L6+Gill+Ted

 **UNIVERSITY OF MAINE AT FARMINGTON** ** COLLEGE OF EDUCATION, HEALTH AND REHABILITATION ** ** LESSON PLAN FORMAT ** //Maine Learning Results: // English Language Arts - A. //Reading//  A2 //Literary Texts//  Grades 9-Diploma //Hamlet//  //Students read text, within a grade-appropriate span of text complexity and present analyses of fiction, nonfiction, drama, and poetry using excerpts from the text to defend their assertions. //  //a. Analyze the characters' external and internal conflicts. // This lesson supports the Maine Learning Results by forcing students to make their own decisions about ambiguous elements of the text. Making personal analyses of situations in the play will help to interpret characters’ conflicts. The formative assessment for this class is comprised of a Persuasion Map, which students will fill out in preparation for their short persuasive essays. Students will also participate in a 3-step interview process, which will help them to hone their understandings of the plot and their ideas for interpretation. The summative assessment for this lesson is a short persuasive essay, which will be uploaded on the class wiki and subjected to peer comments and discussion. This essay, and the mandatory comments, will be evaluated by an attached rubric. The grouping that will be used will be a Three-Step Interview. The teacher will choose partners and pairs by sectioning off individuals who are next to each other, using an alternating pattern that keeps trouble pairs apart. I will review students' IEP, 504, or ELLIDEP and make appropriate modifications and accommodations. Students who are ahead of the rest of the class will be able to choose which lines emphasize their own interpretation of an element and record it into GarageBand, posting it on the wiki as a demonstration they can cite. Laptops Internet Copies of the play Rubric for essay Persuasion chart [] Resource for interpretations: [] The formative assessment for this class is comprised of a Persuasion Map, which students will fill out in preparation for their short persuasive essays. Students will also participate in a 3-step interview process, which will help them to hone their understandings of the plot and their ideas for interpretation. The summative assessment for this lesson is a short persuasive essay, which will be uploaded on the class wiki and subjected to peer comments and discussion. This essay will be evaluated by an attached rubric. The classroom for this lesson will be arranged in clusters, which suits small group work well yet with little shifting of chairs can be a class-wide discussion shape. The agenda will be as follows:   Day 6  “To be or not to be” hook with questions: 5 minutes Group work for selecting ambiguity: 30 minutes Begin working on organization of essay, writing essay: 35 minutes Remind students about performance tasks: 10 minutes. <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Students will understand that many of //Hamlet//'s themes and characters are open to interpretation. This is important because thinking in depth about a single character's conflicts and examining different interpretations of the text will help students learn to deal with ambiguities in real life, as well as determine and defend their own positions. Students read text, within a grade-appropriate span of text complexity, and present analyses of drama using excerpts from the text to defend their assertions. The hook will be a clip of Kenneth Branagh’s //Hamlet// film in which he makes the radical decision to have Claudius and Polonius watch the “to be or not to be” soliloquy. <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Students will know how to form a position on an ambiguous element of //Hamlet//. I will give instruction by walking around the classroom and sitting with students to ask questions about what they are planning to write about. I will focus on asking guiding questions that will lead them further to how they are going to prove their points. The content for this lesson will merely be a series of guiding articles – the focus for the class is allowing the students to make their own decisions about the text, not simply taking a stance from somebody that they agree with <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Students will be supplied with a Persuasion Map, which will help them outline the shape of their persuasive essays, including where references to text will go. They will hone the ideas for their essays in a 3-step interview group activity. Students will be able to interpret and judge ambiguous elements of the text. Students will be grouped in pairs chosen conveniently by the teacher in a way that keeps problem pairs separate. Students will show evidence of learning in their essays and the writing process. They will have near-infinite revision ability, as the essays will thrive on Wiki comments and editing. <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Students will self-evaluate their essays using the provided rubrics and reflect on what they could do to improve their essays when they read the wiki comments on their papers. Timely feedback will be given to students due to