Redemption and contamination stories are just two kinds of tales we spin. McAdams has found that
beyond stories of redemption, people who believe their lives are meaningful tend to tell stories
defined by growth, communion and agency. These stories allow individuals to craft a positive
identity: they are in control of their lives, they are loved, they are progressing through life and
whatever obstacles they have encountered have been redeemed by good outcomes.
Even making smaller story edits to our personal narratives can have a big impact on our lives.
One of the great contributions of psychology and psychotherapy research is the idea that we can
edit, revise and interpret the stories we tell about our lives even as we are constrained by the facts. A
psychotherapist’s job is to work with patients to rewrite their stories in a more positive way.
Through editing and reinterpreting his story with his therapist, the patient may come to realize that
he is in control of his life and that some meaning can be gleaned from his hardships. A review of the
scientific literature finds that this form of therapy is as effective as antidepressants or cognitive
behavioral therapy.
Even making smaller story edits can have a big impact on our lives. So found Adam Grant and Jane
Dutton in a study published in 2012. The researchers asked university call-center fundraisers to
keep a journal for four consecutive days. In one condition, the beneficiary condition, the researchers
asked the fundraisers to write about the last time a colleague did something for them that inspired
gratitude. In the second condition, the benefactor condition, the participants wrote about a time they
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The researchers wanted to know which type of story would lead the research subjects to be more
generous. To find out, they monitored the fundraisers’ call records. Since the fundraisers were paid a
fixed hourly rate to call alumni and solicit donations, the researchers reasoned, then the number of
calls they made during their shift was a good indicator of prosocial, helping behavior.
After Grant and Dutton analyzed the stories, they found that fundraisers who told a story of
themselves as benefactors ultimately made 30 percent more calls to alumni after the experiment
than they had before. Those who told stories about being the beneficiary of generosity showed no
Grant and Dutton’s study suggests that the ability of a story to create meaning does not end with the
crafting of the tale. The stories the benefactors told about themselves ultimately led to meaningful
behaviors — giving their time in the service of a larger cause. Even though the fundraisers knew
they were only telling their stories as part of a study, they ultimately “lived by” those stories, as
McAdams would put it. By subtly reframing their narrative, they adopted a positive identity that led
Excerpted from the new book The Power of Meaning: Crafting a Life That Mattersby Emily
Esfahani Smith. Published in the United States by Crown, an imprint of the Crown Publishing
Group.
1. What ideas does she raise about the nature of experience and the ways in which previous
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2. How can the narrative identity we create for ourselves impact our lives?
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3. Consider your own personal narrative. Like McAdams in the article, identify an early
memory, a high point and a turning point in your personal story. How have these events
shaped your personal beliefs and values? What is your story’s central theme?
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Teacher’s Objectives
Students gain understanding of narrative types and conventions and the features of different
narrative conventions within a set texts.
Outcomes
EA11-7 Evaluates the diverse ways texts can represent personal and public worlds and recognises
how they are valued
EA11-6 Investigates and evaluates the relationships between texts.
Materials
Copies of the text
Procedures
Time Organisation Teaching/ learning activities
5 mins Mark the roll
5 mins Get a Introduce the topic ‘Meta-Narratives, Archetypes, Master
discussion plot, Macro/Micro’
going
10 mins Explanation PowerPoint To be shown.
Explained to students
5 mins Read to the Read text ‘Let America be America Again’
class
5 Discussion Discuss the text
takes place
5 mins Read the text Read text ‘The star of Australaisa’
15 mins Class gets Form into groups and identify meta-narrative
divided
Teacher walks
around
providing
feedback
10 mins Discussion takes place
Homework
Evaluation/ Extension
For a follow on task, students could have been given a text to identify the meta-narrative as
homework.
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Resources/ Activities
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Langston Hughes –
Let America be America Again(1935)
O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.
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Students will look at ‘The catcher in the Rye’ (chapter one, 1st page) by J.D Salinger and ‘Dig
Down’ by the Muse. Students will focus on the micro narratives present within both the media
forms. Emphasis is put on the language, the lyrics and the musical devices used to achieve the
outcome. This task focuses on micronarratives with texts. Students will divulge into the conventions
of narrative. A brainstorm led by the teacher uses mind mapping to create common narrative
elements.
Outcome
EA11-6
EA11-8
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Mind Mapping
Elements of a Narrative
Narrative
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Outcome
EA11-7
Resources / Activity
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Speech Extracts
How does Obama combine rhetoric and narrative devices to present his vision?
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I MOVE that today we honour the Indigenous peoples of this land, the oldest continuing cultures in
human history.
We reflect on their past mistreatment. We reflect in particular on the mistreatment of those who
were Stolen Generations—this blemished chapter in our nation’s history.
The time has now come for the nation to turn a new page in Australia’s history by righting the
wrongs of the past and so moving forward with confidence to the future.
We apologise for the laws and policies of successive Parliaments and governments that have
inflicted profound grief, suffering and loss on these our fellow Australians. We apologise especially
for the removal of Aboriginal and Torres Strait Islander children from their families, their
communities and their country.
For the pain, suffering and hurt of these Stolen Generations, their descendants and for their families
left behind, we say sorry.
To the mothers and the fathers, the brothers and the sisters, for the breaking up of families and
communities, we say sorry.
And for the indignity and degradation thus inflicted on a proud people and a proud culture, we say
sorry.
We the Parliament of Australia respectfully request that this apology be received in the spirit in
which it is offered as part of the healing of the nation.
For the future we take heart; resolving that this new page in the history of our great continent can
now be written.
We today take this first step by acknowledging the past and laying claim to a future that embraces
all Australians.
A future where this Parliament resolves that the injustices of the past must never, never happen
again. A future where we harness the determination of all Australians, Indigenous and non-
Indigenous, to close the gap that lies between us in life expectancy, educational achievement and
economic opportunity.
A future where we embrace the possibility of new solutions to enduring problems where old
approaches have failed.
A future based on mutual respect, mutual resolve and mutual responsibility. A future where all
Australians, whatever their origins, are truly equal partners, with equal opportunities and with an
equal stake in shaping the next chapter in the history of this great country, Australia.
What is Rudd’s speculative vision and how does he convey it using the rhetoric of speech?
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I will not be lectured about sexism and misogyny by this man. I will not. And the Government will
not be lectured about sexism and misogyny by this man. Not now, not ever.
The Leader of the Opposition says that people who hold sexist views and who are misogynists are
not appropriate for high office. Well I hope the Leader of the Opposition has got a piece of paper
and he is writing out his resignation. Because if he wants to know what misogyny looks like in
modern Australia, he doesn't need a motion in the House of Representatives, he needs a mirror…
…The Leader of the Opposition says “If it's true, Stavros, that men have more power generally
speaking than women, is that a bad thing?”
And then a discussion ensues, and another person says “I want my daughter to have as much
opportunity as my son.” To which the Leader of the Opposition says “Yeah, I completely agree, but
what if men are by physiology or temperament, more adapted to exercise authority or to issue
command?”…
… And then of course, I was offended too by the sexism, by the misogyny of the Leader of the
Opposition catcalling across this table at me as I sit here as Prime Minister, “If the Prime Minister
wants to, politically speaking, make an honest woman of herself…”, something that would never
have been said to any man sitting in this chair. I was offended when the Leader of the Opposition
went outside in the front of Parliament and stood next to a sign that said “Ditch the witch.”
I was offended when the Leader of the Opposition stood next to a sign that described me as a man's
bitch. I was offended by those things.
Misogyny, sexism, every day from this Leader of the Opposition.
Every day in every way, across the time the Leader of the Opposition has sat in that chair and I've
sat in this chair, that is all we have heard from him…
How has Gillard used the rhetoric of speech and narrative conventions to create a particular
representation of the character of Tony Abbott, Leader of the Opposition?