the essays being uploaded to the wiki. I will be able to evaluate and give feedback as soon as I check the wiki. <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">CLAUDIUS / GHOST / HAMLET / NEW HISTORICISM / THEOLOGICAL <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">This essay examines “the problematic ‘poetry’ of Hamlet as an expression of the [Elizabethan] period’s apocalyptic concerns” (87). Prophetic signs (e.g., eclipse, a nova, the Armada’s defeat) heightened a sense of millenarian expectations in Shakespeare’s audience (88-89). Hamlet contains “an ominous sign foreshadowing ‘some strange eruption’” that “endows the play with a haunted sense of eschatology” and that “embodies and objectifies an apocalyptic ethos”: the Ghost (89). Interestingly, “fury, almost a violent ecstasy, is first and foremost triggered by the fatal encounter with the Ghost, that is, by an eschatological provocation” (91). A brief history of self-flagellation shows “that the eschatological ethos induced an ascetic self-torture in the hope of purging earthly sins from the body” as well as “engendered self-righteous violence towards Jews (and Turks), people marked as fatal sinners and Antichrist in the Christian tradition” (90). This combination is labeled “oxymoronic violence” (91). In Hamlet, the Prince alternates between “extrovert and introverted violence” (92): he berates himself and attacks all perceived sinners (e.g., Gertrude, Ophelia). He “is too intensely possessed with a disgust at fleshly corruption” rather that with an interest in revenge (93). While Hamlet parallels radical sects (95), Claudius is similar to King James; both rulers fear the danger of “fantasies” or madness, “a real political threat” to any throne (96). Shakespeare’s play “is a cultural rehearsal of an apocalyptic psychodrama which lies close to the heart of the Christian West” (98). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">FEMINISM / GERTRUDE / NEW HISTORICISM <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">While distinguishing its approach from “retrospective critical activity” (126), this essay sets out “to provide a historical account which restores agency to groups hitherto marginalised or left out of what counts as historical explanation—non-élite men and all women” (125). In Hamlet, Gertrude’s marriage to Claudius appears “unlawful” by the early modern period’s standards, and “it deprives Hamlet of his lawful succession” (130). Gertrude “has participated in the remarriage—has (literally) alienated her son, and Old Hamlet’s name” (135). In denying Gertrude exoneration, “we have recovered the guilt surrounding her as a condition of her oppression”: “women are not permanently in the object position, they are subjects. To be always object and victim is not the material reality of woman’s existence, nor is it her lived experience” (135). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">GHOST / HAMLET / HISTORY OF IDEAS / THEOLOGICAL <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">This essay focuses “on some puzzling aspects of the Ghost’s nature and look[s] at some possibilities of what the Ghost may mean and how it functions in the play” (5). The “religious atmosphere in Elizabethan England and how this may have affected Shakespeare’s audience” (5) are considered, particularly the differing Catholic and Protestant “beliefs concerning ghosts and the supernatural” (8). Instead of defining “the true nature of ghosts for his audiences,” Shakespeare “incorporates within his play both Catholic and Protestant views of the Ghost and also presents a third perspective on the Ghost, one steeped in folkloric tradition” (10). He “expects his audience to perceive the Ghost for what it is, a diabolical manifestation on a mission to trick Hamlet into forfeiting his soul” (12); the play’s devastating/destructive conclusion “supports this interpretation” (12). In “exhorting Hamlet to commit murder through an act of revenge, the Ghost plays most foully for Hamlet’s soul” (14). The counter argument is that “the Ghost tells the truth surrounding the circumstances of old Hamlet’s death,” as corroborated by Claudius’ private “confession of guilt”; but “a devil is capable of telling the truth if it enables him to achieve his goal” (14). The question then becomes, once the Ghost has accomplished his goal by motivating Hamlet to commit revenge (and, hence, to loose his soul), why does it appear later in the closet scene and in its nightgown? The answer is to perform two functions (14): first, to prevent Hamlet’s convincing of Gertrude to repent; the Ghost’s appearing only to Hamlet “intensifies Hamlet’s apparent madness such that Gertrude attributes Hamlet’s accusations to his insanity. Her moment of grace has passed” (16). Second, by appearing in the wife’s bed chamber, wearing a nightgown, the Ghost “ reactivates the domestic values that Hamlet keenly feels he has lost” (17), and evokes cherished familial memories in Hamlet (18). “The ‘piteous action’ that the Ghost makes is directed [. . .] at Hamlet, to wring his emotions and drive him to distraction to make Gertrude think him mad. And it succeeds” (18). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">ADVICE TO PLAYERS / HAMLET / METADRAMA <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">This study focuses upon “the context of the play’s tragic form [. . .] to connect its metatheatrical self-consciousness with the ethical imperatives of Hamlet’s dilemma, one in which theatricality is called on to stabilize ambiguity and to authorize the prince’s call to action” (30). The playwright “offers a courtier struggling with the divide between action and acting, a figure whose call to violent force is countered by an obsession with the images of theater, text, and icon” (31). In The Mousetrap, Hamlet conflates the act of murder with the threat of revenge, “applies theatrical mimesis as a weapon” to prick Claudius’s conscience, and “begins to confuse the imaginary with the real, the verbal with the martial” (32). He “progresses from speaking pictures to speaking daggers, from enargeia to catachresis, conflating the violence he is called on to perform with the language by which he names it” (62). He “spends so much time meditating on his revenge in word and image that it becomes the name of action and its imaginary form that he fears losing rather than the violence itself. To lose the name of action in a context where action can only be named represents a crippling tautology” (58-59). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">AUDIENCE RESPONSE / HAMLET / HORATIO <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">By analyzing the role of Horatio, this essay attempts to show that “Shakespeare had a much clearer and fuller conception of the part than is usually granted and that he developed the character with care and skill, though by extraordinarily minimal means, for a significant purpose” (57). Inconsistencies in this character receive clarification, using textual evidence (e.g., age, knowledge, relationship with Hamlet at Wittenburg). Although Horatio seems expendable in Hamlet’s plot development, “Shakespeare evidently thought him important enough to invent the character (probably) and have him dominate both the opening and closing scenes” (62). Horatio is also invested with the favorable qualities of learning, courage, loyalty, and candor; he appears as the “disinterested witness” (63), who speaks directly and “virtually compels trust” (64). The strong bond that Horatio forms with Hamlet encourages the audience to vicariously follow suit. Without Horatio, the audience would be suspicious of rather than sympathetic with Hamlet. Reducing Horatio to merely Hamlet’s foil/confidant belittles the importance of the role and Shakespeare’s artistry. Although “Horatio is more stageworthy than ‘text worthy’” due to his frequently silent-yet-important presence as witness (67), Shakespeare “created the role, and with few but sure strokes of his theatrical brush, endowed it with complete credibility” (68). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">AUDIENCE RESPONSE / CLAUDIUS / GERTRUDE / GHOST / HAMLET / HORATIO / LAERTES / OPHELIA / PERFORMANCE / POLONIUS <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Combining literary scholarship with interpretive performances, this monograph promises "a way to listen to and grasp the complex tones of Hamlet and the other characters" (x). Chapters follow the chronological order of the play, pausing to "discuss the important characters as they appear" (12). For example, the first chapter explores the opening scene's setting and events, as well as the variations staged in performances; the examination of this scene is briefly suspended for chapters on Horatio and the Ghost but continues in chapter four. This monograph clarifies dilemmas and indicates "the choices that have been made by actors and critics," but its actor-readers must decide for themselves (xi): "I believe this book will demonstrate that each actor-reader of you who engages with Hamlet's polyphony will uniquely experience the tones that fit your own polyphony" (x). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">FEMINISM / NEW HISTORICISM / OPHELIA <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Admittedly negotiating the simultaneous rationalization and preservation of insantiy, this article attempts to answer the important question of how to read Ophelia’s madness. Ophelia initially appears “shaped to conform to external demands, to reflect others desires” (406): she is Laertes’ “angel,” Polonius’ “commodity” (407), and Hamlet’s “spectre of his psychic fears” (410). While the conflicting messages from these male/masculine sources damage Ophelia’s psychological identity, their sudden absence provokes her mental destruction. Optimistically, Ophelia’s madness offers the capability of speech, the opportunity to discover individual identity, and the power to verbally undermine authority. A thorough analysis of Ophelia’s mad ramblings (and their mutual levels of meaning) provides “a singular exposé of society, of the turbulent reality beneath its surface veneer of calm” (418); but her words still suggest a fragmented self and provide others the opportunity to manipulate meanings that best suit them. Ophelia’s death is also open to interpretation. While the Queen describes “the accidental drowning of an unconsciously precocious child” (422), this article suggests that “Ophelia’s choice might be seen as the only courageous—indeed rational—death in Shakespeare’s bloody drama” (423). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">HAMLET / JUNGIAN / POLONIUS / PSYCHOANALYTIC <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">This reading of Hamlet argues that Polonius represents the archetypal figures of “wise old man, fool and scapegoat” and that his “truncated sacrifice, the climax of the action, contrasts with the transcendent one of Hamlet, the climax of the symbolic level” (103). Through Hamlet’s and Ophelia’s various references to and descriptions of Polonius, he is linked with the wise old man figure. But unlike the figure responsible for guiding and instructing the hero, Polonius “inverts the figure” by being overly concerned with his own social/political position (105). Aside from linguistic allusions, the lethal closet scene confirms Polonius’ status as scapegoat. Polonius is mistaken for the King, suggesting the role of the fool. While Polonius “incorporates the fathers in the play into one figure whom Hamlet can confront,” the Prince similarly plays the roles of fool and scapegoat (107): His adoption of an antic disposition “with a conscious purpose” suggests the first, and his sacrifice in the final scene exemplifies the latter (108). But the deaths of the two scapegoats differ: “Through symbols connected with the mother archetype, Hamlet’s sacrifice is, both individually and in its effect on the community, consummate, while Polonius’ is void” (108). For example, Hamlet’s rebirth occurs at sea, water being a symbolic element of the mother archetype (110), but Polonius does not have such an experience. Also, Hamlet’s return to Denmark marks a shift in his priorities, from “the personal to the communal” (111)—something Polonius never achieves. In death, Hamlet “moves beyond the communal to the spiritual,” existing “as a realized ideal” in Horatio’s’ narration, while the dead Polonius is only noted for “the details concerning his corpse” (111-12). Perhaps Shakespeare’s true source is not an Ur-Hamlet but “the archetypes that in this play vibrate beneath the surface” (112). <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">HAMLET / PARENTHOOD / PSYCHOANALYTIC / YORICK <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">This article asserts that Yorick’s abstract presence and Hamlet’s memories of the court jester “constitute a benign inscription of paternity in the play, one which actively challenges the masculine ideals of emotional repression and military virtus otherwise featured so prominently in Shakespeare’s drama of revenge” (10). Unlike the other father figures in Hamlet who represent patriarchal authority (e.g., the Ghost, Claudius, Polonius), Yorick is the absent surrogate parent who showed a young Hamlet alternatives to phallocentric oppression and who “remains a central figure in Hamlet’s psyche precisely because he has been lost” (11). By prematurely dying (possibly due to syphilis), Yorick abandoned a seven-year-old Hamlet in the pre-genital stage; hence, Hamlet identifies him as the cause of his sexual deficiency “and associates him permanently with his own anality” (18). Yet Yorick also endowed Hamlet with the skills of jesting and merrymaking, which are so evident in the exchange between Hamlet and the gravediggers. All play is set aside during Hamlet’s interaction with Yorick’s skull, as the “residual child in Hamlet articulates the pain of loss” over his childhood mentor (16). Perhaps the mournful sentiments were shared by Shakespeare, who lost his father around the time that Hamlet was being written (17). While Yorick contradicts paternal cliches, he also raises questions regarding maternal stereotypes and the femininity of death. Even the origin of Yorick’s name suggests “an obscure conflation of gender, [which] actually encodes the idea of feminine fatherhood” (18). Ultimately, Yorick instills in Hamlet “values and emotions fundamentally at odds with the patriarchal codes of masculine behavior” (19).
 * __ Teacher’s Name __**** : ** Mr. Gill** __Date of Lesson__:** 6
 * __ Grade Level __**** : ** 10** __Topic__:** Hamlet interpretation
 * __ Objectives __**
 * Student will understand that **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> many of //Hamlet//'s themes and characters are open to interpretation
 * Student will know **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">a position on an ambiguous element of //Hamlet//.
 * Student will be able to **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">interpret and judge ambiguous elements of the text//.//
 * __ Maine Learning Results Alignment __**
 * Rationale: **
 * __ Assessment __**
 * Formative (Assessment for Learning) **
 * Summative (Assessment of Learning) **
 * __ Integration __**
 * Technology: ** The technology that will be used in this class is the Wikispace, where students will upload their persuasive essays and comment on and discuss those of their peers. The teacher will use this to give comments also.