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How does Deng’s telling of his personal story make his message more powerful?
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How does Yousafzai’s combination of powerful rhetoric and narrative convey her
message of love and peace?
Students are to write a powerful speech as a homework task. The speech must deal
with an issue that the student is passionate about example bullying, racism,
greenhouse effect etc.
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Students will gain understanding of narrative types and the features of master plots
within the context by looking at example texts. The Second Coming by Yeats focuses
on the features of master plots. Students are to annotate on their handouts. Students
work in groups of threes to come up with a poem of their own containing a narrative.
Outcome
EA11-1
Resources/ Activities
Background Information
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Student handout
Activity
Form groups of no more than three and create a poem with a narrative.
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Teacher’s Objectives
Outcomes
EA11-4 Strategically uses knowledge, skills and understanding of language concepts
and literary devices in new and different contexts.
EA11-6 Investigates and evaluates the relationships between texts.
Materials
Copies of the text
Access to YouTube
Procedures
Time Organisation Teaching/ learning activities
5 mins Mark the roll
5 mins Teacher led Discussion on Kanye West - PowerPoint
discussion
5 mins Audio played Students to listen to the song Jesus Walks
While following in their handouts
5 mins YouTube Clip Watch the video clip of Jesus walks
Form groups
20 mins Prior Students are to make comparison with Yeat’s Second
Knowledge Coming
10 mins A member of the group presents their findings.
10 mins Teacher provides feedback
Homework
Evaluation/ Extension
For a follow on task, students could asked to write from where the lyrics ended.
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Resources/ Activities
Background
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Intro]
We at war
We at war with terrorism, racism
But most of all we at war with ourselves
[Hook]
(Jesus walk)
God show me the way because the devil tryin’ break me down
(Jesus walk with me)
[Verse 1]
You know what the Midwest is? Young and restless
Where restless (niggas) might snatch your necklace
And next these (niggas) might jack your Lexus
Somebody tell these (niggas) who Kanye West is
I walk through the valley of the Chi where death is
Top Floor the view alone will leave you breathless
Try to catch it ..it’s kind hard
Getting choked by detectives, yeah, yeah, now check the method
They be askin' us questions, harass and arrest us
Sayin' "We eat pieces of shit like you for breakfast"
Huh? Y'all eat pieces of shit? What's the basis?
We ain't going nowhere but got suits and cases
A trunk full of coke, rental car from Avis
My mama used to say only Jesus can save us
Well mama I know I act a fool
But I'll be gone 'til November, I got packs to move
I hope
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Hook]
(Jesus walk)
God show me the way because the Devil's tryna break me down
(Jesus walk with me)
(The only thing that I pray is that my feet don’t fail me now
(Jesus walk)
And I don't think there's nothin' I can do now to right my wrongs
(Jesus walk with me)
I wanna talk to God but I'm afraid cause we ain't spoke in so long
(Jesus walk)
God show me the way because the Devil's tryna break me down
(Jesus walk with me)
(Jesus walk)
And I don't think there's nothin' I can do now to right my wrongs
(Jesus walk with me)
I wanna talk to God but I'm afraid cause we ain't spoke in so long
So long, so long
(Jesus walk with me)
[Verse 2]
To the hustlers, killers, murderers, drug dealers, even the scrippers
(Jesus walks for them)
To the victims of welfare feel we livin’ in Hell here, hell yeah
(Jesus walks for them)
Now hear ye hear ye want to see Thee more clearly
I know he hear me when my feet get weary
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Students will analyse and evaluate how narrative conventions are used to engage the
gain a better understanding of Macbeth and the witches. Students will be assigned
Outcome
EA11-6
Resources/ Activities
The Witches
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2. They are the first characters we meet. What do you think is the significance of
this? In what ways does this position the audience?