 * Art: ** The student has to make artistic decisions in interpreting the text. What do you think Shakespeare meant by what he wrote?
 * __ Groupings __**
 * __ Differentiated Instruction __**
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Strategies: **
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Verbal - **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> Students will consult the text extensively as they write an essay on an ambiguous element.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Logical - **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Students can analyze the opposing sides of the chosen ambiguity and determine which one seems more feasible.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Visual **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> - Students can create a diagram offering differing perspectives of various elements of the play.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Interpersonal **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> - Students can debate the big ambiguities of the play to flesh out what they feel the text means.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Intrapersonal - **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> Students can think hard about what their personal belief about the ambiguous element is.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Naturalist **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> - Students will look at the environment and setting as elements affecting the ambiguity they've selected.
 * Modifications/Accommodations **
 * Extensions **
 * __ Materials, Resources and Technology __**
 * __ Source for Lesson Plan and Research __**
 * __ Maine Standards for Initial Teacher Certification and Rationale __**
 * // Standard 3 - Demonstrates knowledge of the diverse ways in which students learn and develop by providing learning opportunities that support their intellectual, physical, emotional, social, and cultural development. //**
 * Rationale ** : This lesson demonstrates competency with this standard by presenting many ways for students to learn and develop their understandings and interpretations of content. Beach ball learners will like this lesson because they because deciding what text means for yourself is presumably more fun than being told what a given passage means. Clipboard learners will like following an essay formula and making a solid argument for their side. Microscope learners will like analyzing the elements of an ambiguity and finding what appears to be the truth about the passage. Puppy learners will like putting themselves into the heads of characters to figure out what makes sense and what would happen realistically.
 * // • Standard 4 - Plans instruction based upon knowledge of subject matter, students, curriculum goals, and learning and development theory. //**
 * Rationale ** : This lesson demonstrates my competency with this standard by focusing on knowledge of the students and development theory, along with curriculum goals. The purpose of learning is to allow students to think for themselves, and by giving students the power and ability to make their own interpretive decisions regarding ambiguous elements of the play,
 * // • Standard 5 - Understands and uses a variety of instructional strategies and appropriate technology to meet students’ needs. //**
 * Rationale ** : This lesson demonstrates my competency with this standard by implementing a variety of instructional strategies and technology to assist students in making interpretive decisions and expressing them in an essay.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Verbal - **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> Students will consult the text extensively as they write an essay on an ambiguous element.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Logical - **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Students can analyze the opposing sides of the chosen ambiguity and determine which one seems more feasible.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Visual **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> - Students can create a diagram offering differing perspectives of various elements of the play.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Interpersonal **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> - Students can debate the big ambiguities of the play to flesh out what they feel the text means.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Intrapersonal - **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> Students can think hard about what their personal belief about the ambiguous element is.
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Naturalist **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;"> - Students will look at the environment and setting as elements affecting the ambiguity they've selected.
 * Technology: ** Students will use technology in a way that enables them to organize and get instant feedback on their essay, by optional Inspiration webs and wiki discussion pages.
 * // • Standard 8 - Understands and uses a variety of formal and informal assessment strategies to evaluate and support the development of the learner. //**
 * Rationale ** : This lesson demonstrates my competency with this standard by using both graded and ungraded formative and summative assessment, both evaluating and supporting the students’ development.
 * Formative (Assessment for Learning) **
 * Summative (Assessment of Learning) **
 * __ Teaching and Learning Sequence __**** : **
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Where, Why, What, Hook, Tailor: visual, verbal, interpersonal, intrapersonal **
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;">Equip, Tailor: verbal, intrapersonal, interpersonal **
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Explore, Experience, Organize, Revise, Reflect, Tailor: logical, verbal, interpersonal, intrapersonal, visual **
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Self-Evaluate, Organize, Reflect, Tailor: intrapersonal, verbal **
 * <span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">Content Notes: **<span style="font-size: 12.0pt; mso-bidi-font-size: 13.0pt; font-family: Times; mso-bidi-font-family: Arial;">