3. In their second appearance, the witches meet Macbeth and make prophesies that
Macbeth will be King. What do the quotes below reveal about the witches’?
BANQUO
Good sir, why do you start;
and seem to fear
Things that do sound so
fair? I' the name of truth,
Are ye fantastical, or that
indeed
Which outwardly ye show?
My noble partner
You greet with present
grace and great prediction
Of noble having and of
royal hope,
That he seems rapt withal:
to me you speak not.
If you can look into the
seeds of time,
And say which grain will
grow and which will not,
Speak then to me, who
neither beg nor fear
Your favours nor your
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hate.
Overall, how are the witches introduced to the audience?
Explain how Shakespeare uses the metanarrative of evil spirits to position the audiences
understanding of the witches
Students will gain understanding of social, political, historical and personal context of
Macbeth through group research and presentation. The class will be formed into four
groups. The first researches about social, the second about political, the third about
historical and finally the last group focuses on the personal context of Macbeth. At the
end a presentation takes place.
Outcome
EA11-3
Resources/Activities
connect with readers for emotional and intellectual impact in order to convey his
thematic concerns. Teacher annotates the first soliloquy with the students and the
Outcome
EA11-8
Resource/ Activities
Below are 2 scene of Lady Macbeth. First she is reading a letter that has been sent to
her from Macbeth informing her of his promotion. Then she begins to discuss how if
she were a man, she would have the ability to kill Duncan. Here she delivers one of
the most famous lines of the play, “you spirits / That tend on mortal thoughts, unsex
me here, / And fill me from the crown to the toe top-full / Of direst cruelty”. Annotate
the language features of the soliloquy and make comment about
· Lady Macbeth’s power over Macbeth
· The value and nature of masculinity
· The way/s femininity is depicted
· How Shakespeare positions the audience to draw conclusions about
Lady
Macbeth’s role in Duncan’s murder.
Soliloquy One
Lady Macbeth:
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty! make thick my blood;
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman's breasts,
And take my milk for gall, you murdering ministers,
Wherever in your sightless substances
You wait on nature's mischief! Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry 'Hold, hold!'
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Teacher’s Objectives
Students analyse and evaluate how Shakespeare uses narrative voice, point of view,
and narrative structure to reflect different thematic concern and ideas in the context.
Outcomes
EA11-1 responds to, composes and evaluates complex texts for understanding,
interpretation, critical analysis, imaginative expression and pleasure.
EA11-3 analyses and uses language forms, features and structures of texts considering
appropriateness for specific purposes, audiences and contexts and evaluates their
effects on meaning.
Materials
Handouts
Access to smartboard
Procedures
Time Organisation Teaching/ learning activities
5 mins Mark the roll
Evaluation/ Extension
Students to finish reading Macbeth if not already done so.
Resources/ Activities
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Macbeth
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Find Examples with page numbers. Try to focus on all the characters.
Narrative Voice metaphors Imagery Examples
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Half the students will be taking the role of the director whilst the other half are actors.
The director has to justify what each stage direction conveys about power or other
thematic elements about the performance. A performance takes place towards the end
of the lesson. Students gain understanding that thematic elements or stage directions
contribute towards creating narratives. They gain an insight into how big of an
Outcome
EA11-4
Resources / Activities
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Students will be watching Macbeth Retold. This modern version of Macbeth gives
students insight how the narrative remains the same yet the story has evolved. This
was chosen because it is a modern take on Macbeth. Students watch the first 50 mins
and analyse the opening scenes. The last 30 mins of the movie will be played in the
next lesson.
Resources/Activities
Macbeth Retold -
https://www.youtube.com/watch?v=CsRrRvt2ZvA
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Students finish watching the movie for the first 30 mins. The class gets divided into
four groups. The group chooses the scene they wish to analyse. Each group is to
analyse the scenes comparing it to Macbeth the text. The class comes back with their
Outcomes
EA11-3
Resources/ Activities
